Tag: Alternative Rock

THIS HEART I SURRENDER – Album Review: “THIS: FOUNDATIONS”

On By EclecticMusicLoverIn Reviews9 Comments

One of my recent music finds is an alternative rock band from Wisconsin with the rather endearing name of This Heart I Surrender. The other day I happened upon their debut album THIS: FOUNDATIONS, which dropped October 21st, and made the wise decision to give it a listen. I immediately liked it, so much so that I reached out to the band to let them know I would be featuring it on my blog.

Combining elements of emo-punk, metal and alternative rock, they create melodic, impactful rock music that sounds at once familiar, yet distinctly their own. Listening to their music, I hear an eclectic range of influences from bands like Sum 41, Bring Me the Horizon, Aerosmith and Blink-182, to name just a few that come to mind. According to their bio, “blaring guitars, strong vocal melodies, and beat thumping drums is what This Heart I Surrender is all about; the powerful hooky melodies and ear-candy moments will have you coming back wishing the song was longer.” After listening to their album, I can’t argue with that!

The engaging and talented four-piece consists of lead vocalist Jourdan Westenberg, drummer/beat maker Jairius Stolar, lead guitarist Kyle Conner, and bassist/guitarist Will Peters, who joined the band while recording of the album was underway, but ended up playing bass on all the tracks. (Unfortunately, the band already had photos taken of themselves before he came on board, hence the inclusion of only three band members in their photo).

THIS: FOUNDATIONS opens with the beautiful and cinematic neoclassical “OVERTURE“, which sounds like it could be part of the soundtrack to a fantasy adventure film or series like Game of Thrones. This overture was composed by This Heart I Surrender with the assistance of Larry Moore, who band vocalist Jourdan described as ‘a master of synthesized orchestration’. Indeed, Mr. Moore co-wrote, arranged and played the orchestral string parts for the entire album. Jourdan added that nearly every track includes an element of strings, and was intended as the connecting “sound” between songs.

Thinking it might be a concept album of sorts, I also asked about the album’s title, to which Jourdan responded: “If I had to describe the theme of the album it’s in the title. This is our first full length album, and we titled it ‘Foundations’ because it’s the foundations of us starting out. Our sound. Our style. All of it. A lot of the songs [touch on the idea] of a new beginning and being tired of the same old same old. Taking risks and moving forward toward something new.”

“OVERTURE” directly segues into “RAISE IT” a powerful and stunning rock anthem, featuring added vocals by Garett Rapp of Illinois metalcore band The Color Morale. The inspirational song is a clarion call to arms against forces who lie and distort the truth for the purpose of keeping us divided and fighting each other: “Falling short when we need to stand up strong. Why do we keep on deciding wrong? Faceless victims in the night, not knowing where the demons hide. So raise it up, raise it up! Let us spark a revolution today!” Jourdan and Garett’s dual vocals complement each other nicely.

Themes of love and loss are addressed again and again on the album. “THANK YOU” is a beautiful song of thanks to a loved one who’s no longer around, but who had a major part in shaping who we are now. Jourdan has a great voice, and his plaintive vocals are heartfelt and filled with emotion as he sings “I never expected to lose you. I never thought I’d say goodbye. I know there’s a promise to see you. I cling to that hope with my life. But until that day. All I can say is ‘thank you’. Thank you for all that you were for me. Thank you for everything.” And on “STAY“, he pleads for someone to stay with him and help him through a rough patch.

One of my favorite tracks on the album is “MORE THAN A MELODY“, a gorgeous song that starts off as a gentle ballad with breathtaking acoustic and chiming guitars, then transitions into a stirring anthem, highlighted by soaring vocal harmonies and a terrific solo in the bridge. The lyrics seem to address a troubled relationship, and trying to remember the things that brought you together in the first place: “Remember what you are to me. You’re more than a melody? You’re more than a song. You’re more than a moment that’s fading along. Are we caught up in our mess? Broke in all that stress. Forgetting just who we are. We won’t forget.”

“DEATH OF IT” is a fast-paced rock song, with driving rhythms and bold, jagged riffs. The lyrics speak of never giving up on your dreams, and to keep moving toward your goals: “I’ll keep my mind on this. I won’t give up or quit. Rushing, rushing around, don’t let my feet hit the ground. Never stop moving. Oh, this is the death of it.”

“WELCOME TO COMPROMISE” has a bit of a Blink-182 feel. thanks to its lively groove and Jourdan’s fervent vocals. The bittersweet lyrics speak of reminiscing about a lost romantic relationship and what could have been: “I’ll always miss you and I won’t forget you. I’ve been wondering how you are, and how you have been. I’ve been wishing to go back relive the moments. Though I miss you, you’re always with me.”

True to its title, “HAUNTING” is a hauntingly beautiful song, both musically and lyrically. Once again, I have to bring attention to the stunning guitar work, as well as the arresting melody and Jourdan’s commanding, emotion-filled vocals. The song is about struggling with emotional demons, and fighting to overcome them: “My demons haunt me no matter where I go./The war is raging and it’s never letting go. Sometimes I hold my head and wish that it would stop. Seems like a cycle that will never end at all. It’s all the same, haunting me. So let it rain./This isn’t who I want to be.”

Closing track “DAYS OF GOLD” speaks to those who are struggling day to day, hoping there’s something more for them in this life: “Back at it again repeating my steps. Still waiting for an answer if there’s one at all. Still sit here in the grind, thinking I’m made for more. I’m not looking for some glory, just a different story. I’m done with the same thing tonight. I’m holding on for a new light. I don’t know tomorrow, but still I will wait for a better day.” The song is a brilliant rock anthem, and I love how it closes with beautiful orchestral strings, bring the album full-circle. The guys really show us what they can do here, blowing our minds and dazzling our ears with their impressive musicianship, while Jourdan digs deep into his core, summoning all the passion he can muster to deliver a spine-tingling vocal performance. Watch and listen to them create musical magic:

THIS: FOUNDATIONS is an outstanding album, and a triumphant debut for This Heart I Surrender. All the hard work and effort they put into it really shows, for which they should be quite proud. It’s my honor to support them.

Connect with This Heart I Surrender: Facebook / Twitter / Instagram

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

WE KILLED THE LION – Album Review: “Boogie Shoe Blues”

On By EclecticMusicLoverIn Reviews5 Comments

We Killed the Lion is an alternative hard rock band from Chicago I recently learned about when their keyboardist Stan Tencza reached out to me about reviewing their new album Boogie Shoe Blues. Along with Tencza, who also plays keyboards for Chicago alternative/progressive rock band Polarizer (whose album Love from the Underground I reviewed last November), the other band members are Brian Lorenc on guitar & vocals, Joe Gunia on bass & vocals, and Leonard Warren on drums. Formed in 2011, their heavy sound is infused with elements of stoner rock, grunge, psychedelic blues and even a bit of doom to darken things up a bit.

They released their self-titled debut album We Killed the Lion in 2012, then followed two years later with an EP One Way Ride, then a second album Circle of Stars in 2017. After a four-year hiatus, they began work on Boogie Shoe Blues, and dropped the first single “Final Stand” this past April, followed by “Southern Death Trip” in August. Today (Halloween), along with the album’s release, they also release a new video for “Snake Bite”. Though Boogie Shoe Blues contains only eight tracks, three of them are more than six minutes long, making the album feel more substantial than eight tracks would suggest.

