Tag: Alternative Rock

dwi – Album Review: “Zoo Life”

On By EclecticMusicLoverIn Reviews18 Comments

Many singer-songwriters tend to write from their own personal experiences, and oftentimes, some of the best and most compelling songs are born of pain and trauma. Such is the case with Canadian artist dwi and his new album Zoo Life. About the album, he states “This is the first time in my life where the story of the songs came first before the music. Some of the songs break my heart, and I’m not just poetically saying that. I went to very uncomfortable, dark and painful places to find these themes. And now a year later, I realize that I’ve learned so much about myself and why I’ve done the things I have, and why I have prevented myself from healing. You can survive trauma. But you always have to live with it. So you might as well turn it into art.”

Based in the suburbs of Vancouver, British Columbia, dwi is the music project of singer-songwriter and instrumentalist Dwight Abell, who’s also the longtime bassist for Canadian alternative/power pop band The Zolas. He’s an immensely creative, talented and imaginative guy, with a totally original sound and an endearingly quirky vocal style that make his music so uniquely distinctive. I think he’s one of the brightest stars today in the Canadian music scene, or anywhere really, and I’ve grown quite fond of him.

In October 2021, dwi released his brilliant debut album Mild Fantasy Violence (which I reviewed). Written during the Covid lockdowns, the album explored feelings of disconnect from the everyday normalities of relationships and society, touching on such topics as childhood, friendships, addiction, politics and environmentalism. One of the album’s tracks, “Good Friend”, spent four months on my Weekly Top 30 chart, going all the way to #1 and ending up ranking #16 on my Top 100 Best Songs of 2022 list. He followed in August 2022 with a marvelous single “Party4One“, accompanied by a delightfully zany video. That song also went to #1 on my Top 30 chart, and ranks #24 on my Top 100 Best Songs of 2022.

Since then, he’s dropped a number of singles, several of which, including “Party4One”, are featured on Zoo Life, which dropped today. Many of the songs address Dwight’s childhood experiences in foster care, which he equates with being “taken away to a zoo”. He explains “I actually did research about my time in foster care for this album and requested all the documentation of it (900 pages) from the ministry. I discovered that I was abused in one of the homes I was in, and there were photos taken of me. That’s where the album cover came from. I’ve also realized that I’ll probably go back to the old way of conceptualizing songs, because this process emotionally wiped me out. But I’m glad I touched on it as much as I did.”

For the recording of Zoo Life, dwi sang all vocals and played all instruments, except for drums, which were played by his childhood friend and fellow Zolas band member Cody Hiles. The album was produced by Ryan Worsley, and released via the label Light Organ Records.

The album opens with the title track “Zoo Life“, on which dwi addresses the lingering trauma from his foster care experiences: “Standing on the edge of my life. On a perfect Friday night. I don’t know if I can take this. Zoo life, zoo life I’m breathin‘”. Fueled by an emphatic beat overlain with wobbly psychedelic synths, a deep bass groove and stabbing guitar notes, the song has a melodic but rather ominous vibe, ending with a lovely instrumental fade-out. The song’s video, showing scenes of dwi lying backwards on a stairway in front of a church and singing on what appears to be a city street, conveys a strong claustrophobic feel.

“Get Me” opens with a blast of drum fills and bass, then settles down somewhat in the melancholy verses, Cody Hiles’ aggressive drums still dominant throughout. I really like the melodic piano-driven interlude in the bridge before everything ramps back up to a dramatic crescendo as dwi remembers past traumas he’s long tried to suppress: “Pool of blood on the bathroom floor. Wait, who is that on the bathroom floor? From the other side, wake up. On the other hand, shake it off. Don’t look at that void, it’ll crush you.”

The wonderfully wacky “Party4One“ is the one moment of levity on the album. In dwi’s own words, the song is “about falling in love with yourself during an intense state of cabin fever. Love yourself, make out with yourself, and for the love of gawd, scare yourself. The weirdos are in charge now!” It’s a riotous blast from start to finish, and dwi’s quirky vocals are relentlessly endearing as he sings “Hey reflection, I really like you. Don’t want your friends. Hey man, I think it’s pretty funny given who I am. Nothing can stop me, I’m living in a single player game. You can’t stop me, it’s a party for one.“ The hilarious video shows dwi dressed in goth-punk black leather and a plaid skirt, with his hair styled to feature two devil-like horns. He enters an old house and proceeds to indulge in all sorts of childish antics, including playing video games with a giant stuffed teddy bear, overdosing on bowlfuls of Froot Loops, covering his face with lipstick in front of a bathroom mirror, and engaging in S&M pretend with the aforementioned teddy bear.

On the darkly beautiful and cinematic “Fear Of Forever” – which would make a terrific James Bond movie theme – dwi passionately laments of his lingering bitterness and feelings of abandonment to those who hurt him: “Don’t ever trust a god who leaves you all alone / And don’t ever send a boy to do a man’s job / I’ve got the fear of forever“. The song includes sweet vocals from what I’m guessing are one of his little son’s. And on “Phony“, with its glorious Britpop-inspired soundscapes and soaring choruses, he sings the poignant lyrics that seem to be about how we try to hide our pain and aching need for love and acceptance by being other than who we really are: “I never wanted purpose. I only wanted you. And all good things must end here.”

One of my favorite songs on Zoo Life is “Overrated“, as I can’t get enough of its powerful, foot-stomping groove, gnarly bass, spacey synths and dwi’s wonderfully-crazed vocals as he ticks off a number of popular things in culture (VR, licorice, Top Gun, 69, as well as passion, anger and temper) he feels are overrated. A lifelong lover of video games, dwi’s shown as a kind of gaming character in the surreal video.

“Marker“, recorded with his band The Zolas, has a bit of a Psychedelic Furs feel to my ears. The lyrics seem to speak of coping mechanisms children of trauma engage in to survive: “I imagine you as a child tempted to steal a marker. You’ll get caught red-handed when you get creative.” Here’s a live performance of the song by dwi and The Zolas:

“Uncle Uncle” touches on dwi’s ongoing PTSD from witnessing his young son getting hit by a car (thankfully he survived and is doing well): “Take me to a shrink and change my medication / Hypnotize me till I turn blue / I hear a car crash in my mind, kids crying all the time / There is a demon in my mind, throwing parties all the time. I say ‘I’m cool, I’m cool’. But there’s one problem, it never quits.” In addition to the great lyrics, I love the song’s driving beat and that wonderful jangly guitar riff between the verses.

“Day By Day” is a jaunty punkish tune with more of those terrific head-bopping rhythms, psychedelic synths and exuberant jangly guitars. As the title suggests, the lyrics speak to the ongoing work required to keep one’s sanity and deal with adult problems on a daily basis. “Where’s the spark that I had as a kid back in the day. All those dreams sure felt like they would stay. Now it seems that simple stuff ‘s getting in, in my way. Guess I’ll have to take it day by day.“

dwi taps into his inner beast on the bombastic tour de force “Hypocrite?!“, unleashing a torrent of jagged buzzsaw riffs bathed in feedback and fearsome impassioned screams, nicely accompanied by Cody’s explosive drums. The furious instrumentals gradually fade and are replaced with lovely contemplative piano keys and dwi’s haunting vocals for the final minute of the song.

