SOLOVEICHIK – Single Review: “Could It Possibly Be Me”

Soloveichik is the music project of Andrew Solway, a talented young singer-songwriter and musician based in and around Detroit, Michigan. Andrew chose his ancestral name of Soloveichik, which is Russian for “little nightingale”, as his artistic moniker because a nightingale is known for its beautiful and powerful song. As Soloveichik, Andrew has recorded and released numerous singles and EPs over the past two years, as well as his debut album At the Close this past January. His music is a pleasing and somewhat eclectic mix of alternative indie rock, emo and pop, and his relevant, often poignant lyrics are delivered with soft, whispery vocals that remind me a bit of Owl City (aka Adam Young). In addition to his solo music project, Andrew’s also works as a session musician and live pianist in the Detroit area, supporting live acts such as Jacob Sigman, Olivia Dear, Au Gres (who’s music I’ve also reviewed), Little Visits and Aaron Benjamin.

Soloveichik is on a mission to release a new single each month for the next year, and his latest is “Could It Possibly Be Me“, which dropped May 13 (a very busy day for new music releases). The song was recorded at Eureka Records in suburban Detroit with the assistance of longtime collaborator Austin William Stawowczyk, who produced the track, and features Andrew’s hauntingly beautiful repetitive piano riff, accompanied by a stirring cello arrangement by Juliano Bitoni Stewart. Andrew calls it “an unusually personal song, at times blatantly self-critical and blunt“. The lyrics that seem to speak to a lost love or relationship that didn’t work out, and his breathy vocals convey a sad resignation as he reminisces: “I’m alone again. And I still see our cat, but she’s elusive now. I think that I’m next. I just can’t forget easily. You asked me oh so honestly ‘could it possibly be me?’” Though melancholy, it’s a lovely song nevertheless.

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EXPRESS OFFICE PORTICO – Single Review: “Cosmic Joke”

Formed in 2020 during the height of the Covid pandemic, talented British five-piece Express Office Portico is comprised of Tara Freeman (lead vocals, keyboards), Billy Townsend (lead vocals, keyboards), Reuben Tobolewski (guitar), Ben Phipps (bass) and Olly Walton (drums). In cleverly naming themselves after the entrance to an old newspaper distribution office in the center of Nottingham, England, it follows that they would not be afraid to address all sorts of relevant and timely issues, including those related to mental health and emotional well-being. Their debut single “I Like it Weird”, released in late January 2021, dealt with Obsessive Compulsive Disorder (OCD) and how it can exacerbate feelings of jealousy over past lovers. Their second single “Mishmesh” explored the dangers of alcohol dependency, and how our coping mechanisms and compulsive tendencies can manifest themselves in toxic habits, while their third single “Then Wave” addressed abandonment and trust issues.

I really like their brand of dreamy synthpop with an edge, and have reviewed all three of their previous singles, which you can read by clicking on the ‘Related’ links at the end of this post. Now they’re back with their fourth single “Cosmic Joke“, which has a mellower vibe than their previous singles, as well as a more lighthearted message. They’ve provided a bit of background on their creation of the song: “‘Cosmic Joke’ came about by trying and failing to work out the chords to the 70s classic “I’d Rather Be with You” by Bootsy Colins. As big fans of artists immersed in RnB and funk like Erykah Badu, Yellow Days and Steve Lacy, we began thinking, how would an Express Office Portico track with these accidental chords sound? ‘Cosmic Joke’ evolved from there, with other influences such as Men I Trust, Beach House, Yellow Days, Rex Orange County & Mac Demarco adding to its creation. We love comedians that go on long rants that are more like philosophical monologues than stand-up. Bill Hick’s famous ‘It’s Just a Ride’ piece, being the perfect example. From here we decided on using this framing device for the track.

The title comes from an idea in philosophy that the entire universe and life in general is just one big joke. A trick played on humanity by existence itself, or God, or whatever you wanna call it. ‘It’s all a cosmic joke, nothing less and nothing more’. The lyrics are essentially about having an existential crisis and the utter confusion of being a conscious human in the physical world. Everyone is searching for meaning, but life is fundamentally meaningless. So, we might as well just laugh about it all, and try to enjoy it as much as we can! During the recording weekend, we booked ourselves an Airbnb to house us all. After a mild night of drinking, our guitarist Roo had a bit too much nicotine, which resulted in a fairly violent bout of sickness, starting with us all sat around the TV. Who knew too much nicotine could do that to you hey?

The song opens with Olly’s assertive drumbeats, then silky keyboards enter along with Ben’s funky bassline and Reuben’s beautiful shimmery guitar as the music settles into a delicious R&B groove. In her sweet, lilting vocals, Tara cheekily croons “Sit back, relax. As the curtains draw, the microphone stands upon the stage floor. Out walks a comedian. The crowd we roar. Out walks a comedian, and they say ‘It’s all a cosmic joke, nothing less and nothing more. Your ticket’s already pulled, so you may as well just laugh and applaud’.” The song is filled with great moments like the quiet little interlude halfway through the song during which Ben’s funky bass really shines, and Tara and Billy’s wonderful harmonies in the final chorus.

With “Cosmic Joke”, Express Office Portico keep their perfect score of putting out stellar singles fully intact.

Connect with Express Office Portico:  Facebook / Twitter / Instagram

Stream their music on Spotify / Apple Music / Soundcloud / deezer

Purchase on Bandcamp / Amazon 

AVA VOX – Album Review: “Immortalised”

Ava Vox is the music project of Irish singer-songwriter Elaine Hannon, a fascinating and seasoned artist who’s been involved with music for much of her life. Originally from Dublin and now based in County Meath, she started her music career at the age of 17 as vocalist for a band, then in 1986 she formed alternative goth rock/post-punk band The Seventh Veil. Their music garnered airplay on Irish radio and earned positive reviews in local press, and they even won a Battle of the Bands competition. They lasted five years until disbanding in 1991. Hannon spent the next few decades involved with various other music projects, and was in the early stages of forming another band when the Covid pandemic brought everything to a halt (as it did for just about every other artist and band) in early 2020. Unable to perform live or record together, she eventually made the decision that September to create her own solo act under the moniker Ava Vox.