Let me state up front that I don’t normally gravitate toward this type of grungy hard rock, however, I listened to the album several times with open ears and an open mind, and found lots to like about it. Opening track “Final Stand” is a fine representation of their signature brawny, dark and dirty sound. The guys get right down to business, grabbing us by the throat with a barrage of grinding buzzsaw riffs, bolstered by a deep, chugging bassline and explosive, pummeling drums that never let up for a second. Lorenc and Gunia’s dual echoed vocals sound ominous as they belt out the violent lyrics speaking of going into battle with an entity that was once an ally but now a bitter enemy: “All out of patience, love turned into vengeance. Run away in fear. Spilling out the blood, spitting out the bones, scratching out the eyes. Pray for your last breath, we’re making our final stand.”

The video for the song shows the band breaking into what appears to be an underground club, whereupon they perform “Final Stand”.

While several of the album’s tracks deal with darker topics, a few others touch on pleasures of the flesh with playful lyrics. On “Come on Get Down“, they sing of showing a hot woman a good time: “Little girl I want to take you downtown. Wanna go for a ride? Get in my backseat and spread your mind. I’m gonna show you a good time.” The song’s a sultry banger, with fantastic gnarly guitars that frequently break into a bone-chilling wail, accompanied by Gunia’s throbbing bassline, Tencza’s aggressive keyboards and Warren’s thunderous percussion. And on the sexy “Peach“, they tell a woman exactly what they have in mind: “I wanna sit on your front porch. I want a sip of your ice tea. I want to gaze at your orchid, yeah. I want to taste your peach meat.” I love the song’s deep, bluesy bassline and sludgy guitars.

“Dirty Bones” is a speaker-blowing feast for the ears, with more of those fearsome buzzsaw guitars, and ditto for “Southern Death Trip“, with some of the dirtiest riffs I’ve heard in a long while. The album’s title comes from the song’s lyric “Got the boogie shoe blues.” And just when I think the guys have thrown everything in their sonic arsenal our way, they continue to amaze with the psychedelic monster “Rocket“. The song opens with an onslaught of screaming distortion, followed by a thick, lumbering bassline as the guys begin to sing. Things eventually settle into a tumultuous mix of wailing and grungy riffs, pummeling drums and heavy keyboards, that lumbering bassline still keeping the menacing groove.

I think We Killed the Lion would be a great band to see live, and I really like that their videos show them performing their songs, rather than attempting to act out the narrative of the lyrics (which sometimes works well, but more than often falls flat). The cool video for “Southern Death Trip” shows them performing the song wearing fluorescent body paint.

The last two tracks, “Pick Me Up” and the epic “Snake Bite“, have somewhat of a progressive feel, and feature their signature reverb-soaked psychedelic guitars, thick bass and booming percussion. The latter track is spectacular, highlighted by spine-tingling piercing guitars and some really terrific keyboard organ work by Tencza.

To sort of expand on what I stated earlier, this album grew on me with repeated listens, and I’m truly impressed by We Killed the Lion’s strong songwriting and musicianship. If you like your rock music on the heavier side, with elements of psychedelic, grunge, blues and doom, you will enjoy Boogie Shoe Blues.

Connect with We Killed the Lion:  Facebook / Twitter / Instagram

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

Purchase on Bandcamp

LEWCA – Album Review: “Friday Night Rockstar”

On By EclecticMusicLoverIn Reviews16 Comments

England-born, and now France-based, singer-songwriter and musician Lewca is one of the most creative, funny and irreverent artists I’ve come across, with a deliciously bawdy sense of humour. As he cheekily explains in his bio, “Lewca was born in a squat in Brixton, by age nineteen he was living in a squat in Paris, go figure… After studying fine art and dabbling in film, he started making music just before he was too old to die young. His influences range from class A drugs to expensive rum, and also The Clash, A$AP Rocky, Sleaford Mods, LCD Soundsystem, Bob Dylan, Eminem, Tom Waits…whoever is making decent music. He currently lives in Normandy, has three kids and a mortgage, and a semi-domesticated hedgehog named ‘Sonic’.”

Lewca’s been making music for years, and after being in a few bands “that fell apart for the usual reasons”, he decided to embark on his own music project as Lewca in 2018. Although he collaborates with lots of different musicians on his projects (most often ex band members or musicians he’s met on Twitter) his main partner in crime is S.O.A.P. (shorthand for Son of A Pitch), a Parisian composer, producer, drum & bass DJ and beatmaker he met when they shared a billing at a gig together in 2013. Their partnership grew from a shared love of wonky beats, British soundscapes and a healthy dose of humour, along with an “expectation of absolute world domination and unfathomable wealth, obviously”. They’re also both fervent players of Dragon Ball Fighterz, and if the music thing doesn’t pan out they’re considering pro gaming as a viable alternative.

Since 2018, they’ve released three EPs, which culminated in a colossal album Year One, released this past June, featuring all 17 tracks originally contained in the three EPs. In addition, the dynamic duo have been working for the last eighteen months on two more albums: Friday Night Rockstar, set for release on December 16th, and Boombap for Boomers, to be released some time in 2023. It’s the first of these, Friday Night Rockstar, I’m reviewing today.

The album features 13 tracks addressing such topics as the passage of time, personal doubts and demons, substance abuse, romantic love, and dreams that may never come true, expressed through Lewca’s honest and heartfelt, sometimes shocking, and often laugh-out-loud funny lyrics. The superb music and beats, composed by S.O.A.P. and influenced by the music they both loved while growing up, range from 80’s new wave and 90’s alternative rock to modern lo-fi indie pop and hip hop. Besides Lewca and S.O.A.P., additional vocals and/or instrumentals were performed by the artists Mondo Trasho, Victory Flow, Oh! Paulo, Chris James Willows, Ambre, Orange G, The JMC, Shark Star, Zar Acoustic, Ian Williamson, Ben Todd and Ben Samama.

The album opens with “Such a Cunt“, which I loved the moment I heard it. The lyrics are so wonderful I want to quote them all (but will control myself). It starts off with what sounds like Lewca clicking start on a tape recording of piano music while he addresses an audience from a stage: “Good evening. Thank you so much for coming out, ladies and gentlemen. It’s an honor. I love you so much. Hi mom. This is a song about cheese.” He than launches into song, admonishing us to live our lives to the fullest, but also try and be a nice person while doing our thing: “Done a lot of crazy shit in my life, but I’d do it all again. Dodged a bullet maybe once or twice. Played the fool every now and then. Hey, you, yeah you in the back, do you get what I’m trying to say? We’re gonna die, mate, that’s a fact, so let the chips fall where they may. But most importantly, stop being such a cunt!” The song has a skittering drum & bass groove, with wobbly industrial synths and sharp percussion, nicely accented by some colorful piano keys and delightfully twangy guitars. Lewca’s gritty vocals are wonderful, oozing with in-your-face swagger that’s a glorious mash-up of Mick Jagger, Joe Strummer and Jason Williamson of Sleaford Mods.

