Granfalloon is the music project of Manchester, England-based singer-songwriter, producer and guitarist Richard Lomax. Using acoustic guitars, synthesizers and unusual instruments such as vintage Omnichords and drum loops, he creates his own unique and pleasing style of music that’s a hybrid of lo-fi alternative folk, experimental and electronica. His warm, soothing vocals are wonderful, reminding me at times of U2 front man Bono. We’ve followed each other on Twitter for several years, but I’ve been remiss by never having featured him on this blog. I’m now remedying that sorry situation on the occasion of the release of his new single “Working On Your Own“.
According to bio info provided on his website, Lomax became a musician later than most, and when he did, in 2003, it felt, in his words “like opening a door from a world of black and white to a universe bathed in a spectrum of mesmerising colour.” He took an avant-garde music course, and after honing his skills fronting surf rock bands and the psychedelic folk-pop collective Johnny5thWheel&thecowards, he relocated to Manchester in 2013. Granfalloon was born in 2017 after an operation temporarily left him with limited mobility. While in recovery, he recorded his debut album Down There For Dancing. He performed most of the music using his acoustic guitar, Omnichord and lo-fi drum machines, although he was assisted by a few musicians on added guitar, bass and percussion on some tracks. It’s a lovely work, and I strongly encourage my readers to check it out on one of the music platforms listed at the end of this post.
He released his beautiful second album RGB in 2019, this time with assistance from a greater number of musicians to help him produce larger, more fully-realized soundscapes. He also began touring the UK and Europe as a full band, as well as performing at Bluedot Festival. RGB‘s singles garnered airplay on BBC Introducing and BBC 6 Music.
He’s now set to release this third album Positive Songs in August, featuring 11 tracks produced for The Positive Song Project, which was launched by Lomax and his friend Lobelia Lawson during the first lockdown of 2020. He invited songwriters to create new music, challenging themselves to focus on positive aspects and feelings. Lomax elaborates: “The idea formed from a conversation I was having with Lobelia Lawson, the co-founder of PSP, about how a lot of inspiration for our songs comes from a place of introspection or melancholia, anger or pain. We thought we would challenge ourselves & other musicians to focus on positive songwriting. Maybe it began as a way of managing anxiety or as a refusal to let the cancellation of gigs completely take music away but it soon become this weird positive energy… this propulsive force which grew into something very special.” Thus far, the project has resulted in the creation of over 300 tracks by artists from around the world.
“Working On Your Own” is the second single from Positive Songs, following the first single “Who You Are”, which was released in June. Lomax states the song “had such a strange journey, starting off as an intensely personal one about the loneliness of shift work, and then when Lockdown started it became perversely relatable.” For the recording of the track, Lomax played guitar and sang vocals, Daz Woodcock played bass, synths and sang backing vocals, Thirds played guitar, piano and sang backing vocals, Richard Jupp played drums, Andy Lyth played percussion and Maya McCourt played cello.
The song has a mellow, easy listening vibe, with touches of folk and jazz that make for a calm, yet compelling groove. Each of the instruments are allowed to shine, from the gentle acoustic guitar notes, subtle bassline and jazzy drums to the charming baby piano keys, cool percussion and lovely cello. Lomax’s smooth vocals are sublime, with a sophisticated air that’s still accessible and comforting as he earnestly sings about our human need for connection, and the loneliness of working the late shift where there’s no one to talk to or engage with. Woodcock’s and Thirds’ backing harmonies are really nice too.
Shift workers of the world unite
And bathe yourself in Picadilly's multicolored lights
When the human touch that means so much
Is a phantom limb on social crutches
Keep a little kind in your heart
When you're working on your own
On the edge, on the edges of civilization
Saturday night is the loneliest night of the week
If you download the song on Bandcamp, you’ll also receive an exclusive free bonus download of Granfalloon’s cover of the Zombies’ song “Care Of Cell 44”.
There’s a tremendous amount of talent throughout the music world, and I’ve had the pleasure of writing about quite a few truly gifted artists in my five-plus years of blogging. One of the most remarkable of them all is Kristian Møller, a young singer-songwriter, producer and visual artist who’s now based primarily in Copenhagen, Denmark. Not only is he insanely creative and artistically brilliant, he’s also smart, thoughtful, funny and kind. He’s handsome too, though so free of vanity that, unlike a lot of artists who have scores of photos of themselves plastered across their social media accounts, Kristian has almost none. Hence the only photo he provided is the rather spooky avatar of himself that he created, shown above.