The heart-wrenching and powerful album closer “Holes In My Story” deals with dwi’s coming to terms with having been abandoned by his birth parents and the abuse that followed as a foster child: “I guess I’m staying at someone else’s house again; wait out the storm. / The strangest part I don’t recall you leaving me at all./ I guess I’m putting on a brave face again. These masks are worn. I’m sitting in a cage with my family. What did we do wrong? The hardest part, I don’t recall you needing me at all. Well that was fun, and thank you for creating me, but it’s time to go. / Don’t you dare go feed those animals; they’ll never get trained. Holes in my story, holes in my story. I shine a light on it, but still feel misplaced.”

By song’s end, I’m left emotionally drained and nearly in tears, not only from the lyrical content, but also from dwi’s truly breathtaking creativity, talent and musicianship. Despite it’s dark, often disturbing subject matter, Zoo Life is a magnificent and gorgeous work nevertheless. He’s outdone himself yet again with this album, and I remain a loyal and devoted fan.

Connect with dwi:  Twitter / Instagram / Facebook

Find his music on Spotify / Apple Music / YouTube / Amazon Music

HARDWICKE CIRCUS – Album Review: “Fly the Flag”

On By EclecticMusicLoverIn Reviews21 Comments
Album artwork created by Humphrey Ocean

I’ve previously commented many times on this blog about the enormous amount of musical talent coming out of the UK, and today I have yet another shining example of this in the form of Hardwicke Circus, an insanely good five-piece from Carlisle, England. Though they’ve been around since 2015, I only learned about them last week when their PR rep reached out to me about them and their recently-released album Fly the Flag. I liked it at first listen, and as I customarily do for all artists and bands I’m writing about for the first time, I listened to as much of their back music catalog as I could get my hands on. I love all of it, and am now a committed fan! Hardwicke Circus is a brilliant band, and I strongly urge my readers to take the time to check out at least some of their music.

They’re also clever and funny, and their bio so colorful and amusing, I’m just going to quote from it rather than try and paraphrase. “Just in case you’re wondering, Hardwicke Circus is from Carlisle, and “Where the fuck is Carlisle!” greets us gig after gig. You only end up in Carlisle by accident. It’s on the boundary of England but not Scotland, on the edge of the Lake District but not the countryside: we don’t fit. This storm centre of English drunkenness is home to an arms depot and an economy reliant on biscuits & the Blues, with a business icon in Eddie Stobart whose sole purpose is to take things away from Carlisle via the city’s best known roundabout, allegedly named after this gang of travelling brothers. Carlisle does not suffer fools; we export them.

Hardwicke Circus was formed by brothers Jonny and Tommy Foster, who had a passion for making music from an early age. They developed a reputation on their street for making a racket but they were not to be deterred. Throughout their school years they surrounded themselves with the best musicians Carlisle had to offer, more than once poaching them from other school bands. When their friends began the university treadmill, Hardwicke Circus jumped in a van, hit the road and didn’t look back. They earned their stripes in Hells Angels pubs, clubs, theaters and prisons, soaking up long journeys to the rebel rousing music of Dylan, Springsteen, Philadelphia soul, Motown, the Stray Cats, The Clash and more.“

Their dynamic live shows and skillful songwriting so impressed renowned music veteran Dave Robinson, he came out of retirement to become their manager. Robinson’s professional resume is both extensive and impressive. He started out as road manager for Jimi Hendrix, also handling major tours in the U.S. for Eric Burden & The Animals, the Young Rascals and Vanilla Fudge. He then returned to London and managed Brinsley Schwarz, Graham Parker, Nick Lowe, Dave Edmunds, Ian Dury and Elvis Costello. He also built a recording studio above the legendary Hope & Anchor pub in Islington, and with Jake Riviera, started his label Stiff Records, signing such acts as The Damned, Motorhead, Elvis Costello, Nick Lowe, Tracey Ullman, the Plasmatics, Jona Lewie, Ian Dury and the Blockheads, Kirsty MacColl, The Box Tops, The Adverts, Lene Lovich, Shane MacGowan and the Pogues, Madness and more. Robinson was also installed by Chris Blackwell as president of Island Records where he oversaw the careers of U2, Robert Palmer, Steve Winwood, Grace Jones, Aswad and Frankie Goes To Hollywood. He personally compiled and marketed Bob Marley’s Legend, the biggest selling reggae album in the world. The list of his accomplishments goes on, but I’ll stop here, as this review is supposed to be about Hardwicke Circus!

The band became a six-piece early on, but now consists of five members: Jonny Foster (lead vocals, guitar), Tom Foster (drums, backing vocals), Joe Hurst (bass, backing vocals), Lewis Bewley-Taylor (keyboards) and Jack Pearce (saxophones). They released their debut single “Please Don’t Try This At Home” in 2017, then followed a month later with a four-song EP Hot Moves. After playing hundreds of gigs in pubs and parties throughout Britain and even some European countries, the band secured a coveted spot at the 2020 SXSW. We all know what happened next, and it was curtains for both SXSW and the 165 gigs they had scheduled after that festival.

Forced to regroup, Hardwicke Circus switched gears and focused their attention and energy on recording their first album. They rented a farmhouse in Yorkshire, where they wrote and recorded their debut album The Borderland, an outstanding work that pays homage to the land they love, as well as touching on then-current topics like the pandemic on the wonderful track “Lockdown”, and racial inequality and social injustice on “Hands Up Don’t Shoot”. One of the highlights on the album is their rousing anthem “Walking On Broken Glass”.

In November 2021, Hardwicke Circus played a series of gigs at 15 prisons throughout England. Inspired by Johnny Cash’s legendary 1968 album Johnny Cash at Folsom Prison, the guys decided to memorialize those gigs with their 13-track album At Her Majesty’s Pleasure, released in May 2022. (In the UK, prisons are known as HMPs, which stands for His or Her Majesty’s Prisons, depending on the gender of the reigning monarch, followed by the location or city in which they’re located.)

On June 9th, they dropped their third album Fly the Flag, a delightful romp featuring 12 head-bopping bangers fashioned from an eclectic mix of influences, including rock’n’roll, punk, Motown, Philadelphia soul, ska, blues and even Gypsy folk. The album opens strong with the buoyant “Every Day I Find the Luck“, an uplifting track with an exuberant, toe-tapping groove, colorful instrumentation and soaring choruses as Jonny and company sing of keeping positive and always aiming high: “Is this what I’m looking for? I can tell that I’m getting close, closer to the prize at the end of the rope. / Show me a sign, is it all I’ve got? I’ve given it my best shot. Every day I find the luck. If only I could reach it.”

The wonderful “Bang My Head (To the Rhythm of Life)” reminds me of some of the great 70s songs by Sound of Philadelphia acts like the O’Jays, Harold Melvin & the Blue Notes, T.S.O.P., McFadden & Whitehead and the Trammps, grabbing us by the hips and compelling us to move! And “True Love & Near Misses” is downright fabulous, with an infectious, fast-paced groove and achingly beautiful hook, highlighted by Lewis Bewley-Taylor’s gorgeous keyboards and Jack Pearce’s exuberant saxophone. And I cannot emphasize enough how much I adore Jonny Foster’s raspy but beautiful, heavily-accented vocals that occupy a sweet spot between Joe Strummer and Eddie Money here.

The anthemic “Can You Hear Me Now?” has an early Springsteen folk-rock vibe, with Jack’s soulful sax seemingly paying homage to the great Clarence Clemons. “Rejection Is Better Than Regret” – one of the my favorites on an album full of them – is a delightful take on the old adage ‘it’s better to have love and lost than to have never loved at all’: “Rejection is better than regret my love. I guess that’s why you’re my ex. You’re so sweet and lovely though, but I don’t like the way you look with him.” I love the fun, retro 70s vibe that calls to mind songs by ABBA, The Sweet and Bay City Rollers.