Next up is the raucous title track “Friday Night Rockstar“, featuring British garage rock band Mondo Trasho. The lyrics are a humorous take on a guy who thinks he’d gonna be rock’s next big thing, except he’s been waiting for it to happen for years: “World famous in my neighbourhood. If I touch my dick, just assume that I’m touching wood. I could take Tyson, in his fucking prime. Two glasses and a bottle and I’ll make that bitch mine. Ain’t even made it. Already overrated. If a fuck was given mate, I never gave it. Since the late nineties, I’ve been sedated. Still ain’t got a deal, but it’s being negotiate./ They say I got million dollar mind. Shit I ain’t never made a dime. Killing it one weekend at a time. I’m a part time punk, but when I’m drunk I’m a rockstar. Bitch, I’m a rockstar. Friday night rockstar.“

“Harmony Korine” is a poignant but amusing look back at his childhood that seemed more innocent. To a bouncy new wave groove, Lewca sings “My generation, born in the 80s, lived in a world that didn’t give a fuck mate. The Iron Curtain, the Iron Lady, and my old man chain-smoking in the car with the windows up, and the kids in the back with no seat belts on./ We were poor, like the kids next door. It was my childhood, and I wished for no other./ The world that I knew ain’t coming back. Gotta try and face the facts, and get a move on./ Guess we ran out of time, cuz we ain’t kids no more. And Harmony Korine is like 50 now.”

One of the many things I love about the album is that every song sounds completely different, surprising us as each new track unfolds. “A Million Things” has an endearing, lighthearted groove, with quirky, carnival-like synths and Lewca’s alternately gruff and playful vocals as he sings about some of the shit that’s bothering him, apologizing that he “may be an asshole, but it ain’t by design.” He expands on this theme on “Everyday Struggle“, bemoaning the drudgeries of making a living to a rousing trip hop beat: “Six in the morning, I’m at the train station. Every damn day I take the same destination. Gotta get to work, I gotta pay them bills. Pay for them nappies and them cheap ass thrills. Nine hour shifts all day on your feet. Five days a week just to make ends meet. It’s hard labor, yet I ain’t done no crime. I’m selling my life, one day at a time. Oh lord, it’s an everyday struggle.”

“Forget My Name” is a beautiful, deeply affecting track about the idea of success, and that even though you’re at rock bottom, you’re never going to stop chasing that dream: “I’m gonna make, I can fuckin’ take it. Man I’m on a roll now. I’m the king of rock’n’roll now. Don’t forget my name.” Though I love Lewca’s gruff, melancholy vocals, the highlight for me are the stunning soulful vocals by Maryland-based transgender artist Victory Flow. Musically, the song features gorgeous intricate guitar work, somber piano keys, and achingly beautiful notes from a baby trombone.

One of my favorite songs (out of an album full of favorites) is “Incredible“, featuring added vocals by Chris James Willows and Ambre. Over a languid, drum and bass-driven groove, Lewca cheekily raps about his ‘I don’t give a fuck’ approach to music: “I’m at a party and I’m off my face. Falling around, I’m all over the place. High as fuck, I just have to sing. Can’t contain the diva within./ People let me know they ain’t digging the flow. But now I got the the microphone, I ain’t never letting go. I hope you got a sense of humour, turn up the fucking boomer. I don’t give a fuck If I’m ruining the song. Got a mic in hand this is where I belong. Anyway mate, these drugs are way too strong. Ain’t got a fucking clue what the fuck’s going on.” Then we hear an adoring girl, sung by Ambre, croon “You’re so wicked baby, loving your song. Gonna listen to ya all night long“, to which he replies “You’re gonna hear me baby all night long” followed by Chris James Willows’ chorus of “I feel incredible, I feel fucking awesome.” I love it!

The great songs keep on coming, and by now I’m thinking that Friday Night Rockstar might just be one of my favorite albums of the year. “The Love Within” is a hilarious love song that will never get played on the radio. To S.O.A.P.’s deliciously funky dub step beat, Lewca croons to his woman “I only wanna see you smile. I’d drive a thousand fucking miles. Girl I got you under my skin. I need to feel the love within.” But then he gets very sexually explicit in his adoration for her as he raps “I love looking in your eyes when you suck my dick, and listening to your sigh when I licked your clit. When I’m up between your thighs, when I cum on your tits.”

The next few songs touch on the highs and lows of rock stardom. On “Radio Gigolo“, Lewca sings of his dreams of becoming a huge star with a hit song, and willingness to sell himself out to get there: “One day they’ll play my song on the radio. They’ll play it all day long on the radio. I’ll feel like 10 feet tall. Big shots will take my call./ One day I’ll sell myself like a gigolo. I’ll be like someone else I don’t even know. So hungry for fame, I’ll even sell my name, for a spicy chicken wing on some TV show.” Opening with words spoken in French by S.O.A.P., “Golden God” transitions into a trap song with Lewca rapping about how his identity has been subsumed by his rockstar persona: “I’m a golden god, ex officio. Least that’s what I’m told. You can see it all in the video./ Guess I must have lost my mind somehow, somewhere along the line. Take a look into my eyes, mate, I’m not there./ I guess I’m strange mate, yeah I’m all over the place. I’ll keep on being strange until they turn out the light.”

Lewca lets loose on “A Song“, a wonderfully frantic and trippy punk song with a bit of an East Indian vibe, thanks to what sounds like a sitar. He rapidly raps through a litany of grievances, with the recipients of his complaints telling him to “write a fucking song about it“. He really channels his inner Mick Jagger on “I Fell in Love With a Serial Killer“, which sounds like a song the Stones forgot to record. I love the rousing rock’n’roll groove, and the guitars and percussion are fantastic. Album closer “Smoke in the Air” is wonderful too, with a rapid drum-bass groove, highlighted by wobbly synths, jangly guitars and skittering percussion. Throughout the album, I’ve been blown away by S.O.A.P.’s amazing beats and instrumentation, and this song nicely showcases his impressive talents.

I don’t what more I can say about Friday Night Rockstar that I haven’t already written, except to say that I absolutely love it! Lewca and S.O.A.P. have really outdone themselves here in the creation of a unique and brilliant album, for which they should be quite proud. The various artists who contributed vocals and/or instrumentals to the project must also be commended as well.

You can pre-save Friday Night Rockstar on one of these platforms

To learn more about Lewca, check out his Website

Connect with him on Facebook / Twitter / Instagram / TikTok

Stream his music on Spotify / Apple Music / Soundcloud

Purchase on Bandcamp

CRYSTAL CITIES – Single Review: “Love Don’t Live Here Anymore”

On By EclecticMusicLoverIn Reviews14 Comments

Time seems to fly by at an ever-increasing speed, and it’s hard to believe that it’s been five and a half years since I first wrote about Australian alternative dream rock band Crystal Cities, when I featured their captivating song “Who’s Gonna Save Us Now” in April 2017. I’ve been a huge fan of the Sydney-based act ever since, and have written about them several more times over the years (you can read some of those reviews by clicking on the Related links at the end of this post). I can honestly state that I’ve loved every single one of their songs without exception, especially their stunning single “Under the Cold Light of the Moon”, which I ranked #10 on my Top 100 Songs of 2019.

