Tag: Brighton

AMONGST LIARS – Single Review: “You Are Not a Slave”

On By EclecticMusicLoverIn Reviews16 Comments

Since forming in 2019 after the breakup of their prior bands Saint Apache and Katalina Kicks, Amongst Liars have become one of the most exciting acts on the British rock music scene. Drawing from the best elements of alternative rock, grunge and punk, they play a melodic and fierce style of aggressive modern rock that’s earned them a loyal and passionate following, me included. Based in the Brighton/Eastbourne area on the South England coast, the band consists of Ian George (lead vocals, guitar), Leo Burdett (guitar, backing vocals), Ross Towner (bass, backing vocals), Adam Oarton (drums), and James Brumeo (keyboards and piano).

Photo by Vic Payne

I first learned about them in early 2020 and was intantly blown away by their explosive debut single “Over and Over”, which along with their third single “Burn the Vision”, ended up on my Top 100 Songs of 2020 list. Since then, they’ve dropped many more outstanding singles, several of which I’ve also reviewed on this blog (you can read some of them by clicking on the ‘Related’ links at the end of this post). Their single “Black Days” earned a spot on my Top 100 Songs of 2021 list, and “The Shameful” did the same on my Top 100 Songs of 2023. In July 2022, they released their self-titled debut album Amongst Liars, an outstanding work featuring 11 tracks.

Last September (of 2023) Amongst Liars spent two weeks touring across the UK in support of Canadian hard rock band Theory of a Deadman. They then embarked on another tour last month, this time with American blues/grunge rock artist Ayron Jones (whose sound reminds me a bit of Lenny Kravitz) on his 15-day French tour. It was their second time touring with Jones, who they supported on his UK club tour in November 2022. Here’s a photo of the band at one of their French shows:

Photo by FloRiane F.

Now Amongst Liars are back with their latest single “You Are Not a Slave“, and once again, they’ve gifted us with a fearsome ripper of a tune. As with all their music, the song was produced and mixed by David Radahd-Jones at Red City Recordings in Manchester, and mastered by Grant Berry at Fader Mastering. While they don’t consider themselves a ‘political band’, they certainly don’t shy away from expressing their anxieties and opinions about personal challenges and world events. As band vocalist Ian George has stated in the past, “We’re not preaching at anyone or trying to change the world. We’re just saying these are the things that affect and concern us.”

About “You Are Not a Slave”, Ian explains it’s “all about personal metamorphosis; not conforming to unreasonable demands and not allowing yourself to be controlled or devalued by people who don’t have your best interests at heart. This song comes from recent lived experience where I was subjected to passive aggressive and toxic behaviour in a work environment, which really fucked with my psyche–but ultimately, I wasn’t prepared to accept it. I channeled this frustration into the song, which was actually the last song to be recorded for our second album, and I was really pissed off when I sang this in the studio, so I guess everything happens for a reason! It also relates to personal development in general, especially with the constraints being put on people. The message is: ‘Be yourself, break the mould and don’t be afraid to follow your dreams.’“

Amongst Liars are all great musicians, adept at pushing their respective instruments to the limit to create an explosive wall of sound. On “You Are Not a Slave”, they unleash their formidable arsenal of sonic weaponry, delivering a furious onslaught of raging sludgy guitars, pummeling bass and thunderous drums, laying waste to the airwaves like a rampaging velociraptor. Leo and Ian shred their guitars nearly to the breaking point, while Ross and Adam keep the hard-driving rhythms blasting forward with a breathtaking intensity. Ian has a powerful, commanding vocal style that turns downright fearsome when he needs to get his point across. Here he summons his inner beast, nearly spitting the lyrics as he rails against those who try to dictate how to live your life.

The track will be included on the band’s forthcoming second album Design, planned for release on July 4 via Earache Records.

The fantastic video features arresting footage shot by Duncan Tyler, Vic Payne and others at some of their performances on their recent French tour with Ayron Jones. The brilliant editing was done by JR Lewis of Mediabite Group.

Like for all their singles, the terrific surreal artwork for “You Are Not a Slave”, showing three large cocoons in a dark and dingy room, was created by the brilliant artist Pierre Engelbrecht. Pierre’s works are often bizarre and sometimes disturbing, but always amazing, and you can see more of them by checking out his Instagram account.

Connect with Amongst Liars:  Facebook / X (Twitter) / Instagram
Find their music on  Spotify / Apple Music / YouTube / Amazon

AMONGST LIARS – Single Review: “The Shameful”

On By EclecticMusicLoverIn Reviews7 Comments

One of my favorite British acts making music these days is Amongst Liars, who play a fiercely aggressive style of melodic hard rock, forged from a powerful trifecta of alternative rock, grunge and punk. Based in the Brighton/Eastbourne area on the South England coast, the band consists of Ian George (lead vocals, guitar), Leo Burdett (guitar, backing vocals), Ross Towner (bass, backing vocals), Adam Oarton (drums), and newcomer James Brumeo (keyboards and piano), who recently joined the stellar lineup.

Photo by Duncan Tyler

I first learned about them in early 2020, and was immediately blown away by their explosive debut single “Over and Over”, which along with their third single “Burn the Vision”, ended up on my Top 100 Songs of 2020 list. Since then, they’ve dropped several more outstanding singles, many of which I’ve reviewed on this blog. In July 2022, they released their eponymous debut album Amongst Liars, an outstanding work featuring 11 tracks, including the two aforementioned singles. Now they’re back with “The Shameful“, a blistering ripper of a song overflowing with the signature searing riffs, pummeling rhythms and savage vocals we’ve come to love and expect from these talented gents. The track was recorded & mixed by David Radahd-Jones at Red City Recordings in Manchester, and mastered by Grant Berry at Fader Mastering.

