Tag: Dance Pop

JILL JONES – Album Review: “The London Sessions”

On By EclecticMusicLoverIn Reviews13 Comments

Today I’m pleased to present American singer-songwriter and actress Jill Jones, who’s had a storied and challenging life and career. Born in Ohio, she relocated in her early teens to Los Angeles with her mother, who married Fuller Gordy, the brother of Motown head Berry Gordy. Her mother came to manage soul/R&B singer-songwriter Teena Marie, who was signed with Motown Records at the time. When Jill was 15, Teena asked if she’d be interested in singing backing vocals for her, which led Jill to begin her professional career as a backup singer. Three years later, in 1980 when she was 18, Jill met Prince when Teena became the opening act for his Dirty Mind Tour.

Prince loved her voice, and eventually asked her to become one of his backup singers. He invited Jill to the Sunset Sound recording studios in 1982 to sing backing vocals for several tracks on his album 1999, where she was credited under just her initials J.J. She also was featured in the music videos for “1999” and “Little Red Corvette”, then joined the tour for 1999 as a backup singer with Prince’s side project Vanity 6. After the tour, she moved to Minneapolis and became Prince’s on-and-off again girlfriend. He even wrote about her in a song “She’s Always in My Hair”, the B-side of his 1985 single “Raspberry Beret”. From 1983 to 1987, she recorded backing vocals for Prince-produced albums by Sheila E., The Time, Apollonia 6 and Mazarati. (Wikipedia) Jill also had a bit part as a waitress in the 1984 film Purple Rain, as well as in the 1990 sequel Graffiti Bridge.

In 1987, Jill released her debut self-titled album Jill Jones via Prince’s Paisley Park Records label, featuring songs written by Prince. The lead single “Mia Bocca” became a top 10 hit in Italy, and though the album received positive reviews from critics and was generally well-received in Europe, it was not a commercial success in America. In early 1989, she went to London to record demos for what was to be her second solo album on Prince’s Paisley Park label, but she and Prince disagreed on the direction of the album, and it was eventually shelved. By that time, their relationship had deteriorated; in recent interviews, Jill has stated that Prince had suggested she get a boob job and plastic surgery to make herself look more like Danish actress Brigitte Nielsen, which needless to say, really pissed her off.

Though she remained under contract with Paisley Park Records until April 1993, Jill worked on other projects with such artists as Ryuichi Sakamoto, Ronny Jordan, Todd Terry, Chic and Sinead O’Connor. She later released more solo material under her own name, including two more albums, Two (with musician Chris Bruce) in 2001 and I AM in 2016.

Fast forward to the present where Jill, along with the help of Scottish musician Neil Billinness, have resurrected those demos recorded back in 1989 and bundled them into her fourth and latest album The London Sessions, released on April 15th via Neil’s NERO record label. While Jill had long wanted to get her long-lost songs out into the world, it wasn’t until Neil contacted a friend of his in London who happened to be working in the studio where Jill recorded her demos, and managed to procure a cassette of the tracks. He says “This is an absolute passion project for me, and a dream come true to be making this project happen.”

For her part, Jill had a lot to say about the project: “Releasing old demos from nearly 35 years ago has been a poignant journey into the past for myself. Its a reflection on the evolution of my artistic identity. These unreleased recordings capture a pivotal moment in my life and career, showcasing the determination to carve out a distinct persona separate from the influences of collaborators like Prince. The music from this era serves as a time capsule, offering a glimpse into my musical headspace at that time, my creative process, and the emotional landscape that fueled the work.

These demos are a unique and intimate manifestation of Chris Bruce and I’s initial sketches of my musical vision for my second album on Paisley Park Records. In our collaborations, the process of crafting these demos took on a special significance. Chris’s impact on our collaborative work cannot be overstated. His dedication to the craft, coupled with a humility that is rare in the spotlight-driven music world, is a testament to his character and the depth of his artistry. Together, we forged a musical partnership that goes beyond the surface, creating songs that resonate with a profound honesty and authenticity. Chris’s influence is woven into the very fabric of our compositions, making him an integral part of the creative alchemy that defines our collaborative efforts.

After a fire in my home, my manager Roger Davies flew me to London and arranged for several musicians to work on production for the demos Chris and I had created in California. One notable departure from the Prince-produced sound is evident in tracks like “White Dogs,” a song that bears the weight of a personal and harrowing experience. The haunting melody and gothic undertones encapsulate the pain and anguish I felt when returning home to the aftermath of a devastating fire. The ruins and ash served as a stark backdrop to the heart-wrenching discovery of my beloved white dogs amidst the rubble. This traumatic event became the catalyst for a new artistic direction, as these demos (The London Sessions) came on the