I’ve fallen head over heels in love with Polarizer, a phenomenal five-piece band from Chicago. They play a progressive style of alternative rock they call “loud, spacey epic rock” that’s earned them comparisons to bands like Muse, Rush and Jane’s Addiction. I learned about them last year through their front man and vocalist Taylor Brennan, who’s also vocalist for Chicago rock band The Million Reasons, one of my favorite bands who I’ve featured numerous times on this blog. Formed in 2011 by Brennan and his childhood friend, keyboardist Stan Tencza, along with guitarist Ian Palmer and drummer Ben Ludwig, they released their debut EP Lightscapes in 2013. Ludwig subsequently departed in 2015, and was later replaced by drummer John Schiller, as well as bassist Chris Shen, who complete the current lineup. Polarizer released their superb full-length album The Fall and the Swell in 2016, after which they stayed fairly quiet over the next few years.
They returned to the studio in late 2019 to begin recording a new album, and in August 2020 released a single “One for One”, their first new music in four years. On February 14th, they dropped their latest single “Metronome“, a powerful and stunning feast for the ears that I loved at first listen. The song is magnificent, and though it lasts only four minutes and 22 seconds, it feels and sounds epic in scope, in confirmation of Polarizer’s own self-assessment of their music. Every single aspect of the track – its elaborate melody and dynamic arrangement, Ian’s killer guitar work, Stan’s intricate keyboards, John’s muscular drums, Chris’s incredible bass line (played on what appears to be a five-string bass), and Taylor’s gorgeous vocals – is perfection from start to finish. I love how the music erupts into a monumental crescendo, bolstered by Taylor’s jaw-dropping impassioned vocals that almost sound like another instrument in themselves. It’s truly spectacular!
The lyrics call out the divisiveness and self-destructive ways of many of our leaders, urging newer generations to rise up against those forces to build a better future: “The old way is divisive. It keeps us small. Make way for the new kids. They’re coming up. / The future belongs to those in love from the underground.” Then there’s the amazing video, which shows the guys at the top of their game, performing the song in a Chicago studio. I often prefer seeing artists and bands performing their songs on videos, rather than a scripted, acted-out storyline, unless it’s done really well. Their performance, even done socially distanced from each other, is electrifying.
I can confidently state that “Metronome” is one the best new songs I’ve heard in a very long while, and I’m thrilled to feature this brilliant band and their song on my blog. They deserve more acclaim and many more followers, so please check out their music and give them a follow on social media.
One of my favorite new* acts to emerge in 2020 was British rock band Amongst Liars. I placed an asterisk by their name because, while the band was technically new, each of its members are all seasoned musicians who came together after the breakup of their previous bands Saint Apache and Katalina Kicks. Thus, they had the advantage of starting out with a built-in following that’s grown exponentially since their rebirth. In little more than a year, Amongst Liars have written and recorded 18 songs, including their debut album to be released later this year.
They released four of those songs as singles in 2020, beginning in February with their spectacular debut “Over and Over”, followed by “Wolf Machine”, “Burn the Vision”, and “Mind”. I wrote about three of those singles on this blog, which you can read by clicking on the related links at the end of this post. I like their music so much that two of their singles – “Over and Over” and “Burn the Vision” – ended up on my Top 100 Songs of 2020 list. Now the guys are back with their fifth single “Black Days“, delivering more of the fiercely aggressive hard rock and in-your-face lyrics we’ve come to expect from them. The track was produced, mixed & mastered by David Radahd-Jones at Red City Recordings in Manchester.
Based in the Brighton/Eastbourne area, Amongst Liars consists of Ian George (lead vocals, guitar), Leo Burdett (guitar, backing vocals), Ross Towner (bass, backing vocals) and Adam Oarton (drums). Not only are they all highly accomplished and talented musicians, they’re nice guys too. And while they don’t consider themselves a political band per se, they haven’t shied away from expressing their opinions and anxieties about what’s been happening in the world. On “Burn the Vision” for example, the band took aim at political leaders who’ve sought to profit from the misfortune of others by distorting the media with fake news to spread their own narratives and lies. With “Black Days”, the band launches a full frontal assault on the last 10 years of Tory rule in the UK, calling out austerity measures, questionable decision making, incompetence, lies and self-serving political bias.