While they don’t consider themselves a ‘political’ band, Amongst Liars are not afraid to tackle some of the pressing socio-political issues of the day, including war mongering for financial gain, poverty, greed, fake news, deceitful politicians, election fraud, human rights abuses and climate change, and they’ve been outspoken advocates for social justice on several of their songs. On “The Shameful”, they call out politicians and media personalities who bombard the public with bullshit and lies to gaslight and confuse, turning us against one another and causing us to vote against our better interests. Band vocalist Ian George elaborates: “[the song is about the world of bias and misinformation that we are living in today. Government (with certain characters more prominent than others) and media are in increasingly bending perceptions to their own narrative and it is just happening all the bloody time isn’t it! This gaslighting and brainwashing distorts reality for many people and causes anger, hurt, pain, division and distrust.“

To drive home their message, Amongst Liars unleash a furious barrage of raging guitars, chugging bass and smashing drumbeats, laying waste to the airwaves like a rampaging sonic beast. Leo shreds his guitar to the breaking point, while Ross and Adam keep the thunderous rhythms blasting forward with a breathtaking intensity, fully channeling the strong sense of frustration and anger expressed in the biting lyrics. Ian has a commanding vocal style that turns downright fearsome when he needs to get his point across: “As the violence drags me through, I’m at peace with you. Gonna cut me down the easy way. As the shamers stand in line, sing it one last time. Gonna make me a believer. Talk is cheap anyway – get to know your enemy!” As he savagely wails the final words “As the shamers stand in line, sing it one last time. Just let it go!“, I’m left covered with goosebumps.

“The Shameful” is their hardest-hitting and most ferocious single since “Black Days”. I’m happy Amongst Liars continue to create outstanding music, and if you’re a fan of explosive and melodic hard rock, you will enjoy this single.

Like for all their singles, the terrific surreal artwork for “The Shameful” was created by the brilliant artist Pierre Engelbrecht. A young woman is shown lying on her bed, sunlight streaming into the room while she blissfully watches what I’m guessing is her TV. Her brain, which has been disengaged from her skull, hovers above her head in a locked cage that’s connected by a chain to her ankles. Pierre’s works are beautiful, bizarre and sometimes disturbing, but always amazing, and you can see them by checking out his Instagram account.

Amongst Liars will be opening for Canadian hard rock band Theory of a Deadman on their The Dinosaur Tour later this month, beginning Friday, September 22nd at the Electric Ballroom in London.

Connect with Amongst Liars:  Facebook / Twitter / Instagram
Find their music on  Spotify / Apple Music / YouTube / Amazon

Paris Alexander featuring Eirene – Album Review: “Renaissance”

On By EclecticMusicLoverIn Reviews13 Comments

Paris Alexander is a creative and talented singer-songwriter, composer and electronic music producer based in Brighton, England. He’s been a long time collaborator with British singer-songwriter, producer and muse Tina Eirene (with whom he’s also romantically involved), as well as Norwegian coldwave/post-punk artist Antipole, with whom he co-wrote, sang vocals and played synths on, and produced three albums together (one of which, the 2017 release Northern Flux, I featured on this blog). Alexander and Antipole have also worked together on numerous projects with other artists, and Alexander has worked with fellow Brighton electro-rock band IAMWARFACE (one of my favorite British bands who I’ve also written about many times) and London electro-psych band Leg Puppy.

Tina Eirene and Paris Alexander enjoying themselves

In late 2019, Alexander released two excellent darkwave singles, “Tense” and “Druids”, both featuring vocals by Eirene. Then, this past February, he began releasing a series of new singles, “Renaissance”, “Devour”, and “Lost in the City” (the latter of which I also reviewed). All three of those singles are included on his wonderful debut album Renaissance, which dropped September 17th. The album was co-written and co-produced by Eirene, who also sings vocals on most tracks, and recorded, mixed and mastered at Alexander’s Blue Door Music Studios in Brighton.

About the album, Alexander explained to me that the title “Renaissance” is intended to symbolize “a positive change in life and an onward journey,” as well as the fact that this is his first solo album (albeit with Eirene). Delivering 38 minutes of shimmery darkwave grooves in ten outstanding tracks, Renaissance has a retro late 80s feel in the vein of bands like The Cure, Depeche Mode and New Order, yet sounds current and original. One of the characteristics I especially like about the album is that, similar to The Cure, many songs feature beautiful jangly and chiming guitars which lend great texture and drama to their overall sound.

The album opens with the title track “Renaissance“, a brooding song with a mesmerizing fast-paced driving beat that sets the tone for what’s to come. Alexander explained that the melodramatic lyrics are a metaphor for an internal crisis that’s producing an anxiety attack: “The mine exploding in my face was my first clue. Dreams shattered, burning pain. My hands are tied, my heart is cold. Burn down, the ashes, left with nothing. Nothing. My hands are tied, my heart is cold.” His rich baritone vocals sound like a glorious mash-up of David Bowie and ABC’s Martin Fry, while Eirene’s sultry, otherworldly croons lend added mystery to the proceedings.

From that point on, each track seems to flow seamlessly into the next, transporting me to a dark but dreamy place. The hauntingly beautiful second track, “Son Chemin“, is one of my favorites. Loosely translated, the song’s title means one’s way or path forward, which seems to signify an emergence from the personal hell first described in the opening track “Renaissance”. Against a backdrop of lush atmospheric synths, the interplay between the throbbing synth bass groove and the delicate mix of moody and chiming guitars is quite marvelous.

As noted above, I’ve previously written about “Lost in the City“, a darkly beautiful song about the cold and anonymous aspects of urban life, and how despite living amongst lots of people, we can sometimes feel very isolated and alone. I love the assertive stomping beat, hypnotic bassline, moody swirling synths and bold jangly guitars. The accompanying video, beautifully filmed in black and white by Eirene, features scenes along and around the Thames River in historic South East London. The black and white tones and brooding skies nicely capture the darkwave elements of the music and lyrics.

Frequent collaborator Antipole contributes some dazzling jangly guitar work on “The Void“, a song awash in dreamy psychedelic synths and moody vocal harmonies. Another favorite of mine is “Devour“, a dramatic and stunning track featuring a sharp, pulsating beat, luxurious cinematic synths, shimmery guitars and enchanting harmonic choruses. The lyrics are rather ambiguous, but seem to speak to searching for a way out of the depths of despair: “I kneel on this dusty floor. Look up through the pane. Light shimmers on my refrain. The dust splinters the light. The moon breaches the night. My arms extend to the stars. My back it holds the scars. Gotta find a way.”

The stellar tracks keep coming on strong, and I’m running out of descriptors and superlatives. “Siren” has a pulsating, almost dubstep-type beat, overlain with mysterious sweeping synths, handclaps, and a repetitive and hypnotic guitar riff, all creating a mesmerizing soundscape. In her best siren-like voice, Eirene breathily croons “You’re the one that always draws the best of me. Hold on to the words that go unspoken. I want the sun to shine through the trees, and the warmth develop my sanity.” The dark and dramatic “Floating Cities” features strong, driving beats, otherworldly synths and the combined vocals of Alexander, Eirene and guest vocalist UIU aka Grey Blatsa, who also played synths.