The guys slow things down on the introspective and melancholy “Battlefield“, a song about a love affair that now lies in ruins: “I live on a battlefield, where love has turned to rust./ You feel abandoned, who’s to blame. Courage is not what you keep, it’s what you give away.” Musical highlight for me are the expressive percussion, bold piano keys, moody sax, soulful organ, and what sounds like a vibraphone. With it’s lively, piano-driven groove, “A Johnny Come Lately” has a catchy ABBA vibe, nicely augmented with Jack’s rousing sax and Tom’s spirited drums. The album’s title comes from the lyrics “I’m flying the flag for you.”

“The Colour In Everything” has a strong Motown vibe, and in fact features a piano riff that sounds a bit like the one in the Four Tops’ classic “I Can’t Help Myself”. Also, what I’m guessing is Jack’s baritone sax gives the such a distinctive Motown sound. The colorful, synth-dominant “Our Town” is a brutally honest homage to the contradictions of the band’s home town, with cheeky lyrics like “Runny noses and ripped wedding gowns, that’s romance in our town. A compliment is a good putdown with a smile in our town.” The song starts off with a pleasing melody, but gradually transitions to a full-blown rocker with edgy guitars, heavy organ riff, aggressive percussion and bold sax, abruptly ending with rapped verses in the final 20 seconds.

The terrific songs just keep on coming. The rousing ska-infused gem “Night Train To London“, with its exuberant Gypsy folk vibe, fortified by Jack’s wailing sax, is pure delight. The guys let loose on the high-energy banger “It’s Not Over Till It’s Over“, unleashing a torrent of driving riffs, stomping rhythms, colorful keyboards, soaring choruses, and more of those great saxophone flourishes. Saving the best for last, the guys channel late 50s rock’n’roll with the wonderfully bluesy “No More Doggin’“. Holy shit, these guys can play just about anything! The combination of bluesy guitars and bass, sultry sax, and that phenomenal honky tonk piano create a dramatic and colorful backdrop for Jonny’s raw vocals oozing with unabashed swagger.

I’m not sure what more I can say about Fly the Flag, other than to keep gushing about how wonderful it is. Just about everything I can think of – the songwriting and lyrics, arrangements, instrumentation, vocals and production values – are perfection, and it’s easily one of the best albums of 2023 so far. Every song is first-rate, with no filler tracks or ones I would even consider skipping over. I love this album and love this band.

Here’s the album on YouTube:

Those fortunate enough to be in the UK can catch Hardwicke Circus at one of their upcoming shows:

Connect with Hardwicke Circus: Facebook / Twitter / Instagram

Find their music on Spotify / Apple Music / Soundcloud / YouTube

CHIEF SPRINGS – EP Review: “Time to Take Time”

On By EclecticMusicLoverIn Reviews19 Comments

This June seems to be shaping up as “United Kingdom Artists Month”, as the last three artists I’ve written about are British, with several more in the coming weeks. Today I bring you a fourth – Chief Springs, a fine indie rock band based in Leicester and London. Originally formed in 2018 as a two-piece by Josh Coyne and Scott Dillon, they eventually grew to become a five-piece with the addition of Sam Crosby-Browne, Dale Bradfield and Tommy Jordan. Together, they make a pleasing style of melodic rock fashioned with elements of alternative, post-rock, and dream pop, and featuring lush guitars, beautiful arrangements, intelligent lyrics and Josh’s vibrant baritone vocals.

They’ve been releasing music since 2020, beginning with their lovely single “Tupelo”, which they followed a year later with a three-song EP 00. In February 2022, they dropped a single “Long Game (Agave)”, followed two weeks later with “La Cienega”, named after the famous boulevard running through western L.A. and West Hollywood. I first learned about Chief Springs through my being a guest moderator of the British online music program Fresh on the Net, in which “La Cienega” was an entry that week. The beautiful song was one of my top five picks out of 170 entries, and I liked it so much, it spent three months on my Weekly Top 30, and ranks #76 on my 100 Best Songs of 2022 list.

Now they return with a marvelous new EP Time to Take Time, featuring four excellent songs they wrote and recorded between this past winter and early spring. Produced and mixed by their frequent collaborator Jamie Ward, the EP features accompanying vocals from singer-songwriter and musician Courtney Askey on selected tracks. Josh told me the songs on the EP “explore people’s experiences of being lied to, being told what to do with their body, accepting what’s gone is gone and moving home.”

Opening track “Elastic” touches on all the conflicting and sometimes incorrect news we’re fed, leaving us confused, disoriented, and not knowing what’s truth or fiction: “All of the things you ought to know, are no longer showing / Because the posters in the window, they serve as proof of how far they can stretch this elastic truth. All of the stories rearrange you / How far can they stretch this elastic truth? A time to take time to take time.” The instrumentation is impeccable and honest, with gorgeous jangly guitars bathed in shimmer, accompanied by a deep bass groove and real drums that lend rich textures to the track.

“House Money” speaks to accepting the hand you’ve been dealt and realizing you can move forward: “Things have changed. Somehow strangely liberating. And the house, it always wins, and everything that was, now can end. The house, it always wind, and everything to be can now begin.” A vibrant mix of intricate guitars are layered over a lush bassline and thumping groove.

And on the lovely and sweet “Upping“, Josh croons to a loved one of his devotion and willingness to go anywhere, so long as it’s with her: “Well I could move off this rock with you, build a house on the moon. Make a state upon that star too, wait for the space plants to bloom. Well I could fill a new home with you down on the bed of the sea. Forge a life under ocean blue, cheap but it’s harder to breath. If I’m to do nothing, it’ll be with you. Don’t see it as running, but a thing to do.” As always, the lush guitar work and Josh’s vocals are both achingly beautiful.

The topically relevant “Saddened Sick” calls out those who aim to control or interfere with our bodily autonomy, telling us what we can or cannot do with our lives: “Who makes the call for someone else? Now how am I supposed to believe that these are your decisions to make? And where do we begin, the hope is where it lives. Original sin, but you couldn’t write it if you tried.” The crisp percussion and jangly guitars are simply wonderful, and Josh and Courtney’s harmonies sublime.

Chief Springs have really outdone themselves with the creation of this exquisite little EP. Time to Take Time is not only a beautiful feast for the ears, it’s meaningful lyrics give us lots to think about. Great work guys!

Connect with Chief Springs:  Facebook / Twitter / Instagram

Find their music on Bandcamp / Spotify /  Apple Music / Soundcloud / YouTube

BEALBY POINT – Single Review: “America”

On By EclecticMusicLoverIn Reviews12 Comments

One of my favorite indie bands I’ve gotten to know over the past few years is Vancouver, British Columbia-based four-piece Bealby Point. Named after a local beachside vacation spot, they’re comprised of four childhood friends, Jack Armstrong (lead vocals), Clayton Dewar (lead guitar), Jordan Studer (bass), and Zack Yeager (drums). I love their buoyant, high-energy alternative/garage rock they cheekily call “music to fold laundry to“, which has earned them favorable comparisons to such bands as The Strokes. Their description of themselves as “approachable guys making cool music” is genuine, based on the mutual respect, camaraderie, and joy of spending time together that’s so evident in all their photos and little acoustic performance sessions they frequently post on TikTok and Instagram.