I first learned about Kristian in 2017 when he was based in London and a member of the alternative band From the Cave. I featured them and their delightfully eclectic music several times on this blog between November 2017 and April 2019, shortly after which they split up, much to my chagrin. Fortunately, he continued to record music as a solo artist, and over the past three years has released four ambitious, genre-bending albums, beginning in September 2018 with the trippy, experimental work Gamble. He followed with two albums in quick succession in 2019 – Incomplete in August, featuring 16 tracks, and I’m the Fucking Producer in December, containing a mind-boggling 23 tracks! I especially like the title track, a marvelous take down of music producers: “I’m the fucking producer, I’m going to ruin your tune. I take the life out of it, and I make it better, better”, but I digress…
On February 21st, Kristian dropped his fourth album Caldo, an exquisite and loving tribute to his Spanish heritage, specifically, his mother’s homeland of Mallorca, an island in the Mediterranean that’s part of Spain. He explained to me that the album’s title “Caldo” means “broth” in Spanish, adding: “The broth plays a big part in some traditional dishes that my family – and especially my Spanish grandparents – cook.” (He plans to follow up later this year with another album of songs sung in Danish as a tribute to his father’s and his homeland of Denmark.)
The album is nearly epic in scope, running 55 minutes and featuring 18 songs, 14 of which are sung entirely in Spanish, as well as four instrumentals. When Kristian first approached me about reviewing this album, I was a bit apprehensive, as both its length and the fact it was sung entirely in Spanish presented a potentially daunting task. He kindly translated his lyrics into English for me, and once I began listening to the songs, my trepidation quickly evaporated as I found myself thoroughly enchanted by their breathtaking beauty.
Case in point is the opening track “Son Verí“, a beautiful ode to the Mallorcan seaside town where his family has a home: “From the moment I was born, there’s always been a place for me, in Son Verí / In every rock there are stories and thousands of memories that can’t be forgotten.” Kristian’s strummed Spanish guitar is stunning, and his baritone vocals have an earnest vulnerability that’s both comforting and deeply moving. He also creates wonderful, imaginative videos for many of his songs, and the one for “Son Verí” nicely captures the warmth and sun-kissed beauty of his family’s Mallorcan home.
On the next song “Invitación” (Invitation), he continues singing his praises of Mallorca: “I invite you to the view of the cathedral / I invite you to the view of the mountains and the ocean / I invite you to the sun and the nights filled with moonlight / I invite you to the tower of Cala Pi, pa amb oli and olives / We can have dinner together and be joyful people.” Once again, his strummed acoustic guitar work is sublime, only this time complemented by a deep bass groove and a gorgeous atmospheric organ riff.
Besides extolling Mallorca’s virtues, Kristian weaves other subjects such as romantic love, the importance of family, and even his frustrations over the political upheaval that resulted in Brexit, into the narrative of some tracks. On “Tranquila” (Don’t Worry), he sings of his love for another, even though he must leave them: “You know that I’ve enjoyed our time together/ Even though I sometimes lose myself in the things I say, there’s something else that is about to begin / Yet again, I feel the need to make mistakes.” And on “Fuego” (Fire), he compares his passions for – and challenges of – making music with making love: “One hand in hell, another hand in heaven / In the tongue of heat, in the musical notes of pain / The orchestras of the sun live inside of your bedroom.“
Like he did with From the Cave’s music, Kristian skillfully melds together disparate music elements like rock, hip hop, punk and electronic with Spanish folk and flamenco to create his own unique sound. On “Mallorca“, he combines acoustic Spanish guitar notes with a hypnotic dubstep beat to create a contemplative backdrop for his monotonal vocals as he sings of escaping to Mallorca to relieve his stress over worrying about his music career and trying to please everyone: “I’ve attempted it time and time again / I’ve tried it and I always want to be another person just to please everybody / I say “yes” way too quickly / “Yes” – what a load of shit / Here I am, stressed out once again, I need to slow down. Every day I wake up in a hurry to impress / Release yet another song that’s true / I’ve done it more than a hundred times / And so what? In the end, what difference does it make?”
On the rousing “Basura” (Trash), he rails against autocratic leaders like Boris Johnson and Donald Trump, and how their divisive rhetoric damages their countries: “People with weird wigs who have presidencies / I want to be better than this / And you can be better than this trash without any shame / We don’t have any other option but to remove these people who don’t have any compassion for the people around them / It doesn’t matter who’s right or wrong, they are completely mental.” I love the lively Spanish folk rock vibe and bold, colorful instrumentation and his emphatic vocals. Kristian created a wonderfully trippy animated video showing a fearsome prehistoric-looking creature pulling a large cart containing what appears to be a town square filled with piles of trash and strange robed men with antlers. His avatar stands at a console, controlling the proceedings as they all fly over the countryside, with several plates containing fried eggs circling overhead like flying saucers.