The supremely talented trio consists of Geoff Rana on lead vocals, guitars and keyboards, Jared King on bass and backing vocals, and Neel Shukla, who earlier this year replaced long-time drummer Daniel Conte, on drums and percussion. Since the release of their debut single “Tell Me Now” in 2016, they’ve released numerous singles, an EP Who’s Gonna Save Us Now in 2017, and two albums, Under the Cold Light of the Moon in 2019, and Hold Me Close Hold Me Tight, in October 2021. Now, nearly a year to the day later, they return with a brand new single “Love Don’t Live Here Anymore“. The song was produced and engineered by Geoff in his bedroom studio in Sydney, and mixed and mastered by Paul Lani in Los Angeles. ⁣⁣⁣⁣⁣⁣⁣⁣⁣

It’s always great hearing new music by Crystal Cities, and I couldn’t be happier. As to be expected, it’s another outstanding song, featuring their signature swirling melodies and soaring anthemic choruses. Geoff lays down a rousing mix of jangly and chugging riffs, while Jared’s nimble bassline and Neel’s assertive thumping drumbeats keep the powerful rhythmic groove. Geoff’s warm string and brass synths are marvelous, adding an arresting cinematic feel to the proceedings. I’ve always loved his emotive, slightly raspy vocals, which sound even deeper and more impassioned here.

Geoff elaborates about his inspiration for writing the song (which also nicely articulates my own struggles with being a music blogger): “I happened to be going through one of those ‘down’ moments where giving up music and writing songs seemed like the best option for moving forward with my life…Wild peaks of motivation followed by troughs of listlessness are simply part of the experience of being a creative person struggling to find some semblance of success in an ever-changing world. Ironically, it was when I was feeling at my lowest that I happened to sit down with my guitar and start strumming the opening chords for ‘Love Don’t Live Here Anymore’. It was through that song that I found myself reuniting with why I write songs and why I love it so much. ‘Love Don’t Live Here Anymore’ is about the experience of losing something or someone you once loved, and then the joy you get from reconnecting with, or rediscovering that something or someone.” 

⁣Now, these bridges, they burn
Man, it’s harder to learn
If they’ve called your name
And I watch from the shore
Darling, I’ve heard it all
Yeah, it’s all the same
And we can sit here and watch
As the seasons get lost
In these faraway dreams
In these faraway dreams

Man, these faces they break
Into tiny mistakes
Yeah, we’ve met before
And I’ve crawled from the floor
Made my way out the door
Into cold-hearted streets
And watch the cigarette burn
Through the hole in my hand
I’m the getaway scene
I’m the getaway scene

Yeah, I’ve been driving through this breakup
And I’ve been waiting out this storm
I’ve been holding all these aces
But I’ve been holding on too long
Cause’ love, it don’t live here anymore
Anymore

Matter of fact
Well, I’m willing to bet
It’s just what they say
And I’m starting to choke
Through the whiskey and smoke
But my heart says to stay
Well, it all tastes the same
Yeah, it all tastes the same

Yeah, I’ve been driving through this breakup
And I’ve been waiting out this storm
I’ve been holding all these aces
But I’ve been holding on too long
Cause’ love, it don’t live here anymore
Anymore

The wonderful cover art for the single was created by Mikey Hart, with voiceover artist, actor and producer Chris Miller portraying the clown. The video was directed and edited by Arron Davis, with Miller playing the sad clown, and Daniel Dydey helping out on guitar duties while Geoff sang.

Connect with Crystal Cities:  Facebook / Twitter / Instagram
Stream their music on Spotify / Soundcloud / Apple Music
Purchase on Bandcamp / iTunes 

HOLY COVES – Album Review: “Druids and Bards”

On By EclecticMusicLoverIn Reviews8 Comments

One of my favorite music finds of 2022 has been Welsh alternative psychedelic rock collective Holy Coves, who I discovered this past February as a guest moderator for Fresh On The Net, an independent music blog launched in 2009 by renowned BBC Radio 6 Music presenter Tom Robinson. As a guest moderator, my task was to listen to all 170 songs submitted that particular week, and choose my top five favorites of the bunch, along with any others I particularly liked. One of my five picks was the Holy Coves single “The Hurt Within”. The darkly beautiful song made me an instant fan of theirs, and I liked it so much that it spent 11 weeks on my Top 30 chart.  

They quickly followed “The Hurt Within” with their brooding stomper “Desert Storm” in late April (which I reviewed), then “Grey” in June, another gorgeous single that recently finished a 10-week run on my Top 30 chart. Now they’re back with their long-awaited third album Druids and Bards, released on October 14th by Yr Wyddfa Records. The album features nine tracks, including the three above-named songs. 

I provided quite a bit of background on Holy Coves in my “Desert Storm” review, but will reiterate a few important details about them here. The brain child of singer-songwriter Scott Marsden, a long-time and respected figure in the Welsh music scene, Holy Coves is based in Holy Island, which is itself situated just off Anglesey Island in northwest Wales. Since forming in 2005, the band has consisted of an ever-changing roster of musicians, as Marsden brings in who he wants to work with for each project. Holy Coves released their debut album The Lizzies Ynys Môn in early 2008, then followed in 2011 with an EP and two singles, which were later included on their second album Peruvian Mistake, released in 2012.

After a nearly 10-year hiatus, brought on in part by the death of his best friend and manager, as well as his personal struggles with addiction and subsequent recovery, Marsden assembled a new group of esteemed musicians – John Lawrence on guitar, Owain Ginsberg on guitar & synths, Jason Hughes on bass and Spike T Smith on drums – to help with the recording of Druids and Bards. Marsden wrote and sang all songs, and co-produced the album with Lawrence, who also engineered it. Mixing and mastering was done by Austin, Texas-based music producer Erik Wofford. The two men shown flanking Marsden in the photo below are musician friends he’s brought in for live performances, who will also play on his next record.

Photo by Dai Eastwood

Hallmarks of Holy Coves’ dynamic sound are their striking melodies, powerful, driving rhythms, lush, cinematic synths, exquisite layered guitars, and Marsden’s beautiful and sensuous vocals that remind me at times of U2 front man Bono. Druids and Bards features all these attributes and quite a bit more, with songs addressing such topics as love, relationships, struggles with addiction and finding happiness in this often painful and difficult world.

The rousing opening track, “Away We Go“, seems to be about addiction, both to drugs and also the need for a love that cannot last: “I’m talking to myself again. Her web is spun. She’s taking aim. I can see it coming. She wakes me from my lonely haze. Her fire is hot. I feel a crave. The endless days are coming. All I see is you and me. Come on get in, take two my friend. Sail away we go./ She’s gonna break my heart again. I’m a fool for love. What can I say.” I love the song’s rapid, galloping beat and colorful mix of strummed and grungy shredded guitars.

With its powerful stomping groove, courtesy of Hughes’ thumping bassline and Smith’s pummeling drumbeats, the previously-noted “The Hurt Within” is one of my favorite tracks on the album. The layered jangly and psychedelic guitar work is superb, nicely accompanied by brooding industrial synths. The lyrics are directed at a woman who broke his heart: “Here’s another song for you to sing today. About all the pain you caused when you went away. How you made me cold and left a hole inside. I wear those scars with pride. Can’t feel the world outside. How I thought I’d healed my skin. Her love is cruel. The hurt within.”

“Grey” is another favorite, with it’s exuberant melody, swirling synths and gorgeous jangly and shimmery guitars. The lyrics speak to allowing yourself to wallow in your pain from time to time, but also being open to the healing powers of love and support from others: “Let go and feel again, cos everything is hopeless when you’re grey. Hurt will find you. Love will guide you home.”