The band further elaborates: ”The last 10 years have seen some really despicable and self-serving politics in the U.K, which have caused huge division across the country, with hardship, suffering and ultimately many deaths amongst some of the most vulnerable people in society. Even in the last year there has been a huge contradiction in the approach to dealing with Covid and a large number of people still remain excluded from help and support. It just seems to be one thing after another, with nepotism, cronyism, greed and a ‘one rule for them, another for us’ mentality – and no accountability for government actions at all. This song reflects our frustration, and we had to release ‘Black Days’ as a commentary on everything happening and the desperation that a lot of people have felt during the last 10 years. The black days and the fires we sing about are both caused and fueled by the very people voted in to supposedly protect and develop a healthy society.“
Amongst Liars always push their respective instruments to the breaking point in the creation of their signature explosive wall of sound, and they don’t disappoint on “Black Days”. The song opens ominously, with sounds of a buzzing alarm announcing an unfolding crisis, then Ian’s fearsome vocals enter as he wails at the top of his lungs “Black days are here now! Start the fire, burn it out!” From there, the guys deliver an unrelenting onslaught of shredded guitars and thunderous rhythms, laying waste to the airwaves like a rampaging sonic beast. They fully channel the strong sense of anger and frustration expressed in their searing lyrics into their music with a ferocity that’s positively mind-blowing in its intensity and raw power. As I’ve noted on my reviews of their previous songs, Ian’s a literal beast on vocals as he unleashes a full-throated denunciation of our failed and duplicitous leaders. It all makes for an electrifying, cathartic and highly satisfying listening experience.
The provocative and sometimes disturbing video shows footage of leaders like Theresa May, Boris Johnson and Donald Trump, juxtaposed with scenes of political protests and violence, patients dying of Covid, and vintage footage of nuclear explosions. It was produced, directed and edited by Josh R Lewis, with assistant editing by Robert Ruardy.
Like for all their singles, the terrific surreal artwork for “Black Days” was created by the artist Pierre Engelbrecht.
There continues to be such a tremendous amount of new music being released that I simply cannot keep up with it all! Consequently, I’m going to have to do more of these group posts in order to feature more artists and songs. Here are three great new singles by artists or bands located on the west coast of North America, (in alphabetical order) Bealby Point, Matt Jaffe and Yard of Blondes.
“I’m So Bummed Out Right Now” by Bealby Point
Named after their favorite beachside vacation spot, Canadian alt-rock band Bealby Point had a rather serendipitous beginning. Comprised of four childhood friends who grew up in North Vancouver – Jack Armstrong (lead vocals), Jordan Studer (bass), Clayton Dewar (lead guitar) and Zack Yeager (drums) – Jack and Jordan were already a two-piece band when, one day in 2018, they stumbled upon music coming from the house of their old friends Clayton and Zack, who were also playing as a two-piece. The four reconnected, quickly realizing they complemented each other’s instruments and music styles, and Bealby Point was born.
On February 17th, they released their debut single “I’m So Bummed Out Right Now“. Recorded with veteran producer Matt Di Pomponio, the single will be included on their forthcoming EP, due out later this year. The band states the song was inspired by missing out on opportunities to hang out, have fun, and create memories with your best friends because of being stuck at home during the recurring lockdowns. The upbeat melody, buoyant guitars and snappy drums create a fun, breezy vibe that contrasts with the melancholy lyrics about feeling lonely and isolated, beautifully sung by Jack in vocals that go from a vulnerable croon to plaintive falsetto: “I’m so bummed out right now. Don’t leave me behind. Don’t leave me inside. Watch my friends through a screen. Stuck in a box, alone without me. Having fun without me. Making me feel, oh so lonely.” It’s a fine debut from Bealby Point, and I look forward to hearing more from these guys.