As the album proceeds, the great songs keep coming, including four gorgeous and compelling instrumentals: “Manzana” (Apple), “Agosto” (August), “Aleppo” and “La Casa De Los Abuelos” (The House Of The Grandparents). One of my many favorites on Caldo is “Salsa De Tomate” (Tomato Sauce), a beautiful, uplifting song celebrating the healing powers of food and family: “The plants are growing in your garden and they look like the ones in Son Verí / This black cloud will leave one day / The birds are flying above the wall / We’re people, We’re friends, We’re family.” The song has a powerful, driving beat overlain with enchanting strummed Spanish guitars and haunting flutes that give the song a wonderful Incan vibe. Kristian’s warm vocals are sublime, and the airy, female backing vocals add a nice touch to the song.
“Patatas” (Potatoes) is yet another standout track, with bold strummed guitar notes accompanied by psychedelic synths and snappy percussion that produce a captivating Spanish punk sound. “El Caballero Oscuro” (The Dark Knight) is great too, with its dark, spooky synths, strong driving beat and terrific guitar work. Kristian doesn’t mince words as he tells a lover of his carnal intentions: “I want to be your dark knight / I want to see your face and your ass / I want to return, a tough guy who has a chance of becoming something / In the corner of my mind I’m a good guy who acts way too nicely / And that’s exactly why it isn’t working between us. I’m an animal, In my gut, inside of my medieval soul there’s something else to liberate / Because, I’m the dark knight and today I want to kick it hard.”
The pleasing title track “Caldo” closes the album, summing up its overriding theme of finding solace in the enduring traditions of family, friends and food in a home we love: “Palma de Mallorca /We’re tourists and we’re locals / The broth of life / The broth of tradition / The broth of life.”
I had a lovely chat with Kristian, who graciously answered my questions about his upbringing, career choices and inspiration behind Caldo’s creation.
EML: You are truly multi-cultural Kristian. I know your father is Danish and mother is from Mallorca, which is part of Spain, and I believe you were born in Denmark, is that correct? Where were you raised, and/or did you spend time growing up in both Denmark and Mallorca?
Kristian: I was born in Copenhagen but I spent the majority of my childhood living in Palma De Mallorca. When I turned 12 we moved back to Copenhagen. I’ve been lucky to experience both cultures – the Danish and the Spanish sides – fully. Both my parents speak each-other’s languages fluently so I guess we’ve always had it all very blended together at home.
EML: When you and I first connected, you were living in London. How did you come to live there?
Kristian: Initially I applied for a songwriting degree in Copenhagen, but wasn’t accepted. Then I began looking for other options and we found a songwriting degree in London. I ended up staying in the city for 5 years. I’m glad it turned out that way.
EML: While in London, you had a terrific band From the Cave who played a wonderfully eclectic style of alternative rock with lots of exotic and ethnic elements. I loved your music, and reviewed quite a bit of it before you and your fellow band members decided to call it quits in summer 2019. What made you all decide to end From the Cave, and for you to subsequently relocate from London to Mallorca, or do you now split your time between Mallorca and London and/or Copenhagen?
Kristian: Thanks man. We always loved your reviews and they provided us with a lot of moral support. I think I realized that I wasn’t going to stay permanently in London. It was very expensive to get by. The prospect of a hard Brexit also creeped in on everyone. I realized I could move to our summer house in Spain, without having to pay rent. I felt that quitting everything – including my job at a recording studio – to focus on our own music was a slightly scary but necessary step. There are other aspects to the story that I won’t go into detail with, but I’m very happy that all of us (including past From The Cave members) have been friends first and band-members second. We still keep in touch and I look forward to seeing everyone soon. We really had a great run and so many awesome memories and experiences came from the project. I’m thankful for all of it. I’m now based in Copenhagen but I also spend several months a year in Spain.
EML: Caldo is the first of two albums you’re making that pay homage to your dual Spanish and Danish heritage, and is a kind of beautiful love letter to Mallorca. What inspired you to want to make these two albums?
Kristian: During the 7 years that I lived abroad I found it hard to choose which family I should visit during the holidays. When you have your family spread out over two different countries – and you live in a third place – it becomes a bit tricky. I’m very close to both my families, and it felt wrong not seeing them more often. When I moved to Spain I was finally able to make up for some of the lost time. Eight months later, when the pandemic hit, I had just arrived in Denmark to visit my Danish grandparent. During that stay I wrote the first song of the Danish album which will be released later this year. At the same time, my cousin had been sending me some short stories that he had been writing. They were really honest and beautiful. They took place in our own world, the world of our families. It found it very inspiring to read. In a way I think it also opened a door for me lyrically.