With her distinctive deep vocal timbre and commanding delivery, not to mention her arresting goth persona, Ava Vox is a dynamic and compelling performer. Her music style is similar to that of her previous band The Seventh Veil, namely alternative rock imbued with goth rock and post-punk elements, and steeped in strong 80s sensibilities. She began recording songs remotely with a talented group of musicians from Dublin, Scotland, Brazil and Italy, for what would become her debut album Immortalised, which she released on March 25th. Specifically, piano/keyboards and Hammond organ were played by Ray McLoughlin, who also arranged the strings and co-produced the album, electric guitar by Enda Dempsey, bass by James Blennerhassett, and drums Robbie Casserly.

The album features eight marvelous tracks, five of which were previously written and performed by Hannon and her The Seventh Veil bandmates, along with three covers of iconic songs by The Cure, David Bowie and Soft Cell. She elaborates: “I revisited some songs that were written collectively by me and my previous band. I wanted to give these songs new life again, for the world to hear them. Then these songs would be preserved for evermore” – i.e. ‘immortalised’. As for the three covers, she stated that each of those artists and songs were inspirational for her, and hold a special place in her heart.

The album bursts open with “Crash” a darkly beautiful cinematic rocker and standout track. I love the aggressive, pulse-pounding beat, fortified with gothic industrial synths, powerful galloping rhythms and – most appropriately – a torrent of crashing cymbals. Ava’s commanding vocals raise goosebumps as she issues dire warnings of impending doom. The dramatic video, produced by Isaac Burke, is intended to bring attention to the devastation caused by climate change/global warming. Ava portrays the white witch goddess, symbolizing mother nature, who loves the earth and all its species, and provides us with a glimpse of the present and what the future could be, the potential end of the world/extinction of species and the human race.

All of the tracks on Immortalised are strong. “Silent Tear” and “Alone Again” are beautiful synth and guitar-driven rock songs, with compelling melodies that stuck with me long after hearing them. The latter song describes an abusive relationship, wherein the victim eventually finds the courage to escape from their abuser, but sadly falls prey to the abuser’s false charms and promises to change, returning for more: “It’s here again, in rings of garland. Opened eyes and telling hearts. Punch me, hard against the wall. Kick me, trip me, hush me til I fall.”

Another favorite of mine is “One Sweet Goodbye“, a haunting piano ballad about the searing pain that results from the end of a relationship. Ray McLoughlin’s gorgeous piano and string arrangement create a stunning cinematic backdrop for Ana’s heart-wrenching vocals as she laments “Goodbye, goodbye, I feel as though I will die.” “Heart of Good Intention” is great too, with it’s exuberant organ-based groove that calls to mind the music of early 80s The Kinks.

Ava does a fine justice to the three cover songs: “Tainted Love“, originally written by Ed Cobb and recorded by American singer Gloria Jones in 1964, and later covered in 1981 by British duo Soft Cell, “Life on Mars” by David Bowie, and “Love Song” by The Cure. “Tainted Love” is given a full-band treatment, with piano and Hammond organ played by Ray McLoughlin, electric guitar by Daniel Martin and drums by Jonathan Owens, whereas “Life on Mars” and “Love Song” are more stripped down, with mainly piano by Ray McLoughlin (as well as Hammond organ on “Life on Mars” and a bit of drums at the end of “Love Song”) accompanying Ava’s arresting vocals. “Love Song” is one of my all-time favorite songs, and has been covered by many acts, most notably 311, Adele, Good Charlotte, Tori Amos, Death Cab for Cutie and Nina Sky. Ava’s slowed-down interpretation is quite lovely, and her heartfelt vocals are particularly moving, beautifully expressing the intense enduring love described in The Cure’s lyrics.

I’m glad Ava Vox decided to immortalize her songs with this album, and she and her crew have done an outstanding job in its production and execution. Listening to Immortalised is 26 and a half minutes well spent.

Connect with Ava: FacebookTwitterInstagram

Stream her music: SpotifyApple MusicSoundcloudYouTube

Purchase on Bandcamp

SKY DIVING PENGUINS – Album Review: “Sky Diving Penguins”

Who would ever expect to find an act with a music style and sound similar to the Beatles in the tiny nation of Georgia? Well, such an act exists in the form of Sky Diving Penguins, the brainchild of singer-songwriter and multi-instrumentalist Gia Iashvili, who on December 1st released his debut self-titled album Sky Diving Penguins. Based in the Georgian capital of Tbilisi, Gia is an interesting guy with a fascinating life story, some of which I learned about in a great review by Iain Key for webzine Louder Than War

He grew up in a time when Georgia was part of the Soviet Union, and though Western music was frowned upon and even illegal, he managed to get his hands on some Beatles albums, which had a life-changing impact on the impressionable young teen. After the collapse of the Soviet Union in the early 1990s, he was able to openly revel in the music of Nirvana, Beck and Elliott Smith, among others, all of which have had a major influence on his sound.

In 2001, Sky Diving Penguins released Outspoken EP to critical acclaim, and were on the verge of signing with a record label when Gia decided to relocate to Japan, where he began studying cinematography and Kyudo (archery). One day, while practicing Kyudo, an arrow accidentally struck his left ear, leaving him deaf in that ear. After a lengthy convalescence, he went off the grid in the Mount Fuji Five Lakes region, where he spent the next eight years in a kind of self-imposed exile. Once he emerged, he moved back to Georgia, where he had a serendipitous encounter in Tbilisi with Georgi Kinkladze, the Georgian former player for the Manchester City Football Club who’d become a cult hero.

After talking and reminiscing about their time in the Red Army together and living in Manchester, Gia felt reinvigorated. He began writing music again, including co-writing the 2016 Georgian Eurovision entry “Midnight Gold” for indie rock band Young Georgian Lolitaz, performing with the band Z for Zulu, and slowly rebuilding his fan base. He recorded the songs for Sky Diving Penguins over the past three years or so, with the help of his friend and producer Mark Tolle, who sadly passed away before the album was completed. Additional production was handled by sound engineer Kote Kalandadze, who also mixed the songs with Tolle. Mastering was done by acclaimed mastering engineer Pete Maher.

For the album’s recording, Gia played guitar, bass, mouth organ, electric piano and percussion, and sang lead vocals, and Dimitri Oganesian played drums. Additional musicians performing on individual songs included Kote Kalandadze on acoustic or electric guitar, Nika Kocharov on electric guitar, Tiko Kvaliashvili on flute, Vako Saatashvili on trumpet, Beka Berikishvili on French horn, and Evgenyi Inchagov on cello. Gia’s wife Maria Charkseliani sang backing vocals.