Beginning with the release of their debut single “I’m So Bummed Out Right Now” in February 2021 (which I featured in an installment of Fresh New Tracks, and has been streamed over half a million times on Spotify) the engaging four-piece continued dropping a series of excellent singles, including the brilliant “Talk To Me”, which I also reviewed and earned a spot on my Top 100 Songs of 2021 list. They released an EP Fridays in July 2022, and on May 10th, dropped their latest single “America“, a song they say is about falling in love, then falling out of love in tragedy. When I asked the band why they used “America” as the title and the subject of a romantic relationship, drummer Zack told me “The idea to personify America as a girl is tied to the idea of the American dream, [with] living a happy successful life basically culminated into a relationship. All of your hopes and dreams, ambitions and expectations, crushed by falling out of love.”

Like all their music, “America” was recorded and produced by Matt Di Pomponio, however, the song is a bit of a departure from their previous work, with a more serious, introspective vibe. I love how it opens with a gentle fuzz-coated riff, then launches right into the anthemic chorus. As always, the guys’ instrumentation and musicianship are outstanding, with Jack and Clay’s vibrant guitars accompanied by Jordan’s sturdy bassline and Zack’s spirited drums. I really like Jack’s warm, plaintive vocals as he sings of the joys of a new love in the opening chorus: “America, she loves me. I thought it couldn’t be I get down on my knees and scream America. Her shoulder rests on mine, I’ll be here for a lifetime“, then turn emotionally-wrought in the final chorus as he laments about how their love now lies in ruins: “America, I’m a human being. The faults that lie in fate that I don’t want to make. Fuck sakes America. Her shoulder rests on mine. Now let me drift away and wallow desperately again.”

“America” is yet another superb track by this talented and wonderful group of guys, and I remain a loyal fan!

Connect with Bealby Point:  Facebook / Twitter / Instagram / TikTok

Find their music on  Spotify / Apple Music / Soundcloud / YouTube / Bandcamp / Amazon

BECK BLACK – Single & Video Review: “Puppet Show”

On By EclecticMusicLoverIn Reviews10 Comments
Artwork by Royce Richmond

Los Angeles-based singer-songwriter and multi-instrumentalist Beck Black is a veritable dynamo, possessing immense quantities of imagination and creativity, with a colorful persona to match. She’s been releasing music since 2014 (including a terrific album Hollywood Blvd in 2021), both as a solo artist and as a band under the Beck Black moniker, with the help of drummer Adam Alt and guitarist Mo Matatquin. Her music spans across multiple genres ranging from alternative, rock’n’roll and punk to country and pop, and everything in between. Listening to her music catalog, I’m struck by the fact that no two songs of hers sound alike (I adore her 2019 country song “Don’t Call Me Darlin'”). In addition, with her love of make-up and dressing up, she’s continually changing her style, such that she looks vastly different from one photo to the next, and I love it!

Beck has recorded songs with Ringo Starr (“Who’s Gonna Save Rock & Roll” in 2020) and Tony Valentine of The Standells (“Another Dimension” and “You’re Never Gonna Stop Me!” in 2021), and is also is part of the duo JYNX, with two songs licensed to the Netflix film Dumplin. She and her band have played some of L.A.’s most iconic venues like the Troubadour, The Echo, Whisky a Go Go, The Viper Room, and The Satellite. Besides making music, she has appeared on TV, films and many online shows including S.W.A.T., Grey’s Anatomy, and Ruth & Lori.

Photo, makeup and styling by Robert Hayman Flores

I first learned about Beck last month when I heard her marvelous cover of David Bowie’s song “Aladdin Sane”, which she recorded for the album Forget That I’m 50, a magnificent cover of Bowie’s entire album Aladdin Sane, produced by Julian Shah-Tayler. Now she’s back with a delicious new single “Puppet Show“, accompanied by a delightful video. Written and produced by Beck, the song is originally from the album Hollywood Blvd, but has now been released as a single. Beck sang vocals and played keyboards, Mo Matatquin played guitar and Adam Alt played drums. The track was mastered by Magic Garden Mastering.

It’s a lively banger, with an emphatic foot-stomping groove overlain with swirling cinematic synths, intricate edgy guitars and thunderous percussion. The infectious synth-driven melody reminds me a bit of the great 1982 song “Wishing” by A Flock of Seagulls. Beck’s vibrant lilting vocals are wonderful as she sings the lyrics that seem to be telling us that life is like a puppet show, with some people trying to control or influence our thoughts and actions, but we can choose to cast off those strings and life on our own terms: “Telegram the words to me, a puppet sings. People pulling at your strings and other things. Dancing with a back and forth motion, to and fro. Wearing shiny, sequin clothing a puppet show. Chances are interesting a puppet dreams. Reality is what you make it wearing strings.“

The brilliant video for the song, created and produced by Beck, co-directed with Justin L. Smith, and filmed by Eli Wallace Johansson, is utterly charming. It features Beck as a human marionette, along with a marionette miniature of her, created by Rasputin Marionettes. Both Beck and her marionette doppelgänger are dressed in matching hot pink sequined dresses and wigs. Beck is shown singing the song and playing her keytar in a vast outdoor field while the marionette acts out the lyrics. Eventually freed from their strings, they both jump into a lake, where they savor their newfound independence “Swimming in a deep blue ocea, ebb and flow. Life can be your pearly oyster, a puppet show.”

To learn more about Beck, check out her Website

Follow her on Facebook / Twitter / Instagram

Find her music on Bandcamp / Spotify / Apple Music / YouTube

WE ARE AERIALS – Album Review: “Every Architect of Ruin”

On By EclecticMusicLoverIn Reviews13 Comments

We Are Aerials are a rather enigmatic indie rock collective from Donegal, Ireland who, like a few other artists and bands I’ve written about, choose to remain fairly anonymous. Fronted by a man identified simply as ‘Me’ on their Bandcamp page (though I know him as ‘C’ through his Twitter messages to me), who sings lead vocals and plays electric and acoustic guitars, keys, programming, and chime bars, We Are Aerials also includes Paul Casey on bass, electric and acoustic guitars, ukulele, keys, and programming, and Liam Bradley on drums and percussion. Lauren Doherty sings additional vocals and John McCullough plays piano and keys on selected tracks. C told me they do not perform live or post photos of themselves anywhere, as they “love making music and found a while back that the self-publicity side of things was killing that passion for it. There are a lot of artists posting pictures of their haircuts; it’s not for us.” Also, the only social media platforms they use are Twitter and YouTube.

From what I saw on their Bandcamp page, they’ve been releasing music for nearly three years, beginning in October 2020 with their debut album Maps, which features a beautiful cover of Bruce Springsteen’s haunting masterpiece “Streets of Philadelphia”. They followed in March 2022 with their second album Silences and on May 5, dropped their latest album Every Architect of Ruin. Featuring ten outstanding tracks, the album was written by C, recorded by C and Paul Casey, and also mixed and mastered by Paul. The artwork featuring two hands that was used for the album cover was drawn by Rebecca Foster.

The album had somewhat serendipitous origins resulting from the discovery of an old battered guitar in the attic of a house C had recently purchased. After commenting to friends that he’d never been up to his attic, joking it was probably haunted, they goaded him for months to go up there and check it out. Finally relenting, he entered his attic one night and discovered a beat-up Mexican-made Fender Telecaster electric guitar in a worn-out acoustic guitar soft case. He recalls “I became obsessed with reviving the thing and brought it to a luthier. Got a new pick up and replaced the switch. Did his best with the neck but it still wasn’t right. Brought it to another luthier and he fixed it up good. It’s not the best guitar in the world; not well made, not well looked after, but once the luthiers were done with it, it sang. Some instruments just have a feel to them. Tim Henson of Polyphia calls it mojo. I don’t know if it’s a sentimental thing, or because I spent time and money on it, but this guitar has mojo. It started giving me songs almost the moment it was fixed. First ‘Echo’, then ‘Theft’, then ‘Empire’. Six months later, we have a new album. Attics are weird. And magic. And sometimes haunted.”