EML: The songs on Caldo are quite beautiful and melodic, nicely conveying images of an enchanting and fulfilling life on Mallorca. Many of the tracks touch on food and its importance to the culture, but others speak of the vagaries of love and passion. What were some of your inspirations for the songs, both musically and lyrically?
Kristian: Thank you, that’s very kind of you. The running theme of food is something – I must admit – I stole from one of my favourite bands: Sleaford Mods. In their album Eton Alive, they use food as metaphor and red thread throughout the album. I think it’s one of the best albums I’ve ever heard. It made me think about the role that food plays in our own family. For us it’s a central gathering point. A ritual where we show love and care for each-other through these traditions. Even meeting up for a coffé has a powerful symbolic value. I try not to be too nostalgic, but I feel like these things are a remedy for coping with the rapid passing of time. At least I feel like daily life is gradually accelerating more and more. This gives these rituals even more importance.
EML: You stated that you wrote, recorded and produced the album in your family’s basement. Did you do everything yourself? A few songs, such as “Salsa de Tomate” have female background vocals. Who sang them?
Kristian: Yes, I did everything here on my own. But I can’t claim that I’ve done it alone. My family have been incredibly supportive throughout the process, and I’ve shared all of the demos and demos and more demos… some more demos…with them on the go. Their company has been fundamental. On top of that my parents paid for some equipment, the guitar that I’ve used on everything on the album, and helped me make the home-studio in our basement. We really went all in on this thing haha! In response to all of that support I’ve given it everything I had. We would go on daily walks and talk through the ideas and the process. The vocals on “Salsa de Tomate” are from my aunt Ñesi. She’s a songwriter herself and she’s preparing the launch of her solo project soon. I’ve heard her new songs and they’re amazing. My two nieces are also singing in the background of the third chorus of the song. My aunt heard them sing the song spontaneously during her recording and then recorded it for me as a surprise.
EML: That was sweet of her! Is there anything you’d like to add that I may have neglected to ask?
Kristian: I would just like to thank you for taking the time to do this review and showing some genuine interest in the project. I really appreciate it and it’s been very fun to answer your questions. I look forward to continuing making music and try to enjoy it as much as possible. Muchas gracias!
Thank YOU, Kristian, for bringing the world some badly-needed joy and pleasure with your beautiful album. Listening to it is an immersive experience, and should be heard in its entirety to fully appreciate the beauty and brilliance of its many musical textures and sounds. In my not so humble opinion, Caldo is a masterpiece, and I implore my readers to do yourselves a big favor by taking the time to give it a full listen, and let its songs envelop you like they do for me!
This past April, I featured Swedish alternative folk artist A Choir of Ghosts when I reviewed his exquisite debut album An Ounce of Gold. It’s an impressive and stunning work that turned me into a fan of this talented young man. The musical alter-ego of British-born but now Sweden-based singer-songwriter James Auger, A Choir of Ghosts creates beautiful songs drawing from folk, Americana, and pop-rock influences. He’s now returned with a lovely new single “Skin & Bones“, released on November 20th through his label Greywood Records.
Auger provided a bit of background for his inspiration in writing “Skin & Bones”: “The song is about the realization that you can’t always ‘fix it’ for the people you love. Sometimes they have to solve it themselves, and you can’t do anything but watch and hope for the best. In order for things to grow to its full potential, you sometimes have to let go. It’s a hard realization but I think a lot of people can identify with the feeling of sudden emptiness, when you come to something in your way that you cannot share, but rather have to go about alone. Your only hope lays in that once the obstacle has been passed, you can rendezvous on the other side.”
“Skin & Bones” has a simple but enchanting melody, highlighted by his beautifully-strummed acoustic guitar work and warm, comforting vocals that make for a pleasing listening experience. His vocals grow more emotional in the chorus as he assures a loved one that she has his support while she works through her issues:
It’s cold when you’re not home Holding on to our skin and bones You said it’ll be alright But I can’t be there, to take the fight Hold on darling, You won’t get nowhere if you run I’ll pray for you Till the morning comes The silence when we speak Our dreams are far too weak I can see it on my own The wuthering heights, and the crushing lows Hold on darling, You won’t get nowhere if you run I’ll pray for you Till the morning comes
The video was filmed and directed by Dorian Vergensson this past summer in the beautiful Swedish countryside.
Art Block is an alternative folk singer-songwriter and multi-instrumentalist from East London, England. A prolific musician, he’s been making beautiful music for several years, and has released multiple singles and EPs since 2015, including his Pete Maher-produced Acoustic Sessions album in 2019, and The Basement EP this past March. Last November (2019), I reviewed the haunting title single “The Basement”, which you can read here.