Sky Diving Penguins features ten tracks touching on the sadness and pain that’s an inevitable part of life, but softened with glimmers of optimism and the belief that things will usually be alright in the end. About the album and it’s quirky cover art, Gia explained: “I always wanted my first album to feature this artwork. It’s a picture of me from when I was a child, holding a toy machine gun; it’s kind of weird and cute at the same time. Every word and every note that I recorded on this album is honest. It took me three years to complete. This is also the last piece of work my producer and friend, Mark Tolle, was involved in. He died a couple of years ago. I wouldn’t change a bit of this album.”

The album opens with “I Don’t Want, I Don’t Care“, a melancholy but lovely song with a strong Beatles vibe. The piano and horns are marvelous, and Gia’s gentle vocals hover in a sweet spot between John Lennon and George Harrison. The lyrics speak to feelings of ennui that keep one from accomplishing anything or moving forward: “I’ve got many things to do, but I don’t do. I’ve got many things to share, but I don’t share. Indifference is everywhere. So I don’t want and I don’t care.”

On “Serotonin“, he successfully melds grungy Nirvana-esque vibes with more lighthearted and melodic Beatles elements, but most of the album’s tracks have a soothing Beatles sound. Case in point are “This Is Breaking Me Apart“, highlighted by enchanting flute and Gia’s delicate heartfelt vocals, and the hauntingly beautiful “Hating Waiting“, which sounds like a song John Lennon could have sung on Sgt. Pepper’s Lonely Hearts Club Band. Gia’s layered vocal harmonies are wonderful, and I love the horns, xylophone and glittery guitar notes.

The pleasing two-minute long “All Goes Back In The Box In The End” sounds a bit like a Bob Dylan song recorded by the Beatles, highlighted by a cheerful mouth organ and fluttery guitar notes. The lyrics advise us to not get caught up too heavily with material things, and to try to keep our perspective on the more important things in life: “You can build the biggest house by the water. You can deny all your friends. Big cars won’t make you feel better, no matter. All goes back in a box in the end.” “About One Hermit” has a quiet introspective feel, with gentle acoustic guitars, horns and strings creating a somewhat melancholy feel. Gia’s vocals sound more like George Harrison here as he sings words of encouragement to another: “This pain won’t last forever. Stupid self-destruction ends. All of us dig at our own pure holes.”

Run Boy” is a bouncy, lighthearted song that continues on the theme introduced on “All Goes Back In the Box In The End”, that we should make the best of this life we’re given: “You dream of the place where ice-cream mountains and melon sun. There’s only weekends. Cops are playing with water guns. And there’s no trouble. Everyone’s a Beatles fan. You got no time boy. Find this place just live and Run boy, life’s not forever. Run boy, you got to get on a bus boy, take it, be clever. Run boy, find the place where you belong.”

Depressed or Bored” is a charming tune, despite its rather dour title. The humorous tongue-in-cheek lyrics speak of a general feeling of discontent with life and perhaps ourselves: “All the questions that I’ve come across, I’m the first in line to get the answer. Wish I was David Hasselhoff, brave, young with toned muscles. Ohhh, depressed or bored.” Once again, I must make note of the strong Beatles vibe, especially in the George Harrison-esque guitars and lilting vocal harmonies. “Headache Will Cause Migraines” is decidedly more downbeat, with lyrics that speak to our sometimes fragile emotional well-being: “Back to my emotions. Rituals of my childhood years. Still get pretty strange notions. But crying with sun-dried tears. Headaches will cause migraines.”

As its title suggests, album closer “Tripping #9” has a delicious psychedelic vibe, with spacey atmospheric synths and watery guitar notes layered over a droning melodic rhythm. The appropriately trippy lyrics are somewhat ambiguous and surreal, but seem to describe conflicting feelings of euphoria and fear: “Air is only distance between me and the stars, but It’s too far. Laughing at the treason. Crying for the sin, where have I been? Mind is the trigger, feeling is the gun. Ever since you’re gone, drink without permission. Glass of diet sky, with no ice.” It’s a haunting and beautiful song.

Sky Diving Penguins is marvelous, and such a delightful listen that made it a joy to review. Gia Iashvili and company have crafted a really brilliant album, and I for one am happy he came out of exile and gifted us with his wonderful music.

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PHILIP MORGAN LEWIS – Single Review: “Redchurch Street Blues”

British singer/songwriter, multi-instrumentalist and producer Philip Morgan Lewis is one of the most creative and prolific artists I’ve encountered in my more than six years as a music blogger. Drawing from an eclectic range of music genres and influences, including alternative rock, blues, R&B, soul, garage rock, folk and EDM, the London East Ender crafts his own unique style of blues-soaked rock. That unique style, combined with his distinctive raspy singing voice that sounds like no one else, makes his music instantly recognizable as only his.

Over the past decade, Philip has released an impressive amount of music, including two albums – Grief Harbour in 2017 (which I reviewed) and Now + Then this past September – as well as two EPs and scores of singles. I’ve also reviewed several of those singles, most recently “I.O.U” this past August (you can read some of those reviews by clicking on the links under ‘Related’ at the end of this post). Now the hard-working musician returns with a fantastic new single “Redchurch Street Blues“. In addition to writing, singing and producing the track, Philip also played slide and electric guitars and organ. Drums were played by Jon Harris, bass by Ben Jones, additional electric guitar by Rob Updegraff, and backing vocals were sung by Philip, Vicky and Little A. The track was recorded at One Louder Studios London by Alan Emptage, and mastered at Fluid Mastering by Tim Debney.

I’ve stated previously that one of the things I like about Philip’s music is its unpredictability, and how no two songs of his ever sound alike. With every release, we’re treated to an entirely different sound and vibe than the song before, and “Redchurch Street Blues” is another fine example of that. The song is a raw and bluesy ode to the hardscrabble East London neighbourhood he once lived in, which in recent years has undergone gentrification, along with all the positive and negative changes that comes with it.

The song’s retro and bluesy vibe has one foot planted in late 1950s rock’n’roll, with noticeable shades of Buddy Holly, Gene Vincent and Elvis Presley. In fact, Philip seems to channel Vincent with his be-bop-a-lula-esque vocals in the bridge. The other foot is firmly planted in the present, with a contemporary blues rock sensibility similar to some of the music of two of my favorite bands, Cage the Elephant and The Black Keys. The dual intricate guitars of Philip and Rob Updegraff are outstanding, floating over Ben Jones’ pulsating bass groove and Jon Harris’ thumping drums keeping the tight rhythm.