Though many of the songs on Every Architect of Ruin touch on darker themes like depression, duplicitous political leaders who prey on us, and the negative aspects of social media, the album is sonically arresting and beautiful. It opens with “Echo“, a gorgeous six and a half minute-long fantasia of reverb-drenched chiming guitars and thumping drumbeats. C’s soft, ethereal vocals, which register in the higher octaves, are enchanting as he croons “You know all I hear, oh… You know all I hear is echo, echo, echo.” At 2:45, the music expands with more dramatic guitars, then abruptly slows at the four-minute mark to a languid tempo, with fuzzy riffs accompanied by a spoken-word monologue by Yasmin that was recorded for an art project called “London is Lonely”.

Next up is “Theft“, a compelling rock song calling out people and forces who take from us until we’re bled dry: “Greed and brazen theft until there’s nothing left. Leave us all bereft, forever in your debt. Repelled, I cannot express myself.” Fueled by a galloping bassline, the song features shimmery psychedelic guitars, sweeping synths and crackling percussion. On the lovely piano-driven “Christopher“, C reaches out to a friend who’s going through a difficult time emotionally: “Hey Chris, reach out. Alleviate the doubt. The amber warning sounds for you, and I know something’s wrong here.”

“Tuar na hAimsire” is a sweet and gentle song about just wanting to be with a loved one while a storm rages outside, with lyrics sung both in English and Gaelic: “A rumble of thunder, a flashing of light I watch from my bedroom. Tá an aimsir go yikes. Tá sé an-scamallach. Is dorcha an spéir. Ach níl eagla orm. I am not scared. Not a night to go outside. I’ll stay inside with you.” “Song With No Name” seems to speak of society’s struggle to make sense of the plethora of conflicting information and ‘facts’ found on TV and the internet: “The machine, a ruse to get you seen. Oh, balanced views, is nothing particularly true? Oh, what a time, devoid of reason and of rhyme.” The song has a bit of a late 60s/early 70s pop vibe, with gnarly psychedelic guitars and pleasing piano keys set to a sunny melody.

“Everyone’s Unique Except You” is about not fitting in with the crowd and feeling insecure and inferior about yourself, when the truth is, you don’t really want to be like them anyway: “You’re not good enough to join that club. (You’re not enough) You’re not good enough to win their love love love love. (You’re not real enough) You’re not good enough to join their club.” Musically, the song is a pleasing blend of dream pop and folk, with a beautiful mix of acoustic and reverb-soaked jangly guitars.

One of my favorite tracks on the album is “Geese Teeth“, an enchanting piano ballad about an unpleasant encounter with a gaggle of aggressive geese. The lyrics are wonderful, so I’ll quote a fair amount of them: “Out to the wetlands to see the geese. Found a gaggle in the marshes. Edged closer for a better view./ A sudden honk I look up to see an angry bird. It stares. I give it a curious glance. And the thing puffs out its chest and spreads its wings, making itself big in attempt to warn me off. But as if I’d be intimidated by a stupid goose. I’m bigger than him. I glare back, puff out my chest and spread my arms out in imitation of his own gesture. And he charges me. I hadn’t banked on that. Next thing I know I’m being chased, by a whole load of waterbirds. Pecking and biting me with their geese teeth as I retreat, feet slipping everywhere on their filth. I reach the car, get in. I beep the horn. The geese scatter in a cloud of feathers.” The instrumentation on this song is really stunning, especially the piano, strings, guitar and what I’m guessing are chime bars played by C, and I love his spoken vocals where his Irish brogue really shines through.

“Empire” continues on the theme introduced by the earlier track “Theft”, calling out duplicitous political and business leaders whose greed and avarice cause great harm to their citizens and countries. The lyrics include the album’s title: “Got a hand in every pocket and a knife for every throat. (You think we don’t see through you) Every architect of ruin with excuses and their scapegoats. I can see that our time has long expired. Failed in your fallen empire.” The song is a dream rock gem, as is the following track “Tides“, with its bouncy melody and more of those stunning reverby guitars. The lyrics seem to be addressing someone who’s toxic behavior and actions have left damage in their wake: “This is your glass house. These are the shards. This is your poisoned heart. These are your scars. Here are your ocean’s tumbling waves.”

Another favorite of mine is the final track “Ghostlight, a darkly beautiful song with breathtaking cinematic orchestration and gorgeous guitar work. I have no idea what the song’s about, but I love how it sounds. The fascinating video for the song was filmed and directed by Paul Casey, with footage of the mysterious woman applying her garish make-up by Pam Ede.

Folks, Every Architect of Ruin is an exquisite album filled with beautiful, meticulously-crafted songs that make for a pleasurable listening experience. I can safely state that We Are Aerials’ music most definitely speaks for itself.

Connect with We Are Aerials on Twitter

Find their music on Bandcamp / Spotify / Apple Music / minm / Soundcloud / YouTube

PYLON POETS – Single Review: “In The End”

On By EclecticMusicLoverIn Reviews4 Comments

Pylon Poets are an alternative indie rock band from the southwestern England town of Torquay, Devon. Consisting of Dan Hughes (lead vocals, guitars & synths) Nathan Hughes (bass, backing vocals) and Sam McIver (drums), Pylon Poets have been putting out high-energy melodic rock for several years, with relatable lyrics touching on such issues as pop culture, love and politics. They’ve toured extensively and have played several music festivals throughout the UK, sharing the stage with such artists as Reef, Fun Lovin’ Criminals, Scouting For Girls, Republica and ASH.

Photo of Sam, Dan & Nathan by Amy Stanford

Beginning with their debut album Spirit, Love & Higher Meanings in 2016, they followed two years later with a five-track self-titled EP, and since then have dropped many more singles, including a second EP Lucid Hallucinations in late 2020. Today, they release their latest single “In The End“, about which they say “focuses on the battles of mental health, and the feelings and thoughts that accompany it whilst keeping an optimistic outlook on the future.” The track was engineered, recorded and produced by Sugar House at Catalyst Studios, and mastered by Fluid Mastering.

Pylon Poets get right down to business, opening “In The End” with a blast of reverb-drenched guitars and shimmery synths. The music then settles into a strong thumping groove, accompanied by some nice guitar noodling in the verses as Dan calmly sings “In the end, there is a new beginning. There is a time for living. In the end, there’s something beautiful. A godsend or something cynical. In the end, it’s all collateral. In the end.” As the song continues, the gentler verses alternate with exuberant choruses, in which Dan’s vocals turn more impassioned as he sings of struggling with his conflicting emotions: “Losing control, taking the reigns, fighting the tide inside my mind. Burning alive, breaking the chains, one by one nothing remains.” It all serves to create a contrasting sense of excitement and tension, making this a terrific rock song.

Pylon Poets have lots of tour dates planned, so click here for details.

Connect with Pylon Poets:  Facebook / Twitter / Instagram

Find their music on Bandcamp / Spotify / Apple Music / YouTube

KEVIN ROBERTSON – Album Review: “Magic Spells Abound”

On By EclecticMusicLoverIn Reviews19 Comments

Kevin Robertson is a singer-songwriter and guitarist from Aberdeen, Scotland who makes a very agreeable style of jangle pop. His music is strongly influenced by a range of influences, including 60’s pop, classic and psychedelic rock, 80’s jangle music and 90’s Brit pop. He’s been actively recording and releasing music both as a solo artist and as a member of Aberdonian (I love that word) jangle pop five-piece The Vapour Trails since 2019.