Over the past few months, he’s been releasing remastered versions of some of his earlier songs. One of them is “Borderline“, a beautiful but melancholy song about the lingering pain from a love that’s faded away. The music and lyrics were written by Art Block, who played the electro-acoustic guitar. The Electric and steel guitars were played by Ben Walker, who also produced and mixed the track. Aurora Dolby did the remastering.
The guitar work is sublime, particularly Walker’s mournful steel guitar that gives the song a bit of a Country feel, as well as creating a stunning backdrop for Art Block’s tender, heartfelt vocals. He has a lovely and incredibly emotive singing voice, with an ability to convey a deep sense of sorrow and despair as he sadly laments: “What must I do? To win the fair alliance with you? Why don’t you shred my soul? ‘Cos our love is so weak and old. Who are the lost ones walking with me? Who are the wounded all I can see? Oh, Borderline in the sea. Oh, cross the line here with me. Oh, Borderline.”
It’s a wonderful song, with a quiet intensity and poignancy that rips at our heartstrings.
Polyhymns is an experimental/alternative folk act based in Sheffield, England, having one of the more uniquely eclectic sounds of any artists I’ve heard in a while. Formed a year ago, the trio consist of Andrew Bolam, Gavin Harris and Sam Smith, all of whom previously worked together in folktronica group Little Glitches. With their shared love for such disparate artists as Burt Bacharach and Aphex Twin, they meld experimental electronic elements with psychedelia and folk to create exquisite music that transcends genres and demands our attention.
This past April, they released their debut single “Down with the Kids”, a lovely and poignant folk-pop song about parenthood and isolation in the digital age. They followed in July with the more experimental and trippy “How Ya Doin'”, and now return with their debut four-track EP Hybrid Sunday, which drops today, September 4th. The EP is also being released as a Limited Edition 10” Lathe Cut Vinyl with Sheffield’s Do It Thissen Record Label.
The EP’s title was inspired by the fact that the band writes and records their music on Sunday mornings in Sheffield’s Hybrid 3 Studio. Because the guys found they were often competing with noise from other bands rehearsing and recording in the studio’s other room, they decided Sunday mornings were the best time to ensure the peace and quiet necessary for optimum recording of their own music. During the recording of Hybrid Sunday, they also received guidance from local electronic music wizard Rob Gordon (founder of Warp Records), who lent them his Korg synthesiser and mastered the EP.
The first track “JK” is a pleasing alt-folk tune, opening with strummed acoustic guitar and gentle handclaps. Soon, an insistent drumbeat enters along with vocals as the music rises with a flourish of synths and wildly crashing cymbals, giving the song a greater sense of urgency. I’m not certain as to the meaning of the lyrics “Again and again I try / Worry how far the others are / Dragging my heels again / Means nothing to me“, but the band states they celebrate diversity in learning.
Polyhymns goes off into a completely different direction with “Unboxers“, a languid atmospheric track lasting nearly six minutes. Over a throbbing dub bass-driven groove, the guys layer spacey industrial synths, crisp percussion and reverb-soaked guitar to create a dreamy, ethereal soundscape. Their soaring vocal harmonies in the first half of the track are sublime.
The enchanting “Toes” is probably my favorite track, with its beautiful skittering synths, razor-sharp percussion, deep bass and those intriguing bleep sounds. And once again, we’re treated to the guys’ soothing vocal croons: “If you try so hard you can get so far off a memory. If you think you’ve failed, then start it again, let’s begin.” The final track “Glyn” is a captivating instrumental composition highlighted by a fantastic psychedelic organ riff. The song starts off with a funky bass loop and crisp hi-hat beats that lend a jazzy vibe, but once the organ enters the proceedings, the song really takes off into the sonic stratosphere.
Hybrid Sunday is an amazing little EP, with four totally unique tracks that couldn’t sound more different from each other. I also find the song titles, which seem to have little to do with the subject matter, quite interesting. I’m really impressed by the creativity and talent of these three musicians, and cannot wait to hear what they come up with next!
Soricah is a singer, songwriter, guitarist and producer whose music is influenced by her rich international and multi-cultural heritage. Being of Irish/Mauritian ancestry and having spent various times of her childhood and adulthood living in Ireland, Africa, Mauritius and London, her exposure to a wide range of music and people give her music a unique sound that’s a blending of genres and styles. Formerly a member of the band Rebekah Met Sarah, Soricah has also performed as a solo artist in London and Ireland. She has supported musical acts such as The Palma Violets and renowned cellist Jo Quail, and has been a frequent collaborator with members of The Artist Community of Studio 180, and the East London artistic warehouse scene. She’s also been featured on a number of projects with different artists, and her collaborations have been aired on Freakfm, BBC Radio One and a variety of Irish and International radio stations.