About his inspiration behind the song, Philip elaborates: “Redchurch Street is set in Shoreditch. I used to live a couple streets down on Bethnal green which is rougher and saw a good deal of the riots; it’s part of the poorest borough of London, Tower hamlets. It’s the home of the colourful Bricklane market and of course the Cockneys which by the way my daughter is as she was born in Whitechapel. Gentrification started a while back as posh shops and franchises moved into the area and most of the little shops, tenants and businesses had a hard time surviving with rent rising and all. I guess this is the way of the world, but the contrast remains stunning from one street to the other, with the City of London and its billions looming over in the east end of London.”

Builders aren’t building
Landlords evicting
The rent is trebling
No signs of easing

Cars are burning
While my baby is sleeping
The streets are a-blazing
And the bonfire grins

I’ve got the red church street blues
And I’m down in the gutter
There goes the neighbourhood

We toil everyday
For a misery pay
Ain’t got too much to lose
When you’re down with that blues
Now shops they are closing
And the malls keep on thriving
Got a bag full of nothing
And the pawnbroker’s spleen


I’ve got the red church street blues
And I’m down in the gutter
There goes the neighbourhood

Now the tables are turning
Heads are consulting
Inflation is rising
And my blood pressure steams
I’m just a dead man walking
Lord I’m up to my chin
I’ve been played now I spin
And the banker still grins     

I’ve got the red church street blues
And I’m down in the gutter
There goes the neighbourhood
It seems like yesterday
Will never fade away
No matter what you hear
No matter what they say
You’re on your own

I’ve got the red church street blues
And I’m down in the gutter
There goes the neighbourhood

Here’s a video of Philip’s acoustic performance of the song:

Connect with Philip: Website / Facebook / Twitter / Instagram
Stream his music: Spotify / YouTube / Apple Music
Purchase:  Amazon / Deezer / Bandcamp 

THE RED LOCKS – Album Review: “Arena Dream Trap”

As EclecticMusicLover, I enjoy listening to a broad range of music genres and styles. And while my tastes generally lean toward alternative rock, dream pop, folk rock, synth pop and R&B, I’m always open to expanding my musical horizons by venturing outside my comfort zone. With that in mind, I was intrigued when singer-songwriter and multi-instrumentalist Leah Al-Uqdah reached out to me about her band The Red Locks and their debut album Arena Dream Trap. Blending together elements of trap, hip hop, arena rock and dream pop, they create their own distinctly unique sound they’ve labeled ‘Arena Dream Trap’.

Based in Chicago, The Red Locks are also a rather unusual band, comprised of the aforementioned Leah Al-Uqdah, her husband DJ Privileged (aka David M Pospiech), and their 14-year-old son, percussion savant David Henry Pospiech. DJ Privileged has also been part of Chicago band Virga Trollyp, while Leah has played with bands Off The Radar and Another Pretty Lush. Both DJ Privileged and Leah play guitar, bass and keyboards, while their son David plays drums and keyboards. With a vocal range and timbre somewhat reminiscent of Björk, Leah sings lead vocals, and DJ Privileged sings back-up.

About their album, Leah confided to me: “So many years and tears have gone into these songs. I really feel the world needs these songs, to share a bottled remedy to aid in a hurtful world. I can help others grow from my pain and pensive notes from my very private spiritual journey. We titled the album ‘Arena Dream Trap’, because it’s the sum of our parts.” 

Well, let me say that the instant I pressed play and heard the opening track “Our Father“, I was taken aback by it’s trippy vibes and explicit lyrics. I was not expecting to hear “The Lord’s Prayer” and the words “You know, eating pussy cures cancer” together in the same song, but I get it. My guess is that the song is a statement on the nature of what constitutes as ‘sin’ in our rather hypocritical Judeo-Christian culture. To drive home their message, The Red Locks layer spooky ethereal synths over a throbbing trap bass groove as Leah talk-sings the lyrics in her breathy echoed vocals.

That deep, pulsating trap bass groove continues on the next track “$I4R“, short for “$o Impractical For Real”, only this time overlain by DJ Privileged’s jarringly beautiful psychedelic guitar chords that hover in a sweet spot between distorted and jangly, accompanied by recurring hand claps. I have no clue as to the song’s meaning, but I really like those resonant guitars. The curiously titled “Helen Keller” is even trippier, with spacey synths, otherworldly male voices and a discordant melody. But the most notable aspect of the song are Leah’s amazing vocal gymnastics, which go from oddly seductive baby-like croons to reverb-soaked menacing wails.

Overrated” is more melodic and upbeat than the previous tracks, with swirling, almost carnival-like synths and cheerful drumbeats, accompanied by Leah’s lilting vocals. I think it’s the prettiest song on the album. But “Spinning to Survive” has a harsher lo-fi sound, with grungy guitars and David’s assertive and marvelously intricate drumbeats. Leah’s colorful vocals sound almost like another instrument in themselves, adding to the song’s rich texture and enchanting vibe.

Perhaps the most unusual track on the album, both musically and lyrically, is “This Semester“. The song has a fairly simple trap beat, but features an exotic and complex blend of spacey instrumentals and sounds. My interpretation of the lyrics is that they seem address pregnancy and sex, however, Leah told me they’re actually conceptual, and meant to explore an abusive one-sided relationship an artist develops with music. Leah starts off with a series of la-la-las in a sing-song manner, then sings in a baby-like voice “I think I really fucked up this semester, ’cause I think I know what’s best for her. A new way of expressing her true temperature. For an even cure, believe in her ability to grow that seed in her, the need to know that she’s for sure I’m keeping her, close to my heart. Because it’s not about pain. We’ll make sure no one gets fucked, but like everyone came.” Later in the song, DJ Privilege gets even more explicit, speaking lyrics I won’t repeat here.

I Don’t Recall” is tasty little psychedelic acid rock trip, while “It Takes Like” is an acid trip on steroids. The eerie industrial synths, discordant percussion, gnarly distorted guitars and Leah’s almost maniacal vocals create a deeply unsettling vibe. I didn’t think the songs could get any more strange, but “1000 Words” proved me wrong. Not that that’s necessarily a bad thing, as despite the very discordant triphop melody, skittering chirpy synths and Leah’s starkly contrasting blend of tortured and sing-song vocals, followed by DJ Privilege’s rapped verses, the song has a certain bizarre appeal. They close the album with “Strung Along“, a fairly mellow and gauzy rock track, featuring grainy distorted guitars, restrained percussion and Leah’s quirky warbling vocals. The song ends with her saying “thank you”, in humble appreciation for our having listened to their album.