In a short period of time, Kevin has released a sizable amount of music under his own name, beginning in 2021 with his debut album Sundown’s End, followed by Teaspoon of Time in 2022, as well as a number of singles, demos and session recordings. On March 31st, he dropped his latest album Magic Spells Abound, an aptly-titled collection of nine exquisite songs. Recorded by Kevin with the help of musical friends who have appeared on his releases over the years, the album was produced by Nick Bertling, and released by the Subjangle label in conjunction with Futureman Records.

Listening to Magic Spells Abound calls to mind the music of so many great acts of the 60s, 70s and 80s, yet Kevin’s beautifully-crafted songs are thoroughly original. The album opens with “As the Crow Flies“, a charming and hopeful song that immediately makes me think of the beautiful melodies and harmonies of the Traveling Wilburys. In fact, Kevin’s pleasing vocals even remind me of the late George Harrison on this track as he sings “Don’t be afraid of the sunshine. Don’t cause alarm. Don’t be afraid of this darkness. It means you no harm.” So, too, with the mysterious and lovely “Candlestick Morning“, where his vocals and intricate guitar work seemingly pay homage to Harrison, at least to my ears.

On “Make Believe” and “Autumn Brings“, with their captivating melodies and infectious, foot-stomping grooves, both his stunning jangly guitars and vocals seem to channel the Byrds. Kevin’s skill for writing beguiling melodies is beautifully showcased on the winsome “The Crest of a Dream“, highlighted by an enchanting hook and some fine harmonica work. And on the breezy, uptempo “Cloak and Dagger“, Kevin and company nicely capture the glorious harmonies of Crosby, Stills & Nash.

One of my favorite tracks is “Wander On“, with it’s catchy toe-tapping beat, colorful array of jangly and fuzzy psychedelic guitars, and buoyant Beatles-like harmonies. The lovely, folk-tinged “Sunset” is yet another terrific song, with it’s bewitching twangy guitars and sublime harmonies. And on the final track “Equilibrium Blues“, Kevin blends pleasing folk rock with spacey psychedelia to create a fascinating and compelling song that’s part Crosby, Stills & Nash and part Electric Light Orchestra. The lyrics seem to speak of evil forces at work to create uncertainty and chaos around us: “They’re coming from the gutter, to destroy your equilibrium./ There’s not enough love in the sky to bring such a tear to one’s eye.”

I like everything about this album – the masterful arrangements, gorgeous guitar work and myriad instrumental touches – but it’s the marvelous harmonies throughout that really make Magic Spells Abound such a great record for me. Kevin is a very talented singer-songwriter and musician, and has much to be proud of with his latest work.

Connect with Kevin:  Facebook / Twitter / Instagram

Find his music on Bandcamp / Spotify / Apple Music 

NAVE – Interview & Album Review: “God’s Waiting Room”

On By EclecticMusicLoverIn Reviews26 Comments

Though my feelings about social media are conflicted and complicated – a sentiment I’m confident many others share – one of the things I do like about it is that it’s allowed me to connect with a lot of really talented musicians and bands. One I’m happy to know is NAVE, the solo music project of British singer-songwriter, composer and producer Nathan Evans. Incorporating a broad array of genres and styles, including alternative rock, electronica, trip-hop, ambient, orchestral and dark wave, the hyper-talented Bournemouth-based artist creates dramatic, incredibly compelling music that’s often atmospheric and gorgeous, but sometimes also harsh and disturbing. Nathan is a thoughtful guy who’s unafraid to tackle issues relating to social justice and mental health, calling out the incessant bullshit and hypocrisy we seem to be faced with on a daily basis.

A truly prolific songwriter, he’s released a staggering amount of music over the past 10 years, both as NAVE (also sometimes represented as Nave or N.A.V.E.) and as front man of alternative psychedelic rock band Native Tongue. He’s been on a creative tear since 2021, and from what I can tell, he dropped eight singles last year, including “Broken Record”, a hauntingly beautiful song decrying the addictive nature of social media and its negative impacts on our emotional well-being. I love it so much, it went all the way to #1 on my Top 30 chart and ranks #14 on my 100 Best Songs of 2022 list.

He’s continued to release lots of new music in 2023, and on February 19th, he dropped God’s Waiting Room, a monumental work which I believe is his first full-length album. The words “full-length” are a massive understatement, as the album contains a mind-boggling 31 tracks! Because of its daunting length, it was a few days before I was able to give it my full attention, but once I did, I was literally blown away! The word “masterpiece” is often overused and lightly awarded, but I can say with all certainty that in the case of God’s Waiting Room, it’s well-earned. Listening to this brilliant and stunning album is an immersive experience that takes us on a sonic journey through the many moods, ideas and emotions of NAVE’s creative mind.

In order to gain a bit of insight into his inspiration for creating such an epic work, I asked Nathan to answer a few questions, which he was more than eager to do. Here’s what we talked about:

EML: You’re an astonishingly prolific musician and composer Nathan, and I’m truly in awe of your tremendous output. Not only have you released an epic 31-track album, you’ve also recently released a number of other stand-alone songs. Where and how do you find your inspiration for all this music?

NAVE: First off, thank you for your continued support and kind words. You have been a true rare find in this shallow industry. The lack of camaraderie and true music lovers is scarce and we need more people like yourself who truly care about new music. 

My 31 track album is a collection of songs and ideas spanning over 8 years to now. The majority of those songs were never intended to be released, but after going back and listening, I felt it was important because they carry so much emotion. I tend to release stand-alone songs that I spend a lot of time on and have that feeling of “oh this is a single”. The reason I called the album ‘Gods Waiting Room’ is because most of the songs aren’t singles, but more snapshots of moments in my life. What was going on and how I was feeling. I could imagine them all being played in a waiting room because they are so random and odd. 

In answer to your question though, the honest response is I don’t know where and how I find the inspiration to have such a high output. Maybe I feel I have something to prove to myself and others who never believed in me. I was written off in school for having ADHD, and was medicated for 6 years with Ritalin so I always felt like an outcast. Maybe my subconscious wants to leave behind a large library of work that I feel is important. Maybe I’m on an autistic spectrum and I can’t stop jumping from one idea to the other, constantly trying to outdo myself and find my “smells like teen spirit” banger. Maybe I am trying to refine my tools and become the best I can be, which is very similar to the mentality I had when I was competing in trampolining from the age 5-11 and had to come 1st in all competitions. If I would come in 2nd ever, it would be crushing. I knew I had the magic and that has translated to music today 

EML: Continuing on the theme of inspiration, some of the tracks on ‘God’s Waiting Room’ seem to have titles and/or lyrics dealing with self-assessment, mental health or personal well-being – e.g. “Jealous Little Bitch”, “Passive Aggressive”, “Son of a Rich Man”, “Computer Is My Friend” and “Kiss My Bad Side”. Are any of these songs autobiographical, or a means of addressing some inner demons or conflict?

NAVE: I find my songs either have a personal meaning, a message, or they don’t mean anything to me. Some tracks are blunt, some are cryptic, which means something to me, but to someone else interpreting them, it is completely different (which tends to happen often). Someone will tell me what my song means to them and I’ll be like “whoa, that’s not what I had in mind”. But I love that and it’s become clear from people’s comments that my music/lyrics creates imagery and causes multiple interpretations which I love.