Matt Jaffe is a talented, hard-working and silky-voiced young singer-songwriter based in San Francisco who’s been making music since his early teens. While playing at an open mic one evening when he was only 16, he was discovered by Jerry Harrison of the band Talking Heads, who went on to help him produce his first album. In the years since, he’s written scores of songs, released three more albums, and has performed as an opening act for Blues Traveler and Wilco, as well as co-written songs with Tom Higgenson of the Plain White T’s. Matt has also served as musical director for experimental theater, collaborated with poets on genre-bending spoken word, and curated residencies among fellow songwriters. And if that’s not enough, he also volunteers with Bread & Roses, a non-profit that brings live music to facilities such as prisons, rehab centers, and foster homes. Having suffered from seizures himself since 2015, Matt also uses his music to unite local and national epilepsy communities.
Matt released his fourth album Undertoad on February 12th, and I especially like one of its singles “Time Traveler“. It’s a melodic and beautiful track, with exuberant jangly guitars and lush sweeping synths that build to a dramatic and glorious wall of sound. I’m a fan of male voices in the higher ranges, and Matt’s vocals are stunning as he fervently sings the lyrics that speak to regrets for past mistakes and time wasted: “I’m the time traveler, and what I were to flip the hourglass. Watch promise of the future turn to phantoms of the past. I wasted all my moments dear, traversing centuries. Cause it not time, but distances, dividing you and me.” “Time Traveler” is a magnificent track, and I think it’s one of Matt’s finest.
From humble beginnings in France as a folk pop duo making mostly acoustic music, Yard of Blondes have come a long way in the years since relocating to Los Angeles in 2014. Now a four-piece, they’ve made a splash on the L.A. music scene with their exciting and edgy style of alternative rock. The band is comprised of French-born singer/songwriter and guitarist/vocalist Vincent Walter Jacob and bassist/vocalist Fanny Hulard, Turkish-born guitarist Burak Yerebakan, and California native Forrest Mitchell on drums and backing vocals. Yard of Blondes are no stranger to this blog, as I’ve previously featured them three times, most recently last October when I reviewed their last single “Do You Need More?” On February 19th, they released “Hummingbird“, the fourth and final single from their forthcoming debut album Feed the Moon, due out later this year. The single and album were produced by Billy Graziadei, mixed by Michael Patterson, and mastered by Maor Applebaum.
Never shy to take on social and political issues, the band actually wrote “Hummingbird” a few years ago after the protests in Ferguson, Missouri that erupted after the killing of Michael Brown, as well as in the wake of yet another school mass shooting. They explain “Being in the U.S. for only a few years at this time, we came to realize America was dealing with a lot of things that were unresolved for decades and centuries. The growing appeal for conspiracies and alternative narratives also [played] a great part in our writing this song. Ironically, in the music video, we tried to picture an invisible threat coming at people, something like a virus, destroying our community. Now that we are in an actual pandemic the song takes on another meaning.“
The song is a rampaging beast, with a barrage of jagged, gnarly guitars, driving bass and pummeling drums, befitting the dark and violent subject matter. Vincent and Fanny’s commanding vocals start off with an angry resignation as they lament “It’s happening again. It’s not a crime to shoot a humming hovering around. It’s happening again in my town. They’re killing hummingbirds. Soaked in blood. They soon grow more impassioned as they furiously scream their refusal to accept that the killings were provoked: “I don’t believe you when you said they attacked you! I don’t believe you now!” It all makes for a fearsome and compelling track, both musically and lyrically, and I think “Hummingbird” is their best song yet.
Liam Sullivan is an accomplished musician based in Leeds, England who’s been writing and performing outstanding music for well over a decade, both as a member of various bands and as a solo artist. He’s a fine songwriter and guitarist, with a vibrant and warm singing voice, and his music is a pleasing blend of folk and alternative rock. I first featured him on this blog last May when I reviewed his lovely folk single “When This is Over”. Written and recorded during the COVID-19 quarantine, the poignant song is a hopeful look ahead toward happier times. Now Liam is back with his latest single “Be Kind“, a hauntingly beautiful and deeply moving song I’m happy to make my New Song of the Week.