“Small and Nothing” has a bit of an Oasis sound to my ears, and seems to be about not wanting more than you already have in life: “There’s nothing in this world that I can’t live without. There’s nothing in this world that I can’t dream about. Staying young is all I care about. Cause now, small and nothing I am.” On the other hand, the dramatic “Another Day” calls to mind some of the anthemic songs of U2. It begins slowly, but gradually builds into a cinematic masterpiece. The lyrics speak of working to overcome drug addiction as an answer to numbing life’s pain: “Ticking over day by day. Heavy medicated to heal the pain. What do you feel, what do you crave? Take it slowly, and feel again. And try to remember it’s just another day./ Leave that bottle closed, we can make it if we try.”

On the mesmerizing “Desert Storm“, Holy Coves start with another stomping groove, then layers mysterious psychedelic synths, assertive percussion and an arresting blend of droning and gently distorted guitars to create a moody soundscape with a hint of optimism. Marsden’s echoed vocals have a haunting ethereal quality as he details his struggles of keeping a troubled relationship together while suffering from drug addiction.

With its hauntingly beautiful melody, gorgeous strummed guitars and folk-rock vibe, “Welcome to the Real World” reminds me a bit of Michael Kiwanuka’s song “Hero”. The lyrics speak of the futility of tilting at windmills and beating your head against the wall: “They had you now, your time is up. Welcome to the real world. It hurts. It hurts. She had you now, your time is up. Welcome to the real world, and you’re gone. You’re gone.” And on the catchy and melodic love song “Until I Fall“, the vibrant chiming guitars are a thing of wonder!

The final track “Taste the Wine” is a monumental tour-de-force, and an aural feast for the senses, with breathtaking guitar work amidst a soaring cinematic soundscape. Despite its 7:15-minute run time, it’s so gorgeous I don’t even notice how long it is. The song is about letting go of slights and painful experiences that can keep you feeling bitter and resentful, unable to move forward and enjoy your life in the here and now: “It doesn’t hurt to try. It wasn’t worth the fight. Two wrongs don’t make a right, so be strong. Hold on til it’s over. Take it slowly, and taste the wine. Sit back, let it flow dear, open your eyes. Chances are you will lose your mind. Might as well enjoy it, it’s your time.”

Druids and Bards is a superb, flawlessly-crafted album, as close to perfect as any I’ve heard this year. Every track is outstanding, making for a joyful listening experience from start to finish. Holy Coves are back, and then some!

Connect with Holy Coves:  Facebook / Twitter / Instagram

Stream their music:  Spotify / Apple Music / Soundcloud

Purchase on Bandcamp

DAN SZYLLER – Album Review: “The Celestial Immigrant”

On By EclecticMusicLoverIn Reviews9 Comments
Album artwork by Sumit Roy

Dan Szyller is an imaginative and earnest Brazilian singer-songwriter and musician currently based in Metz, France. Born and raised in Sao Paulo, Brazil, he also spent time living in the U.S. and Israel before emigrating to France, and those life experiences led him to write and record songs for his debut album The Celestial Immigrant. Dan says “It’s the story of many travels I have made and places I have been in my life, mostly as an immigrant.” The album, written and recorded over a six month period earlier this year, was released on Apple Music and Spotify on July 20th. For recording of the album, Dan played guitar and sang vocals, Fabien Pilard played additional guitars, bass, keyboards and sang backup, and Meriem Rezik played drums.

A lifelong lover of music, Dan’s songs are influenced by some of his favorite bands like The Doors, Iron Maiden, King Crimson and Pink Floyd. These influences are readily apparent on the opening title track “The Celestial Immigrant“. With its expansive, moody soundscapes, highlighted by a vibrant blend of jangly and psychedelic guitars, it sounds like a long-lost Pink Floyd song. The lyrics, about a young boy hurtling through outer space toward the Milky Way, seem to be an allegory for Dan’s well-traveled, sometimes beautiful and perhaps at times chaotic, childhood, being repeatedly moved without his consent to several different countries, in search of a better life: “Sent away into the darkness. No warnings were given, the baby. In the wake of the night. The celestial immigrant is on his way, in the Milky Way. Will he ever make it? The stars are watching him—riding the neon wave. Will he ever make it? Will he find new home? All the forgotten faces, all part of a strange dream somehow. All the beautiful places, The journey of the sacred moon-child.”

On the grunge-flavored “My Road“, Dan seems to ponder the fleeting impermanence of life: “Life passes by so fast; old pictures and you’re gone. The Crossroads is coming. Another drifter’s story.” And on the optimistic “Summer Kiss” he sings of the joys of summer, and how people and nature come alive with activities and romance: “The birds are calling, the people will wake. The smell of grass, the children that play. The night is falling, the feast will begin. A man is hunting, a girl is the prey.” The song features some great reverby guitars and 60s-flavored organ.

Some of the progressive influences from bands like King Crimson and Pink Floyd are strongly evident on the next three tracks, with meandering melodies and fascinating instrumental flourishes. On “The Believer” Dan sings of being a world traveler, in search of a better life: “I can see a land of riches. / The howling winds of freedom, my life and blood astray. I dream of a paradise beyond the clouds. I read, the signs are so evident now. Believe, the blind shall see. I am away. I am a troubadour. I have many stories to tell.” His vocals, while not particularly powerful, are emotive and heartfelt, conveying just the right amount of passion and fervor when he sings.

On the dark and dramatic “King’s Hall“, he uses medieval fantasy metaphors to describe what could be the plot of a Game of Thrones episode: “Inside the King’s Hall, love and jealousy. Blades are held high! The old man is gazing from his throne. A lifetime before his eyes.” I’m not quite sure what the story in this song has to do with the album’s overall theme, but it’s an intriguing track nonetheless.

On the introspective and bittersweet “Sunday Again“, Dan wistfully sings of being at a low point in his life, feeling bored and alone, and missing those he’s left behind: “Looking out the window. A quiet street, no life at all. The rain that falls each day. The fog that hides the dawn. Sitting on a couch, I think of her. Could I fall in love once more? My imagination is playing games with me. Happiness seems so far, so lost.” Musically, it sounds almost like two different songs melded together, with the first, more grungy segment ending just after three minutes, and the second segment having a more relaxed vibe, with some great reverby and distorted surf guitars. On this segment, Dan seems to have come to terms with his loneliness, finding solace in his music: “It’s Sunday, I’m free again. In a corner, playing my guitar. La La, La La La.“

The final track “Interstellar (Voyager 1)” is a captivating instrumental piece, with more of those great reverb-drenched guitars we’ve heard on several of the album’s songs, accompanied by spacey atmospheric synths that beautifully convey images of traveling through outer space. The only vocals we hear are Dan’s spoken words briefly reciting a description of the Voyager 1 space probe that was “launched by NASA on September 5, 1977, as part of the Voyager program to study the outer Solar System and interstellar space beyond the Sun’s heliosphere.” The description is taken from Wikipedia, which he cites on his album liner notes, and includes a statistic of how long the space probe has been in operation “Launched 16 days after its twin Voyager 2, Voyager 1 has been operating for 44 years, 9 months and 12 days as of June 17, 2022 (now 45 years, 1 month and 6 days as of today, October 12, 2022). The track brings the album’s celestial theme full-circle, with an overriding message – to my mind at least – that we’re all travelers on this planet, which itself exists within a much greater universe that’s beyond our comprehension.