While Arena Dream Trap won’t be everyone’s cup of tea, it’s a unique and utterly fascinating work that deserves attention. I applaud The Red Locks’ strong originality, imagination and musicianship, and if you like quirky trap music that pushes the envelope, you will enjoy this record.

Arena Dream Trap is available for streaming or download on SpotifySoundcloudYouTube 

THUNDER FOX – Album Review: “Sanctuary”

One of the most uniquely wonderful bands on the planet is Thunder Fox, a wickedly funny, intensely creative, and outrageously talented five-piece based in Sydney, Australia. Drawing on elements of funk, soul, jazz, blues rock, hip hop, reggae and pop, they skillfully channel the sexy funk of Prince, the soulful croons of 70s-era R&B artists like Al Green, Ronald Isley and Teddy Pendergrass, and the brassy exuberance of Earth, Wind & Fire into their delectable music stew. And while their sometimes bawdy lyrics and playful antics would seem to indicate a juvenile zaniness – not to mention the fact they could all still pass for teenagers – their music has a stylish, jazzy sophistication, thanks to their exceptional songwriting and musicianship, as well as having both a saxophone and trumpet player in their lineup. Finally, though they’re all straight men, they’re not afraid to be playful and affectionate with one another, as well as tear down gender barriers by sometimes showing a more feminine side. As a gay man, it makes me admire, love and respect them all the more.

Thunder Fox has been making and releasing music since 2015, but I first learned about them in 2019 when they reached out to me about their hilarious single “Been Busy”, one of the tracks on their wonderful debut full-length album Love at First Sniff. It was most definitely love at first sniff for me, and I loved the album so much I wrote a review about it. Over the past two years, they’ve experienced a few lineup changes, and now consist of the dangerously charismatic Sam Dawes (Lead Vocals/Guitar), Travers Keirle (Sax/Vocals/Rhymes), Jesse Tachibana (Trumpet/Vocals/Synths), Max Vallentine (Drums), and Casey Allan (Bass). They followed with several more singles, a few of which I also reviewed (that you can read by clicking on the ‘Related’ links at the end of this post). Now they’re back with a second album Sanctuary, which dropped November 18th, and it’s every bit as delightful as Love at First Sniff.

Sam has written a marvelous background piece about their inspiration and creative process behind the album, and rather than try to paraphrase, I thought I’d simply share his eloquent words verbatim:

“‘Sanctuary’ is our second full length album, which marks the dawning of a new era for Thunder Fox in many ways. After having a couple of members leave the band and experiencing a few other obvious set backs during 2020/21, we needed a second wind. As an artist it’s really easy to lose motivation and focus when faced with challenges that draw you away from your art such as band member turnaround and, say, a global pandemic. As such, I think we all really felt the need to pick up where we’d left off somehow and find some momentum by creating again. With the addition of Casey the Bass Ace to the crew, it was a great chance to dig into some new and improved sounds and try to reshape our art in a way we had yet to explore.

We had the idea to stay in a far-off Air BnB during one of lockdown’s rare lulls, and managed to snag a spot at a beachside bungalow in Nambucca Heads in order to get away from the bullshit and just create. It was a week of literal bliss, at least for me, where we could all engage in art fully and be immersed in the creation of a project again. In all honesty, we didn’t have much of a plan for the album’s concept or soundscapes; we’ve always got so many ideas spinning from all the unique inspirations of the different members that half the battle is just taming the flaming bird’s nest of ideas into a nice, silky coif. What we did have, though, was a bunch of time on our hands, a cathedral-esque living room with high, echoing ceilings and a glistening sun to spill across the verandah as we sat and flicked through old recordings of rehearsal jams.

Now and then, we’d land on a groove that tasted sweet enough to revive and try to mould into a full blown banger. Once the songs started shaping up and I began to feverishly type lyrics into my notes app, the mood of the record began to take shape. Turns out I was feeling all kinds of put out by the doomsday that was the year past and my lyrics would tumble out of my brain like multi-coloured, cynical snowballs, building in size and scope as they rolled. If I were to describe the sentiment of the record in one word it would be “cynical”. More broadly, though, I think I’ve always weaponised cynicism as a way of attempting to understand the world around me. I felt cynical about the political climate, about love, about my day job and how I felt I’d never leave. It felt good to write it out.”

The album opens with sounds of a plane flying overhead, then the guys break into a gospel choir on the joyously upbeat “Head in the Clouds” as they sing “Something pulling me up out of my seat. Rather be anywhere than where I’ve just been. Smile but stay silent. Don’t want no one to see. Head in the clouds. It’s a glorious thing.” And a glorious thing it is, chock full of funky grooves, sunny instrumentation and uplifting harmonies, highlighted by Sam’s gorgeous silky vocals which often rise to an angelic falsetto.

He’s provided wonderful background notes for each song that are more colorful and interesting than anything I could possibly write, so I’m just gonna share them all. It’ll likely make this review too damn long, but fuck it, it’s my blog and I’m going to include them! Here’s what he has to say about this track: “If Thunder Fox are known for anything, it’s being able to avoid taking things too seriously. ‘Head in the Clouds’ came to me in a blue dream on one of those hot nights where your brain feels sticky. We wanted to open the album with some fun and familiarity before shit got real.

The album includes four brief interludes that serve as intros or connectors, the first of which, “A Party“, leads us into the funky gem “Good Time“. Sam sets the stage: “Early twenties, share house, undesirable shindigs with desirable chemicals. This night I wasn’t so much pissed off as I was hammered and concussed after having hit my head on the pavement following a few libations too many at the bar. I returned home to my lovable city dirt shed to find hundreds of people swarming. As I stumbled through the crowd, blood still tacky on my forehead, I thought to myself, ‘this is a great idea for a song.’ Luckily when we got to nutting it out at our makeshift writing space up the coast, Max had the perfect drum groove he’d been wanting to try for ages. It came together in a flash.

Each of the guys shine on this track. Sam starts things off with a funky little guitar riff as Sam and Casey lay down a soulful rhythm on drums and bass. Amid flourishes of Jesse’s jazzy trumpet notes and Traver’s cool sax, Sam cheekily complains “Why is no one acting like I’m the man of the house? No one at this party seems to know my name, and that ain’t right. Yeah, I’m pissed off coz I got here, and nobody offered me a good time.” Good times indeed!