For example, the songs you’ve mentioned. “Jealous Little Bitch” is an instrumental song, but made at a time when I was angry at certain people in my life and patterns of behaviour where I felt jealousy from “friends” or “family” instead of support and love. “Son of a Rich Man” was a dig at certain people that would never know the stress and uncertainty of having no money. They have an easy ride almost in a world where billionaires exist, and shouldn’t. I compare them to cartoon characters in a fairy tale paradise.

My track ‘Rose Tinted Glasses”, which was a stand alone release, was probably the most personal and therapeutic song I’ve ever written, about the loss of my Mum at 26. I put out a music video of it and I would cry every time I’d watch it. I’ve never had that with any song I’ve ever written and it addressed grief, anger and such sadness in me.

Another driving force isn’t so much facing inner demons but a feeling of obligation and duty to spread truth, love and light. Call out corruption, bullshit and lies. I made a tune called “blood thirsty billionaires” and made a video calling out certain people and shone a light on the ridiculous injustice and imbalance. It pisses me off that actors, musicians, sportsmen and whoever don’t use their platform enough to stand up to the lies we are fed everyday. The food we eat is full of harmful pesticides, the water we drink contains high levels of chlorine and the doctors don’t have our best interest at heart. They just read from a script or give us big pharma products. Cancer is 1 in 2 from the water, food and air, yet we freak out over a flu that mainly kills old and vulnerable people. We keep bending over to the government and accepting their lies and obeying without thinking for ourselves and truly questioning. Can you tell I am passionate about all this stuff. Can you see maybe why I make so much music lol?

EML: You certainly have a lot to say! When recording your songs as a solo artist, do you play and record all the music yourself? And besides the piano as your primary instrument, accompanied by what I’m guessing are lots of programmed synths, what other instruments do you play?

NAVE: Yeah, I mostly use the keyboard to write in synths, then programme and edit the drums. Then I finally add vocals. The vocals are always hit and miss. Sometimes they come quick and other times its a slog. I focus on the beat, atmosphere, melody and bass to create a vibe and if it makes me feel something, I quickly know whether to spend more time or move on. There always comes a time when I produce where that moment happens. Its like a magic. A transition occurs when the song comes to life and its amazing. I play drums, piano, guitar, bass and hope to learn the violin one day. I tried once and was terrible. The noise was so bad, I was unable to persist. So big respect to you violin players out there. You truly have to crawl through thorns and stinging nettles to reach the roses.

EML: With 31 amazing tracks, you could have broken them up into two or even three separate albums. Why the decision to include them all in one monumental album?

NAVE: I had considered that, but it felt they were all from a chapter in my life and belonged together. It also shows my progression till now and it was appealing to release a large body of work, particularly under such a poignant album title.

EML: That certainly makes sense. What other musicians or bands do you consider primary influences for your music?

NAVE: I ingested a lot of music as a teenager, but over the years I tend to stay away from listening to music as I find it better to be naive and not influenced by others’ music. The more music I listen to, the more chance I might feel I am copying them or “I cant do that because that sounds like that” if you know what I mean? But obviously Radiohead, Nirvana, Queens Of The Stone Age, Muse, BRMC, UNKLE, Jose Gonzalez, Deftones, Limp Bizkit, Morcheeba, Moby were big influences. Our bass player in my band Native Tongue is a music freak so he shows me a lot of new music and one track in particular that blew me away recently and inspired me to write my track “CONNIFER” is the track “NOT” by Big Thief. Incredible song.

EML: Is there anything I’ve neglected to ask that you’d like people to know about yourself or your music?

NAVE: I have struggled not finding the audience I was hoping to. It hurts when I put my heart and soul into these songs and I can’t reach anyone new or build my fan base, no matter how hard I try. I feel I’m finally coming to peace with that and doing this because I love it, not for people’s validation. My main drive has always been to reach people, and its been a painful road reaching so few people and not building that fan base I hoped for. Obviously there is still time but if it never happens, then fuck it. I still touched you and others, and devoted myself to an outlet which has kept me sane for so many years. Without it, I may not even be here now to answer these questions. 

So my final thing to say is to everyone out there, do what makes you happy and try not to seek happiness externally. Think for yourself and question authority. We have been boxed up like objects and we are still treated like slaves working long hours for no money. It doesn’t have to be this way. Seek the truth within yourself and the world will open up like a flower. Independent thought. Love yourself and be kind to others. 

Thank you Jeff. You are a star. 

EML: Thank YOU Nathan for taking the time to answer my questions, and for all your incredible music. Hopefully, this review and interview will bring you at least a few more fans.

Okay, let’s get to God’s Waiting Room, shall we? Because it contains so many tracks – all of which are outstanding – I won’t be doing my usual track-by-track discussion, as it would take me forever and besides, no one would read it all! Instead, I’ll touch on my favorites, as well as some of the more fascinating and impactful tracks. Of the album’s 31 offerings, 17 are instrumentals, whereas 14 feature lyrics and vocals of some kind or another.

On the unsettling opening track “The Speaker“, NAVE talk-sings in a mysterious whispered voice “Why do you listen to the speaker? Isn’t that, in listening to the speaker, you’re listening to yourself? Is that what is taking place? The speaker is only pointing something out. Acting as a mirror in which you only see yourself. Your own state of mind. Your own consciousness. And if at the end of these talks, you say to yourself ‘I have not changed’, why, it is your fault.” Though I didn’t ask him, my guess is that the song set the overall tone for the album, also serving as a kind of introduction.

As the album unfolds, each new track brings a different mood and vibe, keeping it sounding fresh and holding our attention. The second track “Sleepy Head” is a darkly beautiful instrumental featuring a mesmerizing trip hop groove and rather spooky string synths. And speaking of spooky, “White Witch” is downright chilling as NAVE drones “Never again, will you and I suffer. Never again, will the world go by unnoticed” against a mysterious cinematic backdrop that would make a great opening for a horror film.

Several instrumental tracks, like “Into the Abyss“, “Twilight Zone” and “Watch It Unfold“, are atmospheric and beautiful, with haunting piano movements, sparkling synths and cinematic strings. One of my favorites is the stunning “Linda’s Song“, with its vibrant piano keys, soaring strings and pleasing guitar chords. I also love “Jealous Little Bitch“, with its gorgeous violin notes and eerie synths layered over an assertive skittering beat.

Another favorite (on an album full of favorites) is “Passive Aggressive“, with its trippy hip hop groove, highlighted by menacing industrial synths sprinkled here and there with twinkling little touches that keep the song from sounding too heavy and dark. NAVE does a great job rapping the wonderful lyrics about an encounter with an unpleasant receptionist at a medical appointment: “Walk in the door, time for my appointment. Ignored by a lady unhappy in employment. Making me wait for a good few minutes. Grittin’ my teeth, pushed to the limit. I calm myself, instant reflection dealing with this middle-aged bitch on reception. Stay strong, try not to break. Refrain from explaining, I’m here cuz my balls ache. I’ve come a long way, massive obsessive, passive aggressive.“

“Swim Away With Me” is so quietly majestic and beautiful, it brings tears to my eyes. Then, abruptly changing the mood with “Millions of Wilfully Ignorant Sleepwalkers“, he skillfully uses a droning melody and rather ghostly, dream-like synths to convey a sense of people moving through life like zombies, seemingly unaware of their surroundings. The darkly beautiful “Breath With Me” has a strong Radiohead vibe, thanks in large part to the beguiling falsetto by appropriately-named guest vocalist Ethereal, which seems to channel Thom Yorke.