The Celestial Immigrant is an ambitious and fascinating work, and an impressive debut for Dan Szyller. His creativity, imaginative songwriting and strong musicianship really shine on this very fine album.

Connect with Dan: Twitter / Facebook / Instagram

Stream his music on Spotify / Apple Music / Amazon Music

THE EMBER GLOWS – EP Review: “Where Spirits Play”

On By EclecticMusicLoverIn Reviews7 Comments

I recently learned about Canadian rock band The Ember Glows when they followed me on Twitter. Based in Montreal, the four-piece consists of Richard Bunze (lead guitar), Kevin Hills (bass), Martin Saint (vocals, guitar and keyboards) and Dan Stefik (drums). Friends since their teens, all are seasoned and accomplished musicians who were previously members of Montreal bands Room Control, Repo, Scene Noir & Citylake. With a shared love of 60s psychedelic rock, late 70s post-punk, 80s new wave and 90s British indie, what started as a side-project for each of them eventually became everyone’s music priority, and The Ember Grows was officially born in 2019.

Photos by Bryan Gagnon

Influenced by an eclectic array of artists ranging from Echo and the Bunnymen, Simple Minds, Nick Cave, The Cult, The Verve and Black Rebel Motorcycle Club to The Mission, Interpol and The War On Drugs, their dynamic sound is characterized by strong hooks, richly-textured intertwining guitars, muscular driving rhythms and resonant vocals. They released their debut five-track EP Passerby in March 2021, then followed this past June with their outstanding single “SILENT LOVE”. On September 23rd, they dropped their second EP Where Spirits Play, which I’m reviewing today.

The EP features four songs, including “SILENT LOVE”, with lyrics written by vocalist Martin Saint, and music collectively written by the entire band. It was recorded at Closet Studios in Montreal by Daniel Karrasch and John Gurnsey, and produced by Karrasch. The beautiful photography and cover artwork was done by lead guitarist Richard Bunze.

Where Spirits Play opens with “TOMORROW’S THE DAY” a song about someone who recognizes they need to change some of their behaviors that are holding them back in life, but lack the will or drive to follow through, keeping them on an endless self-destructive cycle: “Tomorrow’s the day things turn around. You’re haunted by the words out of your inner voice. You might fool the gallery, but you always had a choice./ Tomorrow’s the day things turn around. Just like you said the day before. When you swore no more, no more, no.” The song blasts open with a barrage of super-grungy riffs, which are soon joined by jangly guitars, gritty bass and thunderous drums that don’t let up for the song’s four-minute duration. Though a bit flat in spots, Martin’s commanding and clear baritone vocals remind me of the late Scott Walker of The Walker Brothers.

“MIRROR” is an intense and stunning song, with biting lyrics that seem to speak to the never-ending death and destruction mankind has rained upon one another and the planet, unable or unwilling to stop: “Suburbs crawl where rivers once ran. A nation’s sins live on streets across the land. Our lost romance, as warriors sweat and dance, and break the mirror. And we crack… No country right or wrong. Clear your conscience in a protest song. Plant your flags upside down, where a stolen child’s ghost haunts the ground.” Richard and Martin’s intricately layered grungy, distorted and chiming guitars are spectacular, while Kevin and Dan’s flawless bass and drums keep the propulsive rhythm rampaging forward.

On “SILENT LOVE“, the guys combine a powerful driving Simple Minds-esque groove with lush instrumentation a la The War on Drugs to create a robust cinematic soundscape that’s truly exhilarating. Once again, the complex, intertwining guitar work and production qualities are impressive, and Martin’s impassioned vocals sound their best here. Essentially a love song, the lyrics are directed to a loved one who’s going through personal turmoil, assuring them he’ll be patient and supportive, and give them as much space and time as they need to heal: “Whenever you close your eyes, whether near of far, I will let you be. But I will stand guard when you wake up in tears. After dreams crossed your defenses I’ll be here to give you space and silence. Now there’s nothing left to do except wait for you. Now there’s nothing left to give except silent love. As you sit and gaze at the stars above.”

The longest track on the EP, “HIGH FEVER” is a guitar-lover’s delight, overflowing with a jaw-dropping maelstrom of jangly, grungy and wailing psychedelic guitars. Of course, the throbbing bassline, tumultuous percussion and screaming industrial synths are all pretty amazing too, adding to the song’s overall explosive impact. The song seems to be about being besotted with a woman, wondering whether you’re in love or just deeply infatuated with her beauty and sensuality: “Her eyes light every dream she rules, like two sparkling jewels. I’ll dive in her mystery and feel real arms around me. Is this love or is your fever running high, running high?“

To sum up, Where Spirits Play is a great little EP that packs quite a powerful punch in just four tracks. The members of The Ember Glows are all outstanding musicians, with the collective skills and experience to successfully coax the best possible sounds from their respective instruments. I love their music, and hope we’ll be hearing more from this talented band soon!

Connect with The Ember Glows:  Facebook / Twitter / Instagram

Stream/purchase their music on Apple Music / Soundcloud / Bandcamp 

CULANN – Single Review: “Rovers”

On By EclecticMusicLoverIn Reviews5 Comments

Hailing from Irvine, North Ayrshire, Scotland is Culann, a talented five-piece comprised of brothers PJ (vocals, guitar) and Sean (drums) Kelly, Greg Irish (guitar), Ross McCluskie (keyboards) and Calum Davis (bass). Formed in 2008 while still in their teens, they’ve managed to stay together as a band all these years, rather unusual for a group with five members. Skillfully blending elements of folk, Celtic-rock, alt-rock, prog rock and even a bit of reggae, as well as largely ignoring the norms of conventional songwriting and structures, they employ complex melodies, frequent time changes and an unlikely fusion of traditional Scottish music with a contemporary rock approach to create their own distinct and colorful sound. They’re also proud of their Scottish heritage, and sing it’s praises on a lot of their songs.

They’ve released music rather sporadically over the years, beginning with their self-titled debut album Culann in 2012. They followed with a few singles, finally dropping their beautiful second album The Great Ecumene seven years later, in 2019 (which I reviewed). Now, Culann are back with a fantastic new single “Rovers”. Released in September, it’s their first new music in three and a half years. The time off hasn’t diminished their dynamic sound one bit. The guys effortlessly deliver driving rhythms, fueled by Calum’s powerful chugging bass line and Sean’s explosive drums, and fortified by PJ and Greg’s dual intertwining guitars and Ross’s sparkling keyboards. The music is alternately raging and delicate, serving to heighten the tension as the song progresses, and keeping a firm grasp on our attention from start to finish. “Rovers” is another superb song from this remarkable band.

As to the song’s meaning, PJ explained: “It’s based on an old myth from our area in Scotland called ‘Rovers Doom on the Carrick Shore’. The two main characters, pirates consisting of a captain known as the ‘rover’, and his shipman, used to take their ship and raid the coastal towns. The younger of the two men hears a voice one night, an enchanting mermaid’s song beckoning them to come closer. He tells his captain, who immediately is defiant of any supernatural occurrence. He ignores the younger man’s advice and hits full steam ahead, causing the ship to crash into the rocks, whereupon the crew meet their doom. Lyrically we wanted to show both men’s point of view; the younger man laments the song and speaks of how he hears the mermaids song in his dreams. The older captain is bullish, in the lyrics he says things like ‘ignore the heathen’s lore’.”