The guys dial up the energy on “Not For Sale“, a bouncy, funk-infused take on the old adage that money can’t buy you love: “I know you got more money than me, but money is just temporary. Cash ain’t what it’s cracked up to be, when money can’t buy my heart, heart, heart.” The song has an irresistible Earth, Wind & Fire vibe, highlighted by the band’s signature horn section and Casey’s funky bass groove. Sam explains: “Casey, being a relatively new addition to the band at the time, brought with him a synth bass and a set of fingers carved by the gods. Man, he had such a groove on that pile of plastic, the rest of us were floored. We wanted to write something dark, but funky (duh) and bad boy Casey had just the stuff. I know I’m not the only one who had it etched into my brain early on by social media among other sources that success and happiness is defined by finance, followers and fame. Damn we were wrong. Sometimes we lose ourselves so immensely to the pursuit of materialistic ends, we forget how ridiculous it all is. I know I did.

The second interlude “A Circus“, featuring carnival music, unnatural-sounding neighing horses, and Travers’ quirky vocals, leads us into “Fruitcake“, a delightfully silly song with nonsensical lyrics like: “Moose ate my tooth paste. Said his tooth aches. Ate a few too many half baked fruit cakes, more than he could take. Now he’s a on a diet, trying to shift the weight lifting rakes by the lake.” Sam elaborates: “I don’t even know if Travers knows what this song is about – more millennial existentialism, I’d say – but it’s gotta be one of the most fun, hilarious and groovy tracks on the record. Full Travers, as we say. We came up with the groove and guitar vamp at a soundcheck in Townsville. We were just fucking around at the time but it resurfaced months later at the Sanctuary shack. We jam packed it full to the brim with Thunder Fox-isms and fuckery ‘til it made us laugh our asses off and we knew it was a banger.  Fruitcake was one of the many opportunities we all got to try and flex our production chops and collaborate using DAWs and samples, you know, like modern shit.

The guys tap into their R&B side on “Love You 2“, a sultry, heartfelt song about apologizing to a loved one for having fallen short, and reaffirming that you still love and cherish them. Sam explains: “Drawing from the same existential angst of the previous tracks, there came a time in the months following the writing of ‘Sanctuary’ that I noticed I’d let my material pursuits get in the way of the most important thing imaginable – delicious, unadulterated, full throttle, hyper-vulnerable romance, baby. ‘Love You 2’ is an apology, in a way. Apologising for allowing myself to become so distracted by desire, work and anxiety that I almost forgot to tell someone how much I fucking love their sweet ass. Heed my advice, friends, tell whoever it is you love them. Every. Chance. You. Get.” Accompanied by a languid, soulful and jazzy groove, Sam softly croons “Trying to sort out my life. I know we’ve been here like one million times. I love you too by the way. I’m sorry it took so long to say.

The 55 second-long instrumental track “A Dream” has more of an alt-rock feel than most of their songs, and serves as a fascinating lead-in to the reggae/ska/goth rock beauty “Blue Light Blindness“. Deliciously dark and melodically complex, the song calls out our mobile phone addiction. Sam elaborates: “‘Blue Light Blindness’ has a serious ring to it if you ask me. You know, us millennials and our god damn phones, right?! Seriously though, I couldn’t name a more potent drug than a smartphone packed with social media apps. We know it’s bad, it distracts us from the importance of self-worth among other things but, we can’t stop. I was listening to Kanye’s ‘Black Skinhead’ and Marilyn (fuck you) Manson’s ‘The Beautiful People’ and I wanted that hardcore triplet groove so bad, I wanted the darkness. Luckily everyone was on the same page with that one. This one started as another off-the-cuff jam we happened to have recorded on one of our iphones (good for something after all) and it was pieced together intensely on the first day of writing. When we added in the horns we realised we had some James Bond shit on our hands.”

There’s so much going on musically, from a bouncy reggae beat one minute, to a psychedelic gospel-like interlude the next, only to be broken by an explosion of goth rock distortion and mayhem before circling back to the reggae/ska groove. God damn, I love this song!

I love “The Weekend” too, on which Thunder Fox give us their delightful take on the drudgery of soul-sucking dead-end jobs that leave us in a continual state of living for the weekends. Sam opines on the subject: “More angst, more day job, more bullshit. Until it stops being the norm, I won’t stop writing about it. I mean, can any of us really imagine a bearable life that entails 5 days of working our asses off to afford 2 days of drinking away the stress? Not me. But, it be like that sometimes. We thought it was pretty funny to put the little kids voices (not real kids, just us, we’re not made of money) in there because it became apparent that this way of being was built into our psyches from the youngest possible age. Work, party, work, party, die. No thanks! The irony is, we made this song a party anyway, the screaming, the South American street festival dirty sax interlude is one of the best moments on the album hands down.”

The song is another melodically complex track, starting off with swirling guitar notes and quirky otherworldly childlike sounds, followed by a few seconds of children’s – that is, the band’s – sing-song voices. The song quickly transitions to a lovely melody with Sam’s beautiful smooth vocals, which are abruptly broken when he wails “I don’t wanna wait for the weekend! No!” The song returns to it’s melodic groove, as Sam laments “I feel like crying when I clock in. Feel my soul dying for a few cents. A hundred hours to cover rent. All this shit just makes me sick. The clock it ticks from nine til six. I don’t wanna wait for the weekend! No!” Man, can I relate! At around 2:20, we’re treated to a jazzy trumpet and sax-fueled burst of energy as the melody briefly turns into an exhilarating Latin-esque dance beat. These guys just keep blowing me away with their inventiveness and musicality.

A Lapse” is a minute and a half long instrumental featuring super-gnarly, funky grooves that would make Grandmaster Flash proud. This lead us to “All the Stars“, a sexy and soulful song that sort of continues with the theme introduced on “The Weekend”, namely, what is the point of all this disorder and uncertainty in life? Sam elaborates: “Ah, sweet entropy, the cause of, and solution to all of life’s entropy. I wrote this as a poem in another one of my moments of existential disaster, still reeling from a day of working a call-centre job of all things. Believe me when I tell you there’s no stronger vacuum to suck the soul right out of the holes in your face than a fucking call-centre job. Anyway, ‘All the Stars’ is the epiphany that this happens to all of us at some point in our lives, maybe even forever. We’re all stars really, but we sure as hell don’t act like it. We run in circles trying to make sense of this chaos. All of us. One of my favourite elements of this one is the longing, weeping horns after the chorus. When Jesse and Travers get together to dream up a perfect horn line, they never miss.”