She currently splits her time between Kent, England and Dublin, Ireland, and recently dropped her debut EP Let the Fire Burn Free, featuring four tracks written and sung by her. She also played acoustic guitars on the tracks, and co-produced the EP with Daniel Doherty, who played electric guitar, bass and drums. Gary Molloy played cello and piano, and the songs were mastered by renowned British mastering engineer Pete Maher. The artwork was designed by Valerie Pezeron.
The first track “Waiting” is a beautiful song, with a sultry melody that conjures up images of a beach bathed by warm tropical breezes. Both musically and vocally, the song has a definite Lana Del Ray vibe. A distinctive element is Gary Molloy’s gorgeous fluttering cello, which gives the track a haunting, dreamlike sound. Soricah’s strummed acoustic guitar and smooth, sensuous vocals are complemented by Daniel Doherty’s sultry bass line and crisp percussion. The lyrics speak of intense passion and longing for someone, which Soricah seductively croons “Come a little closer. Feel my body move. My heart is beating faster, waiting for you. / You take me away into the stars is where I’ll stay. Waiting for you, waiting for you.”
“Back to Him” is an interesting song, and a perfect example of how Soricah skillfully blends a mix of cultural elements into her music. The song has a delightful, exotic-sounding Latin or gypsy folk melody. The colorful and spirited acoustic and electric guitars are fantastic, and I love Daniel’s distinctive bass line and assertive drumbeats. The lyrics are also interesting, spoken to a lover – either a man or woman – who appears to be confused and conflicted about their sexuality: “You change your faces every day. One minute you’re in love, then you’re running away. Back to him.”
On the title track “Let the Fire Burn Free“, Gary’s vibrant cello takes a starring role, giving the song a lush classical feel, though the lively guitars, bass and drums keep it in folk-rock territory. The song seems to be about freeing oneself from the judgments of others that diminish your own sense of self-worth: “How could you blame yourself, when it was good it was the best. And how could you be such a mess, when you tried to be honest? And how could you cause so much stress, with the family there’s no contest.”
“Juliette” is a lovely song of affirmation and self-worth, with lyrics assuring a woman that she doesn’t need a man to make her whole: “And Juliette, you don’t need no Romeo. You’d be better off alone.” The beautiful tinkling piano keys and soaring cello are the musical highlights here, and Soricah’s warm vocals are sublime as always.
Let the Fire Burn Free is a wonderful little EP with four excellent tracks, each having a distinctively different sound. Through a rich mix of stylistic elements and lush instrumentation, Soricah and her fellow musicians have crafted a highly satisfying work.
Art Block is an alternative folk singer-songwriter and multi-instrumentalist from East London, England. He’s been making beautiful music for several years, beginning with his 2015 debut L.A.-inspired single “Los Feliz”. He’s released multiple singles and EPs in the years since, most recently his Pete Maher-produced Acoustic Sessions earlier this year. Today he drops his latest single “The Basement“, a haunting track I’ve chosen as my New Song of the Week. The song was written and performed by Art Block and produced by Ian Barter (Amy Winehouse, Izzy Bizu, Paloma Faith).
The song opens with a softly strummed guitar accompanying Art Block’s tender vocals that are just above a whisper as he croons “When the ocean opens up light, I don’t see the fire. Tell me what I know. Bright light in the sunlight breaks away my fear. What I see is you.” The music then expands with lush atmospheric synths and gentle percussion, his vocals becoming more earnest and heartfelt as he pleads for help and comfort to ease his heartbreak, the ‘basement’ symbolizing how far down he’s fallen emotionally: “Someone left my heart. Someone left my heart in the basement. Come on take it out. Come on take it out of the basement.”
The music continues to build as the song progresses, Art Block’s captivating vocals growing more impassioned, before calming back down in the bridge as he sings with a rather sad sense of resignation: “Tell me what you see when you find a little glow in your mind. Tell me what you see. Oh, I’m not the same man I’m supposed to be.” It’s a beautiful, emotionally moving song.
It’s hard to believe that nearly two years have passed since I featured British singer/songwriter, multi-instrumentalist and producer Philip Morgan Lewis on this blog in November 2017, when I reviewed his brilliant, meticulously-crafted album Grief Harbour. The London East Ender melds alternative rock, blues, garage rock and folk influences to create his exciting, bluesy rock sound that complements his unique, raspy vocal style. Following up on Grief Harbour, he released a fun album House Works that featured eight house/EDM tracks. Now Philip is back with a bold video for his new single “Blowtorched Dreams“, which I’m honored to premier today. The single will be officially released on the 28th of October as a digital download and 7-inch vinyl.