‘Row out to me my love’
Came the gorgeous sunset cry
A force, a voice of comfort
With no danger & no lie

It’s you, when I close my eyes
No others see you in their dreams
and your voice that haunts me only
Are things not what they seem


SAIL! It’s springtime in the harbour.
Fuck the cries, the mermaid’s lies. Ignore the heathen's lore.
SAIL! It’s your time in the harbour.
There’s no Red Head, alive or dead, that can whip winds off the shore

So now, from the burning sea
We watch, as the waves turn wild
and I beg don’t call another
to leave one more orphan child, tonight.

SAIL! It’s springtime in the harbour.
Fuck the cries, the mermaid’s lies. Ignore the heathen's lore.
SAIL! It’s your time in the harbour.
There’s no Red Head, alive or dead, that can whip winds off the shore

So why, why take me blindly
I’ll never comprehend
Cause you, you curse the bounty
and sent me to my end

Below the ocean waves
across the thunder sea
Below the ocean waves
You sleep with me

The dramatic video, shot in black and white by Stuart Alexander, was filmed in and around the historic coastal hamlet of Portencross, and features Scottish actor Rab Affleck, who’s also starred in six other Culann videos, as well as actor Brian Blakeley. The two are seen acting out their conflict, interspersed with scenes of the band performing the song near a raging fire.

Connect with Culann: Facebook / Twitter / Instagram
Stream their music: Spotify / Apple Music / YouTube
Purchase: Bandcamp / Big Cartel

Drawing on Scars & Jodie Reid – Album Review: “A Bridge Across the Sea”

On By EclecticMusicLoverIn Reviews13 Comments

Not really a band in the traditional sense, Atlanta-based music act Drawing on Scars is the creative brainchild of songwriter and multi-instrumentalist Will Thacker, who for more than a decade has collaborated with vocalists from across the U.S. and beyond in the creation of dramatic and edgy alternative rock songs. Will writes and performs all the music, and the different vocalists write the lyrics, which they then interpret in their own distinct vocal style. The result is an ever-changing music repertoire that always sounds fresh and unique.

After putting the act on hiatus in 2017, Will formed the band Fieldcrest with vocalist Jena Jones, and together they released an EP Canvas (which I just happened to review four years ago today). He resurrected Drawing on Scars in early 2019, and has been on a creative tear since then, dropping an impressive number of singles. His most recent collaborative effort has been with South African singer-songwriter Jodie Reid, a prolific artist from Johannesburg who’s released four albums of her own since 2019, at the rate of one per year! The two began collaborating by long distance in 2020, and released their first single “Here Comes Some More” that November. They followed in April 2021 with “If Only For a Little While”, and “Take It” (which I also reviewed) that August. All three of those songs are included on their new album A Bridge Across the Sea, which dropped September 30th.

Most of the songs on the album can best be described as melodic hard rock, tinged with elements of grunge, alternative metal and even power pop, and delivered with Will’s driving rhythms, scorching riffs and thunderous percussion. While these songs fall generally within Drawing on Scars’ typical music style, they’re a considerable departure for Jodie, whose solo music is more folk and soft-rock oriented. But she does a fine job as both a lyricist and rock singer, with a sound somewhat similar to that of Paramore vocalist Hayley Williams.

The album title A Bridge Across the Sea seems to reflect not only the long-distance connection between the two artists made possible by the internet, but also the themes of many songs, namely trying to hold onto one’s mental well-being, sense of self-worth or struggling relationships amidst breakdowns in communication, trust and/or identity. On the opening song “Desire” Jodie emphatically sings of her unrelenting and insatiable sexual hunger that’s overtaken her existence: “My self-control is crumbling, no matter how I hold it. I want it, I need it, I won’t accept defeat. Keep pushing, I crave it, as soon as I’m ready I’ll grab it and I won’t ever let it go. Take me to the edge and push until I break (let’s see how far I go) Down on my knees I’ll do whatever it takes.” Will’s jagged riffs serve to reinforce the emotional fire contained in the lyrics.

“What Day Is It” finds Jodie feeling lost and at the end of her rope: “I could have turned back. Retraced my steps. But that seemed like too much effort at the time. I just wanted to escape parts of myself.” And on “Encode“, she sings of the walls she’s built around her for self-protection: “And so you poke and prod to discover what makes me tick. You’d have me cuffed and caged, and treated like a lunatic. And when questioned I would stubbornly shake my head. I don’t want to share my secrets with you.”

The haunting and lovely “Bitter and Sick” is a cover of the original song by L.A. duo One Two, from their 2012 release Best Friend EP. Whereas One Two’s version is more ethereal and atmospheric, Will and Jodie give the song an edgier treatment, with heavier instrumentals and stronger vocals that become most pronounced in the dramatic chorus, while still retaining the song’s deeply emotional vibe. The lyrics seem to speak of a toxic relationship from which the singer cannot free herself: “Come on and break me down. I’ll let you ruin my day. Flow through my veins. I need a fix. Bitter and sick.”

The next few tracks are both hard-hitting and deal with dysfunctional relationships. “You Ran” speaks to a partner who just couldn’t be counted on, and I love these lines which really cut to the chase: “To be honest we were never meant to breathe the same air. Cause whatever I gave you stole from me and left me there.” And on “Take It“, Jodie rails against an indecisive partner who’s unable to ever choose a course of action or direction to take, causing them both frustration and ennui as they lumber along without direction. “Weighted down to your knees as you drag your feet along. And all questions are avoided with a shrug. Whatever’s easiest for you. Given time you just might drop that burden to the floor as you march alone unencumbered, but you’re weighing down on me.” It’s a terrific rock song.

“Broken Photo” touches on the perils of trying to be someone other than who you are, and living a superficial existence in an attempt to impress others. Jodie uses social media references to drive home her point: “You could have been so great, you might have been so grand if you had taken time to focus on the tasks at hand. Instead, you framed yourself a picture-perfect life. On display to show the socials, but didn’t even get a like.” I really like the song’s chugging rhythms and super-grungy guitars.

“Elephant” tackles the proverbial elephant in the room, namely how many people are afraid to speak honestly for fear of being harshly judged, even when we need to call out injustice or wrongs: “There’s an elephant in the room. Can you sense all the space in the conversation? Best eluded to keep the peace. Avoidance is encouraged by our generation.” This song strongly resonates with me, as I will not keep quiet about a lot of shit going on in America and the world, and it appears both Will and Jodie agree with me: “I can’t stay quiet anymore. Silence will not stop what’s in store. I will not roll over sweet submission. Forces will ensure that we learn our lesson.”

My favorite song on the album is the poignant “If Only for a Little While“. Jodie wrote the deeply moving song after the sudden passing of a close family friend, as a way of helping her process her feelings of grief and loss. Her vocals are heartfelt and tender as she laments “Cold down to the core of whatever’s left. I’m just matter lying still – hands on my chest. How I wish I could cry – let it all escape. Instead, I’m completely broken not even able to break. Lie me down, I’ll be right by your side. And I will hold onto you if only for a little while. Now you’ve gone, you left us all behind. But we will hold onto you if only for a little while.” The mournful piano and strings are beautiful and haunting, but also contain glimmers of hope.