The first part of the song is gorgeous, with shimmery guitars, glittery synths, and those weeping horns layered over Casey’s sensuous bassline and Max’s restrained percussion, creating a dreamy, enchanting soundscape for Sam’s resonant falsetto. Two-thirds of the way in, the song abruptly shifts into high gear to become a rousing punk-rock banger, with blaring horns and frantic rhythms. It’s simply perfect!

The album closes with “The Stew“, a wild and funky ride with more grooves than a box full of vinyl records. I love the soulful James Brown-like vibe, driven by a funky bassline and stuttering drumbeats, and highlighted by fluttering horns and Sam’s rapid-fire vocals. Sam sez “This track is a band favourite from way back. We wrote it in 2017 and played it at a few shows but it never really saw the light of day and faded away eventually. When it came to putting together a track listing for ‘Sanctuary’, we listened to an old live recording of “The Stew” and all agreed we’d be crazy not to show this off. To me, ‘The Stew’ is Thunder Fox’s anthem. It perfectly sums up our chaotic mixture of anything and everything that brings us joy. It’s more than the sum of its parts, to say the least. When I wrote the lyrics, I was riding high on a wave of rockstar ego that feels so real when it hits but, when you wake up to jackhammers in your brain, you remember you’re so full of shit and you’re going to work hung over. I really wanted to just take the piss out of myself in a song, try bring myself back down to the ground. Here, I get in touch with my sarcastic, self-depreciating British roots. When all is said and done, I’m fully aware that I’m not God’s gift… Thunder Fox is.”

I wholeheartedly second that, as I adore this band, and adore this brilliant album. With Sanctuary, Thunder Fox has one of the best albums of the year on their hands, and it should also be in yours.

Follow Thunder Fox:  Facebook / Twitter / Instagram
Stream their music: Spotify / Soundcloud / YouTube / Deezer
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BOY CALLED KILLIAN – Single Review: “What is Tomorrow?”


Boy Called Killian is the new music project of Shane Radford, a singer-songwriter from Kansas City, Missouri who I’ve been following for more than five years. He’s also a member of Kansas City alt-rock band Lost in the City, who’s currently on hiatus. I reviewed their excellent albums, “Genesis” in 2016 and “Leaving Home” in 2018, and it’s hard to believe it was that long ago! At any rate, I’m happy that Shane is continuing to make new music, and he’s just released his debut single as Boy Called Killian, “What is Tomorrow?

Shane came up with the idea for his moniker ‘Boy Called Killian’ by combining his love of Peter Pan and middle name Killian. His sound is influenced by an eclectic range of genres ranging from 80s pop to 90s hip hop to modern rock. He felt compelled to write “What is Tomorrow?” as a way of expressing his feelings of exhaustion and numbness resulting from the pandemic, which hit close to home for Shane. Sadly, he lost his grandmother to Covid, and all the lies and false information some people were spreading about the virus, masking and vaccines made him frustrated and angry. He wrote, sang and played all instruments and programmed all synths on the track, which was recorded and mixed by Bret Liber at Red Roof Productions.

The song is darkly beautiful, with swirling otherworldly synths over a droning synth bass that create a rather ominous atmospheric soundscape. But he lightens the vibe with numerous musical touches like a skittering percussive beat and sparkling keyboards to provide glimmers of hope. His earnest vocals sound better than ever here, nicely backed by own lovely soaring harmonies as he laments “Everybody’s got somewhere to be. Everybody but me, me, me, me. So what is tomorrow? Will we ever be normal again? Everybody’s got an opinion. Everybody has got a wrong opinion./ What’s the point in spouting off? You look like an asshole./ Maybe you should shut your mouth.

It’s a wonderful, expertly-crafted song that really strikes a nerve, as well as an excellent beginning for his new Boy Called Killian project.

Click here to watch the special animated video Boy Called Killian created for the song.

Connect with Boy Called Killian: FacebookInstagram

New Compilation Album “V4Velindre” to Raise Funds for Welsh Cancer Center

Welsh music journalist Kevin McGrath has embarked on an ambitious effort to raise funds for Velindre Cancer Center in Cardiff, Wales, where he’s received treatment for his own cancer. A regular contributor to Wales Arts Review and New Sound Wales, McGrath came up with the idea to create a massive 40-track digital album release as a way to not only raise money for a worthy cause, but also pay back in kind for the life-saving care he’s received.

Accordingly, he reached out to some of his favorite musicians in Wales, as well as in places such as Italy, Finland and America, to donate a song, old or new, released or unreleased, toward the creation of a 40-track mixtape album. Well, the response was beyond what he expected, and the album, entitled V4Velindre, now has a whopping 50 tracks by some of the best bands in Wales, including Bandicoot, Climbing Trees, Campfire Social, and Head Noise, as well as established singer/songwriters such as Jodie Marie, Evans McRae and Dan Bettridge.

McGrath explains his mission for creating the album: “V4Velindre exists because from the minute that we are born our lives intersect with the National Health Service. We all have stories (happy and sad) of the crucial role the NHS plays in our very existence. Nothing, though, could have prepared us for the sacrifice that NHS staff all over the country made to keep us safe during the COVID pandemic. Just between March 2020 and December 2020 883 NHS staff members died from COVID doing their duty and so much more. As the NHS, and the nation, seeks to rebuild in the wake of the pandemic we need to come together and make our contribution. As Nye Bevan famously said, ‘the NHS will last only as long as there’s folk with faith left to fight for it’. That fight comes in many measures – some will work for the NHS, some will vote for the NHS, some will protest for the NHS, and some will help finance its upkeep through jumble sales and sponsored walks. Please consider purchasing V4Velindre. Every single penny of the proceedings that comes to me from the sale of this album (minus the Bandcamp commission) will be passed straight to the Velindre Cancer Centre, where I have been cared for as an outpatient for the past eight years.

Among its 44 tracks, the album features songs by the last three winners of the Welsh Music Prize, including “O Silly Me” by young singer-songwriter Boy Azooga, “Brassneck” by indie legends The Wedding Present (an exclusive re-working of one of their all-time classics), “Who You Are” by BOB and “Enemy of Promise” by the Nightingales. In addition, the album includes songs donated by outstanding new Indie bands from Italy (Smile) Finland (That Forgotten Band) and the U.S. (Walter Etc, Eggs on Mars and Parker Woodland). Two of the songs are by Welsh artists I’ve previously featured on this blog: “Deal With the Devil” by the hyper-talented singer-songwriter GG Fearn, and “Stage Fright!” by electro-punk band Head Noise. There are also some newly-recorded tracks from Armstrong, Silent Forum, Burning Ferns and Y Dail that cannot be heard anywhere else but on this album.