Liam wrote “Be Kind” back in 2016 while travelling around Europe, but his lyrics resonate now more than ever as he advocates for kindness and acceptance at a time when many people are feeling anxious, fearful or angry. He states the song “is about getting out of the darkness of the city and finding solace in nature. Using this as a metaphor, it also looks at taking responsibility in relationships and standing up with kindness and not always pointing the finger.”
The opening lyrics speak of someone with a closed mind who doesn’t seem to want to deal with problems: “Meet me in some corner of the dark and distant city. Away from all the handsome men, away from all the pretty. I promise I will listen if you promise not to talk. Don’t talk of indecision and don’t talk of all these thoughts. / I promised my belligerence, you promised to be calm. Just be calm.” Eventually, through the patience and kindness of another, he softens his resolve and opens up to other points of view and toward a common understanding: “Meet me where the trees begin to disinfect the sky. I promised I will live and learn. You promised to be kind. Just be kind.”
Musically, “Be Kind” has a darker, more powerful sound than most of his previous songs, yet still features the stirring melodies, beautiful layered guitars and emotion-packed vocals we’ve come to love in his music. The song starts off as a gentle folk ballad with strummed acoustic and electric guitars and subtle percussion, then gradually builds to a dramatic and stunning anthem, highlighted by bold, fuzz-coated jangly guitars, throbbing bass and exuberant drums. His intricate guitar work on this song is some of his best, and his commanding vocals have a vulnerable fervency that’s really touching. It’s a magnificent song.
Dunes is a British stoner rock band based in Newcastle upon Tyne. Formed in late 2016, the trio consists of John Davies (guitar, vocals), Ade Huggins (bass, vocals) and Nikky Watson (drums). Influenced by some of their favorite bands like Queens of the Stone Age, Torche, Death From Above 1979 and Clutch, they play an aggressive style of what they call “desert-riff-blues-tinted-disco-tinged-rock.” During their first 18 months as a band, they recorded and released two 5-track EPs, followed by their wonderfully-titled debut album Take Me to the Nasties, which they released in September 2019 (you can read my review here). Now the guys are back with their first new single in 16 months, “This Must Be the Plague“. Released through Sapien Records Ltd., it’s four minutes of hard-driving stoner rock goodness, which I’ve chosen as my New Song of the Week.
The song blasts through the gate with an explosive barrage of grungy riffs slicing through the airwaves like a rogue buzzsaw, driven by a powerful chugging bass line and thunderous drums. The guys are all strong musicians who play as a tight unit, and despite the time gap between the release of their album and this single, not to mention the fact they’ve not been able to perform live, it’s clear they’ve not lost their groove one bit. Davies’ nimble guitar work is superb, and Huggins and Watson do a masterful job keeping the pulse-pounding rhythms at full throttle.
About the song’s meaning, I guessed it to be a commentary about how the Covid pandemic is our modern version of The Plague, with the line “We’re the disease, and that’s the cure” suggesting that people are both the cause and the solution. When I asked Davies about it, he said I was basically correct, but elaborated: “The track was originally written early 2020 pre-pandemic world. It’s a reflection on the feeling that we’re staring down the complete downfall of society with people becoming more and more polarised and divided day by day. It didn’t feel like there was a way back. Then a pandemic happened. We’re not hopeful, but we’ll at least make some noise and have a drink while the ship goes down.”
It appears the pandemic made “This Must Be the Plague” all the more relevant and timely. And though it may not be a solution, I’m certainly always down for some good music accompanied by an adult beverage!
Bundy is a four-piece band from Long Beach, California who play a unique, eclectic and innovative style of post-punk rock with progressive overtones. I had the pleasure of seeing one of their shows a few years ago, and the high energy of their music translates well into their exciting on-stage performances. The band consists of front man Nani Serna (Lead Vocals, Guitar), Johnny Lim (Guitar, Keys), Mike Meza (Drums) and JB Vasquez (Bass). In January 2018, they released their magnificent debut album Bastard Performer, which in my review I described as “a kaleidoscopic soundscape of breathtaking melodies, complex musical structures and deeply meaningful lyrics that elicit strong emotional responses for the listener.”