Philip wrote the lyrics and music, performed all the instruments and sang vocals on the track, as well as produced the song, which is being released via label TX2 Records. Backing vocals were sung by Vick E and his daughter Little A. For the recording of the track, Philip built a one-stringed instrument to play all the twangy slides, adding a rather dark country-folk vibe to his bluesy guitars and bass, all of which sound so damn good. He’s a remarkable musician and vocalist who manages to wring out every last drop of emotion with his deft, passionate guitar-playing and distinctive, raspy singing voice. When he sings of his pain, you believe every word, and the deep, almost tortured guitar work only serves to intensify those moods. It’s a brilliant track.
The dark lyrics speak to a sense of despair and hopelessness, of a life gone down the tubes as a result of having lived a self-destructive existence. Or, could it be the bitter realization of having expected too much from a cold, cruel city that eats up and discards you?
I wander night and day Sidestepping all the way No brighter light is gonna come Is gonna come for me baby Trapped in an altered state With somebody else’s fate No kingdom come no kingdom come The road is done for me baby
When the chips finally fall on the ground And the sod is just you hangin’ round You know what’s it all about
Blowtorched dreams Leaving blood on the pavement still Blowtorched dreams Leaving lives in the gutter still
I step into the dark Draw from a crooked stack The light is gone the light is gone The light is gone and it ain’t coming back No one but me to blame I’d do it all the same The time has come the time has come The time has come and I don’t feel no shame
The fascinating video was directed, produced and edited by Philip and Vicky Crawley, and features black and white footage shot in and around Los Angeles, juxtaposed with scenes of Philip sitting in a darkened room singing the song. The video starts off with scenes of arriving by plane at LAX, followed by beautiful images of the sun-drenched city, evoking a sense of promise (we’re even shown a billboard with images spelling out ‘I love LA’). Suddenly, there’s a flash of light and a spacey synth chord, at which point the images become distorted with a kind of static effect that Philip refers to as “singularity distortion”, conveying a sense of tension and discord. Eventually, the scenes transition to the darkness of night, with images of raging wildfires and rather disturbing views of a long, dark tunnel leading down into the bowels of an old building, suggesting that the dreams have gone up in flames.
I recently learned about Cold Weather Company when they followed me on Twitter and shared their latest single “Way Up“, and I was instantly enchanted with their music. Since then, I’ve been binge listening to their substantial back catalog (they’ve released three albums over the past four years). Based in New Brunswick, New Jersey, the alternative folk band formed in 2013, and consists of Brian Curry, Steve Shimchick and Jeff Petescia. All share songwriting and singing duties, with Curry and Petescia playing guitar and Shimchick on piano.
Influenced by the music of such bands as Mumford and Sons, Fleet Foxes, Dave Matthews, Chad Stokes, Tallest Man on Earth, Coldplay, Keane and The Decemberists, their richly melodic sound is both guitar and piano-driven, with all three of them singing in perfect harmony. They released their lovely debut album Somewhere New in 2015, which had a pure, acoustic sensibility that allowed the guitars and piano to really shine. A year later, they dropped A Folded Letter, another album containing 13 tracks that delivered more of their sublime acoustic guitar/piano compositions. All of the songs are beautiful, but two of the highlights are “Wide-Eyed” and “Gettysburg”. They followed up in 2017 with an all-instrumental version of A Folded Letter, then early this year they released their gorgeous third album Find Light, an ambitious work featuring 16 tracks in which they expanded upon their sound with the addition of more orchestral instrumentation. That album received widespread and very well-deserved acclaim.
In August, they released their latest single “Way Up”, and it’s a real stunner of a tune. The song opens with the tinkling of piano keys, then expands into a breathtaking soundscape of strummed guitars, gentle bass and some of the most enthralling piano I’ve heard recently. I’m not sure which band member is singing the lead vocals, but they’re positively captivating. And as always, the guys’ vocal harmonies are exquisite. I love this song.
The band states that “Way Up” “is about finding a new perspective, and seeking hope when things are looking bleak. We could all use a little bit of that sometime.” We sure can!