On the lively “Sound of Vision“, Alexander layers fuzz-coated gnarly synths and chiming guitar notes over a strong, throbbing EDM beat and deep, almost funky bassline. The result is a mesmerizing dance track guaranteed to have you swaying your hips within seconds. Eirene’s bewitching siren-like vocals make a welcome return engagement on this terrific track as well. The charming video they produced for the song features vintage footage of women dancing and doing light striptease, courtesy of Prelinger Risque Archives.

The final two tracks, “Revival” and “Desire“, deliver more hypnotic grooves, darkwave synths and stellar guitar work. “Revival” has a rapid, driving beat and spacey synths, punctuated by beautiful jangly guitars and Alexander and Eirene’s somber vocal harmonies, while the more languid “Desire” features a sultry dance vibe with jangly guitars, swirling atmospheric synths and Eirene’s breathy vocals.

Before I know it, the album’s over, and the first thing I want to do is hit repeat so I can hear it all again. Renaissance is a beautiful, masterfully-crafted work, and one of the finest electronic music albums I’ve written about in a long while. If you’re a fan of darkwave electronic music, or bands like The Cure and Depeche Mode, you will enjoy this album.

Follow Paris:  Facebook / Twitter / Instagram

Stream his music:  Spotify / Apple Music / Soundcloud

Purchase on Bandcamp

Awen Veleda & The Wandering Lights – EP Review: “An Alien Invasion in the Petty Kingdoms (Part 1: Prelude)”

On By EclecticMusicLoverIn Reviews2 Comments

Awen Veleda & The Wandering Lights is a Brighton, England-based music collective that brings together musicians from around the world to create a unique brand of contemporary folk. The project is headed by songwriter and multi-instrumentalist Mike Five (who also plays guitar for the rock band 1 in Five and co-hosts a music podcast with Dr. Bones). They’ve just released their debut EP An Alien Invasion In The Petty Kingdoms (Part 1: Prelude), a concept work exploring how people deal with the unexpected, manage change through their own beliefs and context, and find ways to work together. The name Awen Veleda is a fictitious person, with ‘Awen’ meaning inspiration, while ‘Veleda’ was a 1st century prophetess who was worshipped by Germanic peoples, and her name has come to be synonymous with inspirational wisdom.

The story for An Alien Invasion In The Petty Kingdoms (Part 1: Prelude) is set in 9th Century Britain, amid an unexpected and shocking event that unfolds through the voices of various characters, all scrambling to understand the truth and come to agreement about how to deal with it. The collaborative EP is based on an original narrative and accompanying music written by Mike Five, with lyrics and lead vocals by GRIM17. In addition to Mike Five, who played guitars, organ, piano, drums, synths, shakers, tambourines and birdsong recordings, and GRIM17, for this EP The Wandering Lights is also comprised of One Blind Mouse, who performed the string arrangements and also mixed and mastered the EP, Gemma Kirk, who sang backing vocals on “A Message to the King”, Becca Wright, who played fiddle on “The Witan” and “Chieftain Caiside”, Iona James, who sang backing vocals on “The Real Ealdorman”, Ron Bowes, who played harmonica on “The Real Ealdorman”, Sadie-Rei, who sang joint lead vocals on “Lucrezia”, and Rae Cameron, who played flute on “Lucrezia”.

In advance of the EP’s release on Bandcamp on September 3rd, The Wandering Lights have also released music videos for three of the tracks. The EP will be released on all other music streaming platforms on November 5th. They’ve included all the lyrics for each song on their Bandcamp page.

The EP begins with “A Message to the King“, which describes the adventures of two messengers who travel day and night to reach the King with the terrifying news that an army of mysterious mercenaries has invaded the eastern end of the kingdom. But this is no ordinary group of heathens, as they may not even be human. Unsure themselves of what they’ve actually seen, or that anyone would believe them, their message must reach the King at all costs.

The song opens and closes with spacey sci-fi sounds, a nod to the mysterious alien nature of the invaders. But for the bulk of the track, the music settles into a dark and haunting soundscape of mournful piano and stings, accompanied by Mike Five’s strummed acoustic guitar. GRIM17’s vocals are perfect for the song’s dark mood, and Gemma King’s ethereal choral vocals add a wonderful ghostly vibe.

For the official video, Mike Five and Co. overlaid their track onto the original video for “The King” by Italian animator Goga Mason, which was itself a retelling of the classic story of King Kong. Though it’s a fascinating and compelling video, the visuals do not match the storyline of “A Message to the King”, so I’m not sure why they would use it for this song.

On track two, “The Witan“, a quickly-assembled witan advises the King to take immediate action against the invaders, but before he acts he must uncover the facts and separate them from rumor and superstition. (In England from the 6th to 10th centuries, a witan was a wise man who advised the king on specific issues, and often a member of the Witenagemote, or assembly of wise men, which was the forerunner of the future English Parliament.) Led by a dominant thumping drumbeat overlain with moody strings and acoustic guitar and highlighted by Becca Wright’s lively fiddle, the song has an ancient Celtic feel.

“The Red Ealdorman” (an ealdorman, old English for alderman, was an official of Anglo-Saxon England appointed by the king, who was responsible for law, order, and justice in his shire and for leading his local fyrd, or militia) addresses the efforts by a particular official who’s sent by the King to raise the fyrd and gather an army in preparation for battle. Because of the unusual and potentially daunting circumstances behind their mysterious foe, the King will need all the help he can assemble, even from his enemies – in this case a Celtic Chieftain and his tribe. The prominent organ used in the track gives it a gospel feel, while Ron Bowes’ haunting harmonica and Iona James’ lovely backing vocals add a nice folk touch. Also, to my ears, GRIM17’s vocals on this track remind me a bit of U2’s Bono Hewson.

The video produced for this track enlisted the help of The Wandering Lights’ own army of music lovers from around the world, their own personal fyrd, if you will.