From their beginnings in 2016, they’ve always shown a willingness to venture outside their comfort zone in the creation of music that pushes boundaries and grabs our attention in positive ways that both entertain and inform us. Since Bastard Performer, they’ve released a number of excellent singles, the latest of which is “Crush“, featuring the wizardry of Subtle Smiles, an electronic music duo consisting of producer Brian Frederick and singer-songwriter Marley Rae, who are also based in Long Beach. They make some terrific music too, so do check them out using one of the links I’ve provided at the end of this post.
Bundy recorded “Crush” almost two years ago, but felt like something was missing from the song, that it just wasn’t ready for release. They eventually turned to Subtle Smiles producer Frederick for help, who worked his magic to give the song a more epic feel befitting its powerful lyrics addressing self destruction and growth. Serna confides: “I wrote ‘Crush’ at a time when I was soaking in the chaotic. I had lived with relationship trauma that haunted me for 10 years. It sent me down a spiral of triggers. I wasn’t the person I wanted to be. Now we’re all better but the pain will keep resurfacing. I’m now living my best life, with love and joy. I have people who legitimately understand my issues. and I hope that if you are feeling down and crappy about yourself, let me tell you: with open hearts, REALLY looking at yourself, and taking steps to improve – things will get better and you can fix the cycle.“
Musically, Bundy and Subtle Smiles deliver a thrilling sonic eargasm bathed in cinematic psychedelic grooves. I love the dominant pulsating bass line, eerie synths, roiling guitars and thunderous percussion, all working together brilliantly to create a dark, menacing vibe. The intricate guitar riff in the bridge, accompanied by powerful galloping drumbeats, further heightens the tension. Serna has a beautiful voice that skillfully expresses strong emotions as he laments “Sooner or later you’ll find out all about me and how I was set off on a path to my own self destruction. Now we’re all better but the pain it keeps resurfacing when moments are remembered, the feelings are triggered. Another love to crush.”
Los Angeles has long been a magnet for young musicians wanting to establish themselves as artists, and I’ve featured many on this blog. One young and promising artist who caught my attention last summer was Ania Thomas, a massively-talented guitarist, songwriter and singer who identifies herself simply as Ania. Born and raised in Poland, she developed a love for music at a young age. She emigrated to America as a teen, first to Chicago, where she studied music at the School of Rock, then to Los Angeles, where she’s now based, to study music at USC and the Musicians Institute in Hollywood. Inspired by such artists as Trent Reznor of Nine Inch Nails, Blondie, St. Vincent, Tool, Rage Against the Machine, L7, Nirvana, Soundgarden and Alice in Chains, her aggressive music style is characterized by modern synth textures, killer guitar solos and bewitching vocals.
In 2019, she released two terrific hard-rocking singles “Run Away” and “Doors Close”, then followed in May 2020 with her third single “Poison“ (you can read my review here). After that, she collaborated on two singles, with Noir Production on “Miyako Sushi” and Marcio Hendrik on “Hollywood Moon”. In December she dropped her fourth solo single “Tuesdays“, for which she’s just released an accompanying video on January 22nd. Ania wrote the music and lyrics, arranged the song, played guitar and sang vocals. Bass was played by Philippe Mark, keyboards by Vito Vincenzo Sicurella, strings by Barry Fowler and drums by Seth. “Tuesdays”, along with her three previous solo singles, will be included on her forthcoming debut EP Ania in Chains, due out later this year
Ania was inspired to write “Tuesdays” by the many soul-crushing challenges we all faced in 2020 – the COVID-19 pandemic and resulting economic fallout, the deep and bitter political divide, and so on. “The song is really about being lost and finding yourself, I think. About finding your way. When the idea for it came to me, I was just walking around the mountains in LA and was trying to find myself again in nature. We’re all kind of lost right now, I think. We’re all there or we’ve all been there, all struggling with different things. But we’ll make it through.”