The album closes on a high note with “Here Comes Some More“, a splendid nod to 90s grunge. I’m not certain, but the lyrics seem to be about someone who always needs to win, to be right, to be the best, yet never changing their approach, nor ever feeling fully content with themselves: “Every breath that you fake – you take it too hard. Each time, you start to lose faith, just to see if you’ve still got it in you (Well we all know you do). But you’ve been there before. You take a swing in the same old fight, hoping maybe this time you’ll strike true. The way you did before.” Jodie’s confident vocals are especially good on this track.

A Bridge Across the Sea is a fine debut effort from two very talented artists. Though they come from totally different environments, with divergent music styles and backgrounds, Will and Jodie have successfully managed to ‘bridge’ those differences to collaborate in the creation of a solid, well-crafted and compelling work.

Connect with Drawing on Scars: Facebook / Twitter / Instagram
Stream: Spotify / Apple Music / Soundcloud / Reverbnation / YouTube
Purchase: Bandcamp 

Connect with Jodie: Facebook / Instagram 

Stream her music:  Spotify / Apple Music / YouTube

MISSIO – Album Review: “VILLAIN”

On By EclecticMusicLoverIn Reviews12 Comments

“Am I a villain or a saint?” MISSIO asks on the title track of their brilliant new album VILLAIN. It’s an aural and emotional roller-coaster, encompassing the yin and yang of evil and goodness that exists within most of us. As regular readers of this blog know, I’m a huge fan of the Austin, Texas-based duo, which consists of singer-songwriter and producer Matthew Brue and songwriter/producer and instrumentalist David Butler. On the strength of their exceptional music catalog, as well as their honesty and openness with their fans and followers, they’ve earned a place among my favorite music acts of all time, and I’ve featured them several times on this blog. Their edgy, thoroughly original sound is an eclectic mash-up of gritty alternative electronic rock, hip hop and dreamy emo vibes. Matthew’s beautiful, deeply emotive vocals add to their distinctive sound that’s totally unlike any other act.

David Butler and Matthew Brue

Beginning with the release of their debut album Loner in 2017, they’ve consistently put out a tremendous amount of outstanding music, including their magnificent second album The Darker the Weather // The Better the Man in 2019 (my review of that album has garnered over 2,900 views, making it my highest-viewed album review ever). They released their gorgeous fourth album Can You Feel The Sun in October 2020, and their fifth and latest album VILLAIN dropped September 23rd. Three of their songs – “I See You”, “Underground” and “Can You Feel the Sun” – have reached #1 on my own Weekly Top 30 chart, with “I See You” also being my #1 song of 2019 and #10 of the entire decade of the 2010s.

Though most of MISSIO’s songs are inspired by personal experiences, both good and bad, VILLAIN is perhaps their most deeply personal and introspective: “This is the first album we’ve chosen to release independently, and we poured our hearts into it. We always aim to write vulnerably about what we are feeling in the moment, and honestly, the last few years have been filled with a lot of difficult moments for us. Therefore, this album was written and inspired from some of the darkest spaces / heaviest emotions that we’ve experienced. It’s an album cultivated over hundreds of hours of internal/external dialogue within ourselves and each other about the meaning of the world and our place in it.“

The ten tracks touch on such topics as the conflict between good vs. evil, feelings of self-worth, anger and resentment, and the need for love and acceptance. The title track “Villain” seems to encapsulate all of these: “Complicated and a mess, slightly OCD. Take for granted many things that mean a lot to me. I know, I’ve got a lot to learn. I was raised as a scorpion. Being pulled by the moon in a high tide. That’s why I’m broken. I know, this hurts a lot. It’s not my fault it never was. And I know, I’m tough like stone. But right now, please hug me, I feel alone.” Musically, the song alternates between pensive, atmospheric moods and urgent, beat-driven grooves, nicely conveying the inner conflict touched on earlier.

Here’s a video, released in January 2023, of MISSIO performing the song.

On the menacing trip hop song “Demons“, Matthew starts off lamenting of his shortcomings “I feel I am letting go. And that makes me angry because I’m not who I want to be. It seems like I’m fading. And that makes me terrified because I’m not who I want to be.” But then he seems to take on the persona of the devil as he malevolently snarls, perhaps in reply to himself “Ay boy, what the fuck you think you’re doing here? This is Hell, don’t you know that you were coming here? I’ve been playing with your demons all day.”

MISSIO summon their inner beast on the bombastic “Say Something” and “#gimmeakiss“, which according to Spotify streaming stats are two of the most popular tracks on VILLAIN. Both tracks last barely two minutes, but blast through the speakers like a sonic battering ram of grinding industrial synths and pummeling beats. It’s clear the guys had a lot of fun recording these bangers, which are more frantic than their usual style, and both need to be played at full volume!

“I Wanna Fight And You Know It” is an eerie, aggressive song in which Matthew speaks to his darker, more combative side: “People tell me that I may be the disease. Like I’m the crazy bitches in the sea. Maybe all of ’em are right when it comes to being shady. I wanna fight and you know it. I got my fists up tonight and you know it.” And on the anthemic “We Are Who We Are“, Matthew addresses the importance of being true to ourselves, and accepting our imperfections in order to live a life that’s honest and real: “Why do we try to live a lie? It isn’t worth it. Who you tryna please? ‘Cause if it’s me, it isn’t working. We are who we are. That can be hard to accept. We are all fucked up human beings.”

One of the more enjoyable tracks on the album is “Does Anybody Love Me“. I love the infectious upbeat vibe and hearty piano and bass-driven groove. The lyrics speak to overthinking and worrying too much about what others think of you, but also cognizant of the fact that many others do the same: “Does anybody love me? I don’t know. Is everybody lonely? I think so.”

The final three tracks on VILLAIN are more contemplative and melodic, beginning with “Failure to Comply“, a beautiful, powerfully moving song about a narcissist who’s unable to love or show empathy toward others: “What is it you’re looking for? What is it that leaves you wanting more? Will you ever fight for me? Will you ever love someone other than you?” The mournful piano and dramatic, sweeping instrumentals are gorgeous, as are Matthew’s deeply heartfelt vocals. My favorite song on the album, it’s spent the past three months and counting on my Weekly Top 30.

“Picture in My Pocket” is a beautiful love song, with a languid, almost jazzy feel. The warm piano keys, subtle percussion and strummed guitar are positively sublime, and Matthew’s gentle vocals have an enchanting ethereal quality as he softly croons “Hang on to love if it’s real. I want to believe. I have this picture in my pocket of a peace I won’t grieve. And then I saw you. And you saw me. And suddenly the world wasn’t as bad as once before.”

VILLAIN closes on a positive note with the stunning and cinematic “To the Universe“. The lyrics speak to living life with an open mind and an open heart, unafraid to take chances and follow your dreams: “Open your mind to ideas that you don’t like. It’s a beautiful world if you quit puttin’ up a fight. You can let your walls down and be who you want to be. ‘Cause it’s a beautiful world, you can scream it when you don’t believe. To the universe, to the universe. It’s where we’re headed.”

Their previous albums are all so exceptional, I wasn’t sure how MISSIO could possibly keep matching their quality, let alone top them. But how shortsighted and wrong I was to doubt them, as once again they’ve gifted us with a phenomenal album in the form of VILLAIN. Every single one of its tracks is outstanding, which is not something that can be said about very many albums. I remain a faithful and devoted fan.

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