The terrific “Son of a Rich Man” is a languid and bluesy, guitar-driven song that NAVE touched on earlier as being a dig at people born with a silver spoon in their mouths. I love the pointed lyrics: “I don’t know who I am anymore. In fact, I don’t think I ever did. I’m indecisive, with hindsight bias. Sure, the grass could always be greener./ But who knows, paradise could just be a fairly tale, only fit for cartoon characters and billionaires. Maybe I should make a plan, or wait to reincarnate as the son of a rich man.”

One of the most beautiful tracks on the album is “Infinite Ground“, where NAVE’s dreamy echoed vocals meld so perfectly with the delicate acoustic guitar notes, it nearly takes my breath away. The unusual “Tashi Delek” is a dark song, featuring a strong trip hop beat, deep bass and harsh industrial synths, punctuated by contrasting delicate xylophone sounds. NAVE’s otherworldly vocals add to the song’s edgy vibe as he wails “I looked at your face. I couldn’t help but stare. I got you on my mind. There ain’t nothing wrong. Just a slip of the tongue. Can you feel my pain? And I miss you.”

The album closes with the contemplative piano piece “My Goodbye“, a beautiful and fitting end to this exquisite work of musical art. I’ve probably listened to God’s Waiting Room more than 15 times, and it manages to reveal new sounds, textures and meanings each time I hear it. I love this album, and hope at least some of my readers will appreciate and enjoy it too.

Connect with NAVE: Facebook / Twitter / Instagram

Find his music on Spotify / Apple Music / Bandcamp / YouTube / Soundcloud

Fresh New Tracks, Vol. 26 – Eleanor Collides, Future Theory, THE Q’s

On By EclecticMusicLoverIn Reviews16 Comments

April 7, 2023 seems to be a big day for releasing new music, as scores of artists and bands I follow are dropping new singles, EPs or albums today. Because my time and energy are of limited supply, I’m able to only write about a tiny fraction of it. With that in mind, I’ve chosen three new singles for my latest edition of Fresh New Tracks, all by British acts. They are, in alphabetical order, singer-songwriter Eleanor Collides, psychedelic alt-rock band Future Theory, and indie rock band THE Q’s. I’ve previously written about Future Theory many times, whereas Eleanor Collides and THE Q’s are new to me.

Eleanor Collides – “Pantomime”

Eleanor Collides is the solo music project of London-based singer-songwriter and guitarist Nick Ranga. After having written songs for many years, Nick finally decided during one of the Covid lockdowns in March 2021 to start recording them under the moniker Eleanor Collides, the name of his childhood imaginary friend. Working with a group of like-minded London musicians named The MusiCollective, Nick recorded songs with such acts as Pisgah, Colin Tyler, Corporate Drone and Lucoline. That July, he released a four-track EP How to Make Friends, then followed in March 2022 with his debut album People are Taller in Real Life. Since then, he’s released a series of six singles, the latest of which is “Pantomime“. All six singles will be included in his forthcoming second album, due for release later in the year.

Drawing influences from some of his favorite acts like Depeche Mode, Alice in Chains, Hole and Manic Street Preachers, he melds alternative, indie and dream rock with synth pop to create his distinctly melancholic, yet beautiful sound. A great example of his signature sound can be heard on “Lifeboats”, one of my favorite Eleanor Collides songs. His latest single “Pantomime” is even more enchanting, with dreamy atmospheric synths layered over a throbbing bassline and accompanied by gentle percussion and subtle guitar notes. Nick’s smooth vocals are comforting, but with a quiet vulnerability that’s nicely complemented by his own backing falsetto.

He states the song “started life on acoustic guitar, with a four chord loop in the Dorian mode which lends the track a mysterious, melancholy sound, and is about going through the motions and feeling insignificant.” The lyrics describe a couple being driven apart by unseen forces, unsure of how to fix things: “I can be there if you want me. I can give you space if you need time. Floating away on the breeze. Replaying this old pantomime. What time did love arrive? When did affection slip out of the room? But we’re just two people, and what the hell can we do?“

Connect with Eleanor Collides:  Facebook / Twitter / Instagram

Future Theory – “Why”

I’ve been following British alternative psychedelic rock band Future Theory since early 2017, and was immediately impressed by their intelligent songwriting and strong musicianship. Blending elements of alternative and progressive rock, psychedelia, grunge, shoegaze and funk, they fearlessly create arresting music characterized by complex melodies and arrangements, and delivered with lavish instrumentation and mesmerizing vocals. Like many bands, the Lincolnshire-based foursome has experienced changes in lineup over time, and now consists of Max Sander on rhythm guitar and vocals, Chris Moore on lead guitar, Jacob Brookes on bass and Rohan Parrett on drums.

Almost exactly six years ago, I reviewed their superb debut EP Fool’s Dream, and have written about them and their outstanding music many times since. It’s been a pleasure watching them mature and grow as artists, and their music keeps getting better and better. One of their singles “One and the Same”, from their 2022 debut album Future Theory, spent 18 weeks on my Weekly Top 30 chart and ended up ranking #42 on my 100 Best Songs of 2022 list.

Future Theory have been hard at work over the past several months recording a new batch of songs with Corsican producer Yves Altana (Peter Hook & The Light, The Chameleons), and will be releasing a series of singles throughout 2023, as well as touring in Northern England and Scotland in June. The first of these singles is “Why“, a dramatic and powerful song about a dysfunctional relationship that’s breaking apart. And what a spectacular song it is! First off, the jangly and chiming guitars by Chris and Max are breathtaking in their beauty and intricacy. Then there’s Jacob’s deep, resonant bassline, keeping the rhythm in perfect time with Rohan’s muscular drumbeats. Topping it all off are Max’s distinctive, emotion-packed vocals I love so much as he plaintively croons “Say, for me and you there’s really no in-between. We either set sail or crash and burn the dream. Get up before I scream. You’re breaking my heart./ Tell me why, would I lie? Tell me why.” The music builds to an electrifying crescendo of gnarly guitars and explosive percussion that continues to the end of the track. I can’t wait to hear their upcoming singles.

Connect with Future Theory:  Facebook /  Twitter /  Instagram

THE Q’s – “MOVIES”

Last, but certainly not least, are THE Q’s, an indie rock band based in Leeds. Formed in 2014 while they were all in secondary school, the five-piece consists of Leo Grace on lead vocals, Freddie Franchi on rhythm guitar, Dexter Burningham on lead guitar, Mattia Paganelli on drums, and Ben Woolford on bass. Apparently possessing a cheeky sense of humor, the guys released their first single “IN NEUTRAL” on New Year’s Eve, December 31, 2021, followed by “TRANQUILO” on Valentine’s Day 2022. Both are really good! Listening to their songs I would generally describe their sound as a happy blend of indie, rock’n’roll, punk and shoegaze.

Now they’re back with their third and latest single “MOVIES“, a sweet, upbeat song about young love, and the trials, tribulations and second-guessing that come with it. I really like the bouncy punk groove, exuberant guitars and snappy drums, and that funky little bass riff in the bridge is terrific. Leo’s vocal are perfect for the song, conveying just the right amount of youthful angst when he sings “But I don’t mind when you make a scene. You make life feel like a movie. And when you’re lying there with me, love life feels like a movie. You’re quite a find. Make life feel like a movie.” But later in the song, he pleads for her to cut him some slack, admitting that he’s partly to blame for their misunderstandings: “Don’t hang up that phone. I know that you’re at home. We’ll sort this out tomorrow, c’mon just let it go. I’m a dickhead, yeah, I know.”

Connect with THE Q’s:  Facebook / Twitter / Instagram