She delivers her hopeful message with a barrage of intricate fuzz-coated riffs, punctuated by some serious shredding and grinding distortion that create a strong sense of foreboding. Her amazing guitar work is backed by a powerful rhythm section of driving bass and tumultuous percussion that heighten the overall sense of tension quite nicely. Her commanding vocals are both seductive and urgent as she impels us to gather our inner strength and forge ahead through the difficulties with the belief that things will get better: “Inhale, Inhale. And now times have changed. But don’t give in / You’re gonna find a way. All out! All out! I beg you know A WAY.” I think “Tuesdays” is her best single yet!
One of my favorite American indie bands is alt-rock quartet Roadkeeper, who since forming in 2018 have released a string of exceptional singles. Based in the eastern Texas city of Tyler, the band consists of songwriter/producer John Hetherington (vocals, synths, rhythm guitar), Trevor Tull (lead guitar), Nick Cogdill (drums) and Daniel Griffith (bass), all long-time friends. Roadkeeper is completely independent and self-produced, doing their recording, producing and mixing in John’s studio, and releasing their songs on their own label Equal Temperament. Blending dreamy shoegaze and dramatic psychedelic rock with complex melodic structures, they craft lush soundscapes that are a perfect backdrop for their intelligent, socially conscious, sometimes political, and always topically relevant lyrics that give us something to think about.
I’ve featured them three times on this blog over the past two years (you can read my reviews under ‘Related’ at the bottom of this article). I love all their songs, but two that stand out for me personally are “Old Man’s War”, a beautiful track about anxiety and worry over things, both real and imagined, and “Downs”, stunning song about impostor syndrome and not finding one’s place within the cultural and sociopolitical milieu. “Downs” went to #1 on my Weekly Top 30, and ranked #15 on my Top 100 Songs of 2020 list. Now they’re back with their 7th single “Enemy Mine“, which I’ve chosen as my New Song of the Week. While still featuring their dream rock elements we’ve come to love from Roadkeeper, the song is darker and more sonically intense than their previous singles, befitting the politically-charged lyrics.
The band doesn’t shy away from making their progressive-leaning views known, and states that the song “is about the far right radicalization of vulnerable young people in the U.S. by white nationalist professional pundits who are fed viewers and readers by algorithms on social media and YouTube. There is an organized effort to convert impressionable young people into radical white supremacists and encourage them to undertake radical action against marginalized people and progressive political movements. ‘Enemy Mine’ is about the dissonance between the perceived realities of radical white supremacists and that of everyone else.”
The track opens with ominous cinematic synths that build for nearly a minute, then pounding drumbeats ensue along with wailing guitars, only to calm back down as John begins to sings the verses in his beautiful falsetto. John and Trevor’s blend of jangly and psychedelic guitars are enveloped by shimmery synths, while Daniel and Nick drive the rhythm forward with their thumping bass line and aggressive drums. Everything erupts into an electrifying crescendo of wailing guitars, screaming synths and explosive percussion in the bridge, continuing through to the end of the track for a powerful climax to a gorgeous rock song.
Even words we never say
Turn their heads from soft to something strange
Waiting on some kids to sign on
Twisting up their roots to point their sharp to ZionTheir undeveloped brain’s distastes
For things they’ve never seen are set in place
It’s such a shame
Bitter little loners
Look to those who look like them to find themselves
Born without a purpose
Led to think they’re worthless until now
Feed their doubt Give them some kind of god to worship
Weapons always find their way to
Enemies’ front lines
Spreading lies, blacking flags
Even if they hesitate there’s
No way that they’re ever coming back
Safe behind the soft glow waiting
Self appointed sergeants have their backs
Faceless basement
Terrorist replacements
Holy war, hiding places
The worst of them will steal our words
The dramatic video, produced by Robert Woodward, shows digitally-altered footage of recent political protests juxtaposed with old footage of 50’s films, atomic blasts, space exploration and scenes of the band performing the song.