Here’s a sampling of the wonderful songs included on V4Velindre:

V4Velindre will be available exclusively through Bandcamp as a digital-only release on October 1st, and may be pre-ordered here. If you pre-order, you will get five tracks now (streaming via the free Bandcamp app and also available as a high-quality download in MP3, FLAC and more).

ALEX SOUTHEY – EP Review: “My Nights On the Island”

Alex Southey is a Canadian singer-songwriter and musician who makes outstanding music that can generally be described as alternative indie folk, but it’s so much more than that. Originally from Vancouver and currently based in Toronto, the busy artist has released quite a bit of music over the past few years, including three albums: Christmastown in 2019, You’re Not Just a Body to Me in 2020 and, most recently …And the Country Stirred this past February. Prior to that album’s release, I featured one of its singles “Rosie” – a deeply personal and haunting love song to his erstwhile hometown of Vancouver – on a Fresh New Tracks post.

Now he’s back with an exquisite new EP My Nights On the Island, which dropped September 17th. All the songs were written, performed, and produced by Alex, and mastered by Aaron Hutchinson. The beautiful cover artwork was designed and created by Felicia Wetterlin. The EP is a departure from his more typical indie folk sound, though truth be told, his music style is rather eclectic and hard to pin down, genre-wise. Like all creative artists, he’s not afraid to explore and experiment with his music, and as a result, each of his albums sound different from one another.

In an interview with Spill Magazine, Alex explained his creative process behind “My Nights On the Island: “I was trying to make an EP that would please my 17-year-old self. So, there is a little bit of Hip Hop and beats; I am not rapping, but in terms of beats. There are a bunch of acoustic guitars, and electric guitars and there is a theme, which is breaking up.” In a later Instagram post, he further elaborated “The EP encompasses a lot of things I wanted to do, and to not do the same thing again. Instead of starting with folk songs and dressing them up with an arrangement, I tried to go backwards, starting with what might be considered secondary or accent instruments (at least for my taste) as the main instrument. It forced me to write in a slightly different way. Of course, there are some pretty simply structured songs on here, like ‘As Close As You’ll Ever Be’, but there are also plenty of moments where it’s totally abstract in a way that at least absorbed ME and continued to pique my interest enough that I followed through with them.”

Well, the result is a fascinating and sonically complex work that’s pure delight for the senses. I’ve now listened to the EP six times, and discover new atmospheric sounds, instrumental textures and vocal nuances with each successive play. While there are common threads running through all the tracks, each one sounds uniquely different, surprising and thrilling us at every turn. Using nature sounds of water, waves and birds, he takes us right to that island.

The darkly beautiful opening track “The Gods Are Fighting” starts off with sounds of a boat slowly moving through what I’m imagining to be nighttime waters, accompanied by far-off ominous synths. At around 45 seconds, the song abruptly transitions to a lovely acoustic guitar-driven melody, highlighted by gorgeous strings and what sounds like a Mellotron, soaring to a dramatic crescendo. The track calms back down at the end with gentle sounds of breaking waves. About the track, Alex told Spill Magazine“I wrote the song around the time my last significant relationship ended. That also happened to be when it felt as though Toronto and its relationship with many of its citizens was at an all-time low. The song describes the dual positions of a relationship that has soured – where even dreams are muted and the agreed upon etiquette is out the window.” His richly layered vocals are captivating, with a melancholy quality that nicely conveys the sadness and pain of his break-up.

On the moody, atmospheric “Evergreen“, which sounds a bit like a song Bon Iver could have recorded, Alex experiments with lush, otherworldly synths and sounds, over which he layers delicate notes of what sounds like a mandolin or possibly a ukelele. The lyrics are spare, but he wistfully laments of how his feelings of love have died: “I don’t, I don’t, I don’t love you. I turned yesterday into stone.” And as its title suggests, the instrumental piece “Mellotron and Juliet” features a stunning Mellotron and his enchanting falsetto croon, creating a dreamy, yet melancholy soundscape.

My Nights On the Island / Rich In Experience” is an interesting track, as it’s actually two distinct, but related mostly instrumental tracks that Alex has fashioned into a couplet. The first half, which is the title track, starts off with Alex’s charming strummed acoustic guitar, then deeply resonant brass sounds from what I’m guessing is his Mellotron wash over us as he sings in almost exotic-sounding ethereal vocals, accompanied by somber piano keys and a languid hip hop beat. The song appears to end at 2:30, and after a 10-second lull, we hear sounds of birds chirping along with a return of the beautiful Mellotron. Eventually, horns enter as the music swells into a lush, idyllic soundscape befitting its “Rich in Experience” title.

Perhaps the most unusual song is the dramatic and trippy “As Close As You’ll Ever Be”, which Alex first released as a single in July. The song opens and closes with sounds of a large crowd cheering, as if at a rock concert. He explained this technique to Spill Magazine: “On this song, there is kind of a crowd atmosphere which is influenced from listening to albums by Hip Hop artists and bands like Pink Floyd who would use crowd noises, and weirdly also influenced by Oasis. On their best albums they kind of do this tiny little intro and tiny little outro leading into songs.” Musically, the song features blaring, almost tortured synths and sounds, with acoustic guitar during quieter moments. The lyrics seem to speak to his partner’s lack of appreciation for his worth as a musician: “I’m the hit in your head / I’m all on your bedspread / But that’s as close as you’ll ever be. And it’s true I earn half of what the next dance gets, but I’ve got a heart of gold you’ll pay to see.” I love his vocals, which sound radically different on each track.

On the bittersweet closing track “There’s Anneko, Down the Fire Escape“, Alex comes to terms with the fact that the relationship is over for good, and that they must each let go and move on. The song has a wonderful dominant bassline throughout, overlain with mournful cinematic synths and acoustic guitar notes. His vocals are filled with sadness and regret as he laments “There’s a neat trick, that I taught myself. To let go. Let go. / I can never love you how you want. So let go. Let go.” It’s a fine, albeit dark, finish to this beautiful EP. My Nights On the Island is an impressive, masterfully-crafted work that should make Alex feel quite proud.

Follow Alex Southey:  Facebook / Twitter / Instagram

Stream his music:  SpotifyApple MusicSoundcloudYouTube

Purchase on Bandcamp