“Chieftain Caiside” sees the red ealdorman, aka the crimson man, meeting with the King’s nemesis Chieftain Caiside, and delivering an urgent message of peace and unity, in their common need to defeat a newfound foe. Thankfully, the chieftain is responsive, and promises his support to the King: “The crimson man rides from my sights, with a message I sent that I hope is right. I won’t be the reason for the downfall these kingdoms may yet incur. I’ve heard your words, I’ve heard your words. Uncommon enemies.” Once again, Becca Wright’s rousing fiddle is a highlight of the song.

The final track “Lucrezia” is the most beautiful of the five, and also my favorite. At this point in the saga, the King, struggling to get to the truth, comes to the realization that the unusual challenges he faces will require creative solutions. He concludes that to achieve the greater good, one sometimes has to do something possibly sinful by comporting with beings outside his own religion, and contacts the Priestess Lucrezia to see if her visions can offer guidance – whilst praying to his own God for forgiveness. “Lucrezia, you’ve been light, love and teacher, So much for so long. But once more I must beg your indulgence. Could you lend me your song?” to which she replies with promise of her assistance that also comes with a warning: “King, I lend you arm and leg so you can make amends .Abuse them not. I am nonviolent until you force my hand.”

GRIM17’s vocals are raw, plaintive and heartfelt on this track, and the silky croons of Sadie-Rei (of the California alt-pop/punk band Until Further Notice) are as enchanting as we’d expect from a priestess. I love the sounds of chirping birds, as well as Mike Five’s beautiful acoustic guitar, One Blind Mouse’s somber strings, and Rae Cameron’s captivating flute. It’s a gorgeous ending to Part 1 of this saga, which I’m now eager to watch unfold.

PARIS ALEXANDER – Single Review: “Lost in the City”

On By EclecticMusicLoverIn Reviews9 Comments

Paris Alexander is a singer, songwriter, composer and electronic music producer based in Brighton, England. He recently dropped a mesmerizing new single “Lost in the City“, which I like so much that I have to share it with my readers. Co-produced by fellow Brighton singer-songwriter and producer Eirene at Alexander’s Blue Door Music Productions, the track is the third single from his forthcoming album Renaissance, due out later this year.

The talented musician has been a long time collaborator with Eirene, as well as Norwegian coldwave/post-punk artist Antipole, with whom he co-wrote, sung on and produced three albums together (one of which, the 2017 release Northern Flux I reviewed). Alexander and Antipole have also worked together on projects with other artists, remixing songs for such acts as Clan of Xymox and She Past Away. Additionally, Alexander has worked with London electro-psych band Leg Puppy on some of his music.

Starting with an assertive stomping drumbeat, Alexander layers a hypnotic bassline, moody swirling synths and bold jangly guitars that immediately make me think of The Cure. Some of the guitar work was played by Simon Meek, with added drums by Martin Meadows. Alexander’s deep baritone vocals have an ominous haunting quality, nicely conveying a rather dystopian vibe befitting the dark lyrics about the cold and anonymous aspects of urban life – how despite living amongst lots of people, we can sometimes feel very isolated and alone. The combination of living in a densely built environment with little or no natural spaces, and feeling overwhelmed by technology, only serves to exacerbate one’s sense of isolation and disconnection, of feeling ‘lost in the city’.

We’re lost in the city
Going nowhere so fast
We’re lost in the city
Little do we care
We’re lost in the City
Techno, nostalgia, round cars, designed beer
We’re lost in the city

Our brains are gone
Lost to receivers, transformers, flat screens
We’re lost in the city
Strobe light flashing away
Inner world far from here
A world of rich hue

Get lost in yesterday
In the city or in our minds
Hang on to the thread of hope
We’re desperate to find……(repeat)

We’re lost in the city….(repeat)
Lost in the city

The darkly beautiful video was filmed in black and white by Eirene along, and in the vicinity of, the Thames River in historic South East London. The black and white tones and brooding skies beautifully enhance the darkwave elements of the music. Particularly interesting is that the scenes are all nearly devoid of people, adding to the overall sense of coldness and isolation expressed in the lyrics.

Follow Paris:  Facebook / Twitter / Instagram

Stream/purchase his music:  Spotify / Apple Music / Bandcamp

THE SLYTONES – Album Review: “IT IS CALLED”

On By EclecticMusicLoverIn Reviews4 Comments

The Slytones It_Is_Called_FRONT

From the moment we first hear the sounds of someone sniffing a bottle, dropping ice cubes and pouring liquor into a glass, then taking a swig at the beginning of the opening track on the new album It Is Called by British band The Slytones, we just know we’re in for a good time. And quite frankly, can’t we all use a few more good times right now?!

Influenced by their love of The Doors, Mr. Bungle, Queens Of The Stone Age and Jimi Hendrix, as well as a colorful mix of Motown, psychedelia, gospel, blues, jazz and Afrobeat, the Brighton-based sextet make wildly entertaining music that’s bawdy, irreverent and funny as hell. Their hilarious, tongue-in-cheek lyrics tackle the minefield of love and relationships, and how they have a way of often exploding in our faces. As they so eloquently state in their bio, their sound “encompasses everything from schizophrenic fairground avant-pop and queasy skanking swamp-ska to crunching left-brain hard rock and mad scientist anti-funk.” To top things off, they dress in natty attire with their faces covered in black and white greasepaint, looking like six dapper mimes in their animated and theatrical performances.

Formed as a trio back in 2006, The Slytones eventually expanded to six members: Ashley Edwards (lead vocals/guitar), Bradley Wescott (guitar), Chip Phillips (keyboards, backing vocals), Chris Warren (bass) (though Carl Brothwood played bass on many of the album tracks), Freddie Hills (drums), and Robin O’Keeffe (percussion/backing vocals). They released their debut EP The Psychedelic Sound Of in 2011, then began recording new songs in 2013 for what was to be their first full-length album.

According to band drummer Hills (whose music I’ve previously reviewed both as a solo artist and as a session musician with fellow Brighton artists Ellie Ford and Liemba), The Slytones “spent three years slaving over it meticulously with a lot of love and attention to detail until it was finished around 2016. Despite all of this work, we got a bit fed up of playing the music industry game (and each other) and went on an indefinite hiatus. Now that we all have time on our hands, we decided to finally release it.” I’m glad they did, because it’s the most fun I’ve had listening to a record since last year’s Love at First Sniff by Australian band Thunder Fox.