Ever since first hearing their stunning and critically-acclaimed debut EP Who’s Gonna Save Us Now in early 2017, I’ve been a huge fan of Sydney, Australia-based dream rock band Crystal Cities. With a lush, melodic sound they describe as “like Death Cab For Cutie had a War On Drugs with The Beatles” – all bands I love – it’s no wonder I would love their beautiful music too. The supremely talented and strikingly handsome trio consists of Geoff Rana (vocals, guitars, keyboard), Jared King (bass, backing vocals) and Daniel Conte (drums, percussion). I’ve previously featured them three times on this blog, and ranked their gorgeous single “Under the Cold Light of the Moon” at #10 on my Top 100 Songs of 2019. Their outstanding debut album of the same name, recorded at the legendary Abbey Road Studios, also received widespread acclaim.
It’s an understatement that 2020 presented significant challenges to musicians around the world, and like many artists and bands, Crystal Cities have had to make the most of a difficult situation by being creative in terms of how they record and release new music. Accordingly, they made the bold decision to self-produce, record and engineer their second album Hold Me Close Hold Me Tight, as well as release it as ten individual singles, one at a time. Bassist Jared King explains their thinking behind this move: “I think content and momentum are two very important things to be aware of in the streaming-age. Releasing multiple songs all at once is wasted potential in my eyes. We’ve worked so hard on each and every track on this album so why not let each one have it’s time in the spotlight rather than getting lost in the noise of an entire album release all at once.”
Last August, they released their first single “Don’t Speak Too Soon” (you can read my review here), and followed up over the next few months with “Got My Back to the Wind” and “Shadow of a Doubt”. On January 1st, they dropped the fourth single “Jenny, How Were We to Know?“, and it’s another beautiful gem in an unbroken string of superb singles. The song has a somewhat dreamier vibe than the previous three singles, more in the vein of their earlier songs. But as to be expected, the beautiful melody, swirling guitar work, subtle bass and thumping drums are flawless, and I love Geoff Rana’s warm, pleasing vocals.
The song seems to speak about desire and the uncertainties of love, but the lyrics are intentionally ambiguous. Rana elaborates: “The meaning behind this song is something I’ve chosen to remain a mystery. Being a music artist in 2021, we’re encouraged to share every little detail about our lives with our audience. While this has opened up many opportunities for artists to have unique and personal interactions with fans – something which we encourage and take full advantage of in Crystal Cities – there are some things that perhaps should be kept to ourselves in order to set boundaries and protect and respect the privacy of other people… In this instance, I want the context of this song to be left up to the listener’s own interpretation.”
At the end of a week that saw one of the darkest days in recent American history, Two Feet goes and drops a fantastic new single “Fire“, bringing some badly-needed light and joy into the lives of his many fans. I think it’s one of his best songs yet – which is saying a lot – and I’ve chosen it as my Song of the Week.
Beginning with the release of his breakout single “Go Fuck Yourself” in 2016, the Brooklyn, New York-based singer-songwriter and guitarist has been on a creative roll, releasing several singles, including his #1 hit “I Feel Like I’m Drowning” in 2018, and two outstanding albums, the most of recent of which was last year’s Pink (you can read my review here). He’s become my favorite artist, and I love every single piece of music he’s released. Since that album’s release, Two Feet has dropped three singles – “Think I’m Crazy”, which is currently enjoying a long run on my Weekly Top 30, “Time Fades Away”, and now “Fire”, which dropped today, January 8th.
I’ve stated previously that many of his songs are slow burns, and that’s certainly the case with “Fire”. The song has a sensuous and smoldering deep bass groove that sounds like a slowed-down version of “Every Breath You Take” by The Police – one of my all-time favorite songs. Two Feet and his trusted keyboardist/programmer Geoffrey Hufford (aka Huff) layer bluesy guitars and gorgeous sultry synths to create an almost cinematic soundscape that soars to a scorching crescendo befitting the song’s title. Two Feet sings in a much higher octave here than usual, with an almost breathy, yet impassioned falsetto as he croons to a lover of his intense ardor: “Darling, You call my name / I like the games you play / Charming, My love for you / Burning, I feel it too.” I love it!
ECLECTIC MUSIC LOVER 