Soon I’ll find my peace with time and break this (Break this hold, break this hold, from sea) Cause I’m not foolish, I was made to shake this No more breathless fights adrift in missteps Oh, I’ll rise All I ever needed is the current to survive
I found my way up, I saw the ocean meeting the sky I found my way up, I saw the ocean meeting the sky
No more restless nights of drifting listless in my mind Cause all I ever needed is the current to survive I found my way up
British singer/songwriter Ellie Ford is quite possibly the only harpist in the music world to head up a band. In addition to being an accomplished harpist, the multi-talented Brighton, England- based artist also plays guitar and sings like an angel, using her voice almost like another instrument. Assisting Ellie in the creation of her uniquely innovative Alternative Folk music are Fred Hills (drums & percussion), Andrew Stuart-Buttle (violin, mandolin, bass and backing vocals), Harry Haynes (guitar and backing vocals) and Freya Bowes (clarinet and backing vocals).
Ellie first graced the airwaves in 2013 with her debut EP Show Night In, then followed up with a full album The Other Sun in 2016. Now she’s back with a lovely new album Light. Repeated., which dropped on 17 May. Featuring eight exquisite songs, the album sees Ellie further exploring themes of life, love and relationships through her poetic lyrics, unconventional melodies, richly layered instrumentals and the marvelous interplay between her glorious harp and enchanting vocals. Listening to the album is an immersive experience, and it’s easy to become enveloped by the enthralling soundscapes she and her band so skillfully weave.
The album opens with “Gold“, a captivating song in which Ellie’s shimmery harp strings take center stage, but with ample help by Freya’s clarinet, Harry’s strummed guitar, Fred’s gentle percussion, and Andrew’s violin, which gives the track a bit of a Celtic vibe. Ellie croons in her lilting vocals, “Kicking and calling and bracing for falling as I leave. But for a little gold, I could tide it over.”
Next up is “Light. Repeated.“, a bewitching tune that’s probably my favorite track on the album. The highlights for me are Fred’s hypnotic, seductive drumbeats and Freya’s jazzy clarinet, but Andrew’s bass, Harry’s guitar and that infectious rattle are all pretty terrific too. And it goes without saying that Ellie’s harp adds a magical component. Freya’s soulful clarinet takes a starring role on “Tired Eyes” with Ellie’s harp strings providing a strong counterpoint. The interplay between her fluttering vocals and Freya’s gorgeous clarinet notes is breathtaking, and the guitars, deep bass and drums are perfection.
“My Bird Won’t Sing” is a re-imagining of a song that was originally included on The Other Sun. The previous acoustic version featured only Ellie’s vocals and her strummed guitar, but for this new version she lengthens the track by one and a half minutes, and gives it the full instrumental treatment by her band, yet keeping the vibe decidedly understated. The result is an intriguing song that holds our interest with unexpected melodic shifts that almost border on progressive jazz. Ellie’s ethereal vocals are sublime as she sings the lyrics that seem to speak of the thin line between reality and escape: “My bird won’t sing. Have no idea what it means. And that’s OK, I don’t mind./My diamond ring shines like the real thing. And that’s OK, I don’t mind. Comin’ off a little blind. What are we doing? Don’t you know that’s the ruin of our kind? I’m beginning to think that I might have lost my mind.”
The beautiful songs keep on coming. Another favorite is the bittersweet “All That is Left“, which features some of the most enthralling instrumentals of any song on the album. The mix of harp, piano, guitar, violin, clarinet, drums, and what sounds possibly like dulcimer, are absolutely stunning, and so are the vocal harmonies between Ellie and the guys. The lyrics speak to a relationship that’s over: “There will come a day when you’ll return. Dirt in your hair and your clothes all torn. And I’ll be gone. And all that is left, will be left to the dogs.” As its title suggests, “A Strange Brood” is a languid, brooding song lasting nearly six and a half minutes. Its mysterious, spacey synths, tinkling piano keys, bluesy guitars, plucky harp, deep bassline and lots of crashing cymbals make for an enthralling listen.
“Woods” starts off with an Eastern European Folk vibe, thanks to the Gypsy tones of Andrew’s violin and Freya’s clarinet, accompanied by Ellie’s plucked harp strings. But with the addition of heavy electric guitars and pounding drums in the bridge, the song transitions to a more intense rock feel. Album closer “The North Wind” really showcases the incredible synergy between Ellie’s harp playing and unique vocal style, and how she so beautifully complements one with the other. Other instrumentation on the track includes guitar and Fred’s kick drum and percussion, as well as the introduction of Andrew’s violin at the end.
I’ll admit that Light. Repeated. took a couple of plays to really grow on me. Though the songs sounded lovely and interesting when first hearing them, their complexity and unusual melodic structures required more than just a casual listen for me to fully appreciate. There’s an incredible amount of nuance and depth to the music and lyrics that are revealed with each successive listen, and even after hearing some of the songs five or six times, I discovered new sounds and textures. The production and song arrangements are flawless, and I’m impressed with the skilled instrumentation by the supporting musicians who help Ellie bring her magical songs to life.