The Slytones2

It Is Called was recorded at Ford Lane Studios in West Sussex, under the guidance of Rob Quickenden (Royal Blood, Tigercub, Demob Happy, Fickle Friends), who produced, mixed and mastered the album. Seven years in the making, the album was at last released on May 1st, and features 12 stellar tracks.

Kicking things off is “She Said She Came From the Sea“, which The Slytones first released back in 2015 as a double single with “Time Won’t Wait For Strangers”.  Opening with the aforementioned sound effects of liquor being poured and consumed, it’s the perfect drinking song about what appears to be a vexing mermaid who’s intruding on the singer’s free-wheeling ways. Lead singer Ashley Edwards has a raspy, sardonic and emotive vocal style that’s well-suited for their songs. We fully believe him when he sings “The truth is a stone. My heart is a rock. The women that surround me only long for my cock.” The accompanying video showing the guys performing the song on a pier and in the sea is delightful.

The Slytones are terrific musicians, adept at writing complex, ever-changing melodies and delivering them with an eclectic mix of instruments, sounds and stylistic elements that make for a fun and exciting listen. “Empire” is a great example of this, with a melody that alternates back and forth between a bouncy Latin-funk dance beat and a bluesy, guitar-driven groove that seems to channel the Doors’ “Roadhouse Blues”. In fact, Edwards sounds alarmingly like Jim Morrison when he wails the lyrics “Break down the walls, your empire falls!” The instrumentals are fantastic, especially the bluesy guitars and exuberant horns.

Another favorite of mine is “Sleeping Beauty Blues“, an appropriately bluesy track with everything from glittery synths, funky bass and blues guitars to honky tonk style piano, organ, jazzy drums and even a bit of cowbell for good measure. Then there’s Edwards cheekily crooning the lyrics about his girl not being all that she appears: “I got the sleeping beauty blues. / She sleeps like a beauty, but she snores like a fool.” There’s more musical mayhem to be heard on the rousing “Come Gigolo“, a wonderful tune with a feel similar to “Master of the House” from Les Misérables (at least to my ears). It also has some of the best lyrics: “I’m feeding all the lions to the dogs. As the idiots sleep, we massage their wives. Come gigolo my body ’cause my time is for sale. / Your mother should have slapped you before you were born.” The rousing vocal harmonies in the chorus are marvelous.

The Doors’ influence continues to be felt on many tracks. “Time Don’t Wait For Strangers” is another song with a complex, evolving melody. Opening with a peppy Latin beat, the song transitions after a minute into a languid and beautiful melody, with watery guitars and shimmery keyboards that remind me a bit of “Riders on the Storm”. At around 3:15, the song transitions once again, this time to a more psychedelic vibe with organ and heavier, distorted guitars. “Green Jacket” is a hard-hitting psychedelic and bluesy rocker, with some great fiddle, accompanied by Phillips’ lively keyboards and organ, and O’Keeffe’s gnarly percussive instruments. “The Seed They’d Sewn” has a bluesy vibe similar to “Love Me Two Times”, with lyrics that seem to describe a woman who’s turned out to be the Bad Seed: “She once was an angel, with skin so divine. Now the lizards congregate.. / The seed they’d sewn should not have grown / The sound they found, they should have drowned.”

“Silver Harpoons” is a jazzy, bluesy and psychedelic fantasia. Edwards’ raw vocals are almost feral as he screams “Silver harpoons in the water. Night made to slaughter. Who are you?!” Later in the track, amid eerie synths and distorted riffs, his malevolence is palpable as he snarls: “Where is my goldmine? This corporate clothesline. I’m in a circus full of thieves. You’d kill a whale to feed your tart. I’ll fuck your wife to break your heart.” The infectious honky tonk piano makes a return appearance on the spirited “Shake the Cage“. Edwards and Wescott’s intense, bluesy guitars, Brothwood’s driving bass and Phillips’ piano are fantastic, and Hills does a fine job pounding out the lively rhythm.

“Don’t Leave Me Alone” has a wonderful tango melody, punctuated with flourishes of bluesy, roadhouse-style grooves. On the amusing but dark “King of the Castle“, the band reference nursery rhymes to describe what appears to be a power-mad father. Edwards sounds rather diabolical as he croons “I’m king of the castle / Do you want to grow big and strong like your daddy? / Not by the hair on my chinny chin chin. Well I’ll huff and I’ll puff and I’ll blow your house in.” The song starts off with a jaunty fun-house vibe, complete with ghoulish clown laughter. Edwards repeatedly sings “Come sing, come sing as we’re dancing“, then in the last minute of the track, the music turns darker and downright menacing, with distorted guitars, crashing cymbals and a wailing organ riff.

The guys pull out all the stops on the final track “Pull Your Finger Out“, a complex and meandering 7:52-minute long extravaganza with more melodic change-ups than I believe I’ve ever heard in one song. It starts off with a slow, organ-driven melody punctuated by a bluesy guitar riff, then shifts to a bouncy melody with honky tonk piano, then to a bluesy, guitar-driven vibe, featuring flute and quirky percussive instruments. Various instruments come and go as the tempo continues to change, with even a flourish of gypsy guitar at the halfway point, and later on, a harpsichord. The lyrics are ambiguous to me – and I’m probably way off base – but they seem to describe a vampire’s love life: “We dance in the wretched moonlight. Sing me a wicked lullaby. Like wild men, we scream at the moon. Conscious in mind, but body aloof. Pull your finger out. / I sleep in the day when the moon is away. Wild horses couldn’t drag me away.” Whatever their meaning, it’s a great track.

I love this album and I love this band! It Is Called is 54 minutes of non-stop aural mayhem, and a blast to listen to from start to finish.  The Slytones are all amazing musicians, and I hope the release of this album will give them an impetus to reunite and make more music that brings a smile to our faces.

Follow The Slytones: Facebook / Twitter / Instagram
Stream/purchase their music: Spotify / Soundcloud / Apple Music / Google Play

LIEMBA – EP Review: “Ever Evolving”

On By EclecticMusicLoverIn Reviews4 Comments

Liemba EP art

Today I’m pleased to introduce Brighton, England-based music act Liemba. I learned about them when one of the band members Simon Gledhill reached out to me about their new EP Ever Evolving, on the recommendation of another artist Fred Hills, who I’ve previously featured on this blog.  Primarily a three-piece acoustic act, Liemba was formed in early 2015 by Gledhill and Nelson Day, who share a love for folk-rock acts such as Crosby, Stills and Nash, early Fleetwood Mac, Kings of Convenience and The Staves.

Capitalizing on their skillful guitar work and sublime vocal harmonies, they released their beautiful debut EP All Costs in March, 2016, then toured throughout the UK and Europe promoting the EP. Vocalist Damien Best joined the lineup later that year, his own distinct vocals providing an added texture for what would become their wonderful signature three-part harmonies. They also began experimenting with drums and bass to create a fuller sound, and in February 2017 released their second EP Burning Wicks, another terrific work. I highly recommend that my readers check out these songs, which are available on all major music streaming sites, some of which are listed at the end of this review.

Liemba2

They followed up with a live acoustic EP Liemba Brighton Electric Sessions at the end of 2017. Moving ahead to 2018, wanting a bigger full-band sound, they recruited Brighton musicians Alfie Weedon on double bass and the aforementioned Fred Hills on drums to record some new material. The result was four stellar tracks recorded and released in 2019 that were ultimately included on a fourth EP Penlands. Subsequent to that project, the band retained drummer Hills and brought on bassist Joe Woodham to record their fifth EP. Gledhill told me this EP represents a new milestone in Liemba’s development, hence its title “Ever Evolving”.

Ever Evolving was recorded this past July at Ford Lane Studios (Royal Blood, Just Jack, Fickle Friends) in Arundel, West Sussex. The band recorded the tracks live to capture the dynamic essence of their sound, then Gledhill and Day spent the next month adding subtle texture and mixing the tracks, which were mastered by Simon James at Homesick Studios. Alice Humphreys filmed the recording process, creating live videos of each of the three tracks that give us a close-up view of the band working their magic.

The first track “PIP” really showcases their superb guitar work and vocal harmonies, both of which are so good they take my breath away. It’s not often that we see a band with three vocalists who can harmonize this beautifully, and Liemba are quite honestly one of the best at this that I’ve heard since Crosby, Stills & Nash. The layered chiming guitars are gorgeous, backed by crystalline synths, Woodham’s subtle bass and Hills’ flawless drumming. The lyrics speak of the heartache and sorrow brought by an evil woman you want to forget: “She’s cruel. The pip in my fruit. Swallowed she grows into the lump in my throat.”

“Mirror Man” delivers gorgeous jangly and chiming guitars, along with more of those sublime harmonic vocals. The song is about conquering self-loathing, and learning to accept and love oneself in order to be able to love others: “Mirroman, I hate to bring the mood down. You’re the one person I should learn to love.”

The title track “Ever Evolving” speaks to how as we change (evolve), so too can our relationships, sometimes to the point where our divergence is too great for the relationship to survive. “Coz we are ever evolving. People only help or hinder. Revelations occur, make you realise you’re changing. Me oh my I’m bored of this life on a carousel. I felt like I’d moved but the scenery had too. And to my behest so had you.” Despite the rather bittersweet lyrics, the song has a bouncy, upbeat melody, with cheerful riffs and peppy drumbeats.

Ever Evolving is a marvelous little EP, and my only criticism is that I wish it contained more tracks! I’m so glad to have discovered Liemba, as I love their music. They’re incredibly talented songwriters and musicians, and I especially like Gledhill’s intelligent, thoughtful lyrics that speak to feelings we can all identify with.

Connect with Liemba:  Website / Facebook / Twitter / Instagram
Stream their music:  Spotify / Soundcloud / Apple Music
Purchase:  Bandcamp / iTunes / Google Play

IAMWARFACE – Album Review: “Year of the Dragon”

On By EclecticMusicLoverIn Reviews8 Comments

I’ve stated it before, and will say it again – British electro-rock band IAMWARFACE can do no wrong when it comes to making music. From the moment I first heard their debut single “Say My Name” in 2016 – which I likened to being hit by an atomic blast – I’ve been a huge fan. Their aggressive name is a fitting metaphor for their bombastic, groove-based sound, and in the three years since their debut, they’ve continued to deliver one incredible song after another. Three of their four singles: “Say My Name”, “Closer” and “Fear the Future” (all of which I’ve reviewed) have reached #1 on my Weekly Top 30 chart, with “Closer” finishing in the top 10 of my Top 100 Songs of 2018. Now, they’re set to finally unleash their first album Year of the Dragon, which drops September 6th. The album contains their first four singles, as well as six new tracks and four remixes.

IAMWARFACE new
Photo by Caitlin Stokes

Based in London and Brighton, England, IAMWARFACE consists of founder and frontman Matt Warneford (songwriting, vocals), Lou Matthews (guitars), Tom Howe (DJ synth), Mike Smith (bass) and Adam Stanley (drums). Influenced by some of their favorite bands and artists such as Depeche Mode, Gary Numan, Kasabian, Muse, Big Black Delta, Nero, Queens of the Stone Age, Tears For Fears, MGMT and the Yeah Yeah Yeahs, IAMWARFACE creates music that’s aggressive, melodically complex and always exciting.

The opening track on Year of the Dragon “Say My Name” certainly embodies those qualities, with an explosive barrage of gnarly guitars, screaming synths and thunderous percussion, driven by a deep, buzzing bassline. Warneford’s fierce, mind-blowing vocals are almost frightening as he wails and shrieks the lyrics. This incredible song still gives me chills three years later!

Next up is the gloriously bombastic kiss-off song “You Don’t Love Me Anymore“, which was their second single. Once again, they live up to their name by delivering a furious onslaught of jangly guitars, heavy bass and smashing drumbeats. It’s loud, in-your-face, and melodically beautiful, and the hard-driving guitar work is fantastic. Warneford’s impassioned vocals are positively chilling as he wails “Whoa oh oh, you were right, you don’t love me anymore!” The cool video shows the band performing the song wearing fluorescent body paint.

“To Die For” is one of the new tracks, and I love it! The song immediately hooks us in with an assault of crashing drumbeats and a deep, wobbly bassline, then a mesmerizing spacey synth riff kicks in, creating a mysterious soundscape for Warneford’s marvelous vocals. The music intensifies with tortured guitars and piercing synths in the chorus as he laments “Seems like I’m alive for, something I could die for.”

“Fear the Future” was their most recent single, released this past February, and one of their best songs. The biting lyrics speak to the banal music and entertainment, bullshit and fear-mongering being fed to the masses in a pernicious attempt to dumb-down and divide us. Musically, the song features the band’s signature aggressive instrumentation and massive, driving rhythms, making for a incredibly powerful and exhilarating song that slams us against the wall. The disturbing video brilliantly brings the dark lyrics to life.

Now we get to what I consider to be their greatest song, the monumental and gorgeous “Closer“. Wow, this song is a masterpiece! It opens with a mysterious throbbing synth chord that slowly builds into a stunning and dramatic soundscape that envelops us as Warneford laments of an obsessive and destructive relationship. The song then erupts into a maelstrom of tortured wailing synths, grimy guitars, buzz-saw bass, and explosive percussion, punctuated by almost violently crashing cymbals that emphasize the feelings of desolation expressed in the bitter lyrics. But then, Warneford fervently sings that their love affair that now lies in tatters might still be salvageable: “Feel I’m walking on shattered glass. This romance just has to end, to reset, erase, begin again. And I’ll move, move closer. Yes I’ll move closer to you.” The spooky, strangely beautiful video shows a woman in a shabby gossamer dress dancing in a filthy abandoned warehouse as Warneford sings the song.

From this point on, all the tracks are new to us, and all of them superb. The rousing “Get So High” seems to channel a bit of MGMT with its trippy and melodic synth-driven grooves and chugging riffs of gnarly guitars. “Atomic White Gold” brings a pulsating mix of chiming and reverb-drenched fuzzy guitars, swirling synths and blasting drumbeats, wrapped in a dark, captivating melody. Smith’s deep, throbbing bass is a highlight here, giving the track incredible depth. Warneford’s vocals soar as he sings “Atomic white gold. Just like the real thing.” The extended wailing guitar run in the outro is awesome, sounding like a cross between an air-raid siren and incoming bombs.

“Bleed Out” starts off with heavy, distorted reverb, then a driving punk rock beat kicks in, compelling us to take to the dance floor. Matthew’s furious riffs and Stanley’s pummeling drumbeats are so fucking good! I really love songs with this kind of hard-driving beat. At the three-minute mark, the tempo slows as Howe’s throbbing industrial synths take over, giving the song a dark, intense vibe that sounds like something Depeche Mode and Nine Inch Nails could have cooked up together. The track ends with the same heavy, distorted reverb it began with.

IAMWARFACE continue delivering the goods with the hard-hitting “Red Queen“. With a nod to Queens of the Stone Age, the chugging riffs of grimy guitars and massive driving rhythms really get our blood pumping. Matthews is an amazing guitarist, and his work here is nothing short of phenomenal. Warneford laments about his low status in the eyes and heart of the woman he desires: “You are the red queen. I am the lone dog. I would do anything to win back your heart. You are something, I am nothing to you.”

“Trigons” is a long (7:13 minutes) mostly instrumental track that really showcases this band’s impressive musicianship. Each member is allowed to shine, as the guitars, bass, synths and percussion are distinct, yet meld together beautifully to create a mesmerizing psychedelic fantasia. Warneford’s soaring vocals are sparse, entering only in the latter part of the track, but are powerfully compelling as always.

The Paris Alexander remix of “Closer” is particularly stunning, giving a the song a different, somewhat lighter feel through a captivating dance beat and dreamy, ethereal synths. Alexander is a music producer and composer, and has collaborated with Antipole, a Norwegian post punk band I’ve previously written about on this blog.

https://soundcloud.com/iamwarface/closer-paris-alexander-remix

Year of the Dragon is a phenomenal album that feels almost like a greatest hits compilation, as every single track is outstanding. I loved IAMWARFACE before, and love them even more after hearing this album. Year of the Dragon drops September 6th, but you can pre-order it here.

Track Listing:
1. SAY MY NAME
2. YOU DON’T LOVE ME ANYMORE
3. TO DIE FOR
4. FEAR THE FUTURE
5. CLOSER
6. GET SO HIGH
7. ATOMIC WHITE GOLD
8. BLEED OUT
9. RED QUEEN
10. TRIGONS
11. SAY MY NAME (PAUL PARSONS REMIX)
12. CLOSER (PARIS ALEXANDER REMIX)
13. YOU DON’T LOVE ME ANYMORE (CROSSFLOW REMIX)
14. CLOSER (CONTROL FREAK REMIX)

Catch IAMWARFACE at one of these upcoming shows:

30 August 2019 – Bournemouth, UK (with The Kut, HAWXX, Black Tree Vultures)
7 September 2019- Twickenham, UK (with How To Live, Nick Swettenham)
26 September 2019- London, UK (with The Insect, Graves)
17 November 2019 – Brighton, UK (with Legpuppy, Androids In The Mist)

Connect with IAMWARFACE:  Website / Facebook / Twitter / Instagram
Stream their music:  Spotify / Soundcloud / Apple Music
Purchase on Bandcamp / iTunes / Google Play

ELLIE FORD – Album Review: “Light. Repeated.”

On By EclecticMusicLoverIn Reviews3 Comments

Ellie Ford album art

British singer/songwriter Ellie Ford is quite possibly the only harpist in the music world to head up a band. In addition to being an accomplished harpist, the multi-talented Brighton, England- based artist also plays guitar and sings like an angel, using her voice almost like another instrument. Assisting Ellie in the creation of her uniquely innovative Alternative Folk music are Fred Hills (drums & percussion), Andrew Stuart-Buttle (violin, mandolin, bass and backing vocals), Harry Haynes (guitar and backing vocals) and Freya Bowes (clarinet and backing vocals).

Ellie Ford band

Ellie first graced the airwaves in 2013 with her debut EP Show Night In, then followed up with a full album The Other Sun in 2016. Now she’s back with a lovely new album Light. Repeated., which dropped on 17 May. Featuring eight exquisite songs, the album sees Ellie further exploring themes of life, love and relationships through her poetic lyrics, unconventional melodies, richly layered instrumentals and the marvelous interplay between her glorious harp and enchanting vocals. Listening to the album is an immersive experience, and it’s easy to become enveloped by the enthralling soundscapes she and her band so skillfully weave.

The album opens with “Gold“, a captivating song in which Ellie’s shimmery harp strings take center stage, but with ample help by Freya’s clarinet, Harry’s strummed guitar, Fred’s gentle percussion, and Andrew’s violin, which gives the track a bit of a Celtic vibe. Ellie croons in her lilting vocals, “Kicking and calling and bracing for falling as I leave. But for a little gold, I could tide it over.”

Next up is “Light. Repeated.“, a bewitching tune that’s probably my favorite track on the album. The highlights for me are Fred’s hypnotic, seductive drumbeats and Freya’s jazzy clarinet, but Andrew’s bass, Harry’s guitar and that infectious rattle are all pretty terrific too. And it goes without saying that Ellie’s harp adds a magical component. Freya’s soulful clarinet takes a starring role on “Tired Eyes” with Ellie’s harp strings providing a strong counterpoint. The interplay between her fluttering vocals and Freya’s gorgeous clarinet notes is breathtaking, and the guitars, deep bass and drums are perfection.

“My Bird Won’t Sing” is a re-imagining of a song that was originally included on The Other Sun. The previous acoustic version featured only Ellie’s vocals and her strummed guitar, but for this new version she lengthens the track by one and a half minutes, and gives it the full instrumental treatment by her band, yet keeping the vibe decidedly understated. The result is an intriguing song that holds our interest with unexpected melodic shifts that almost border on progressive jazz. Ellie’s ethereal vocals are sublime as she sings the lyrics that seem to speak of the thin line between reality and escape:  “My bird won’t sing. Have no idea what it means. And that’s OK, I don’t mind./ My diamond ring shines like the real thing. And that’s OK, I don’t mind. Comin’ off a little blind. What are we doing? Don’t you know that’s the ruin of our kind? I’m beginning to think that I might have lost my mind.”

Ellie Ford by Chloe Imbach

The beautiful songs keep on coming. Another favorite is the bittersweet “All That is Left“, which features some of the most enthralling instrumentals of any song on the album. The mix of harp, piano, guitar, violin, clarinet, drums, and what sounds possibly like dulcimer, are absolutely stunning, and so are the vocal harmonies between Ellie and the guys. The lyrics speak to a relationship that’s over: “There will come a day when you’ll return. Dirt in your hair and your clothes all torn. And I’ll be gone. And all that is left, will be left to the dogs.” As its title suggests, “A Strange Brood” is a languid, brooding song lasting nearly six and a half minutes. Its  mysterious, spacey synths, tinkling piano keys, bluesy guitars, plucky harp, deep bassline and lots of crashing cymbals make for an enthralling listen.

“Woods” starts off with an Eastern European Folk vibe, thanks to the Gypsy tones of Andrew’s violin and Freya’s clarinet, accompanied by Ellie’s plucked harp strings. But with the addition of heavy electric guitars and pounding drums in the bridge, the song transitions to a more intense rock feel. Album closer “The North Wind” really showcases the incredible synergy between Ellie’s harp playing and unique vocal style, and how she so beautifully complements one with the other. Other instrumentation on the track includes guitar and Fred’s kick drum and percussion, as well as the introduction of Andrew’s violin at the end.

I’ll admit that Light. Repeated. took a couple of plays to really grow on me. Though the songs sounded lovely and interesting when first hearing them, their complexity and unusual melodic structures required more than just a casual listen for me to fully appreciate. There’s an incredible amount of nuance and depth to the music and lyrics that are revealed with each successive listen, and even after hearing some of the songs five or six times, I discovered new sounds and textures. The production and song arrangements are flawless, and I’m impressed with the skilled instrumentation by the supporting musicians who help Ellie bring her magical songs to life.

Connect with Ellie: Facebook / Instagram
Stream her music on Spotify / Soundcloud
Purchase on Bandcamp / iTunes

DOCTOR GONZO – EP Review: “PhD”

On By EclecticMusicLoverIn ReviewsLeave a comment

Doctor Gonzo Phd

Doctor Gonzo is a four-piece punk ska band from the Brighton area of Sussex, UK. They’re all about having fun and not taking themselves too seriously, but are very serious when it comes to making straight-up badass rock! Formed only a year ago, Doctor Gonzo consists of Ash Miles on vocals, Andy “Gibbo” Gibson on guitars and backing vocals, Tony “Tig” Tugnutt on bass and Louis Maxwell on drums. In late April, they dropped their debut EP PhD, featuring four boisterous bangers guaranteed to kick your ass!

The EP blasts open with “Poisonous”, a blistering-hot tune with heavy, chugging riffs of gnarly guitar, crushing bass and hammering drums. Ash’s urgent vocals ooze bitterness as he snarls the lyrics addressing someone who’s toxic to his existence: “In my veins, sucking the life out of me. Filled with pain until there’s nothing left. Pulsing through me with your liquid venom. You won’t stop ’til I take my last breath! Oh!”

Before we can even come up for air, the guys are back pummelling our eardrums with “Something’s Gotta Give”. Man, can these guys rock, once again delivering frantic riffs of fuzzy guitars and throbbing bass, while Louis beats the living fuck out of his drum kit! Next up is the rousing “Mary Jane”, the fantastic lead single from the EP.  It’s a delightful love song to a woman named Mary Jane, set to a hard-driving beat and the band’s signature barrage of thunderous instrumental mayhem. The lyrics are fairly simple but charming: “Mary Jane I let you take my breath away. Remember that time I took you on an aeroplane? Oh Mary Jane, I think you’re driving me insane. But when shit hits the fan I know you’ll make me feel better.” The whimsical and fun video for the song was written, directed and edited by Nick Burdett.

The final track “Royalty” serves up more hard-hitting post-punk goodness. Gibbo does some fine shredding on his six-string while Tig lays down a deep, strutting bass line and Louis pounds out the driving beat. The lyrics speak to feeling like a loser in a rut, going nowhere: “I tell myself to stop complaining. Learn to read between the lines. I wanna be somebody, instead of just a casualty. I’ll go against the grain. You’ll probably know my name. I wanna live like royalty.”

Despite it’s short run time of only 12 1/2 minutes, PhD packs a mighty punch. These guys know how to rock and set the airwaves afire with their respective instruments. I found myself loving these songs more with each listen, and am now a huge fan of Doctor Gonzo. I also love their playful sense of humor, which is strongly evident in this hilarious video of outtake bloopers from the making of the “Mary Jane” video:

Connect with Doctor Gonzo:  Facebook / Instagram
Purchase on iTunes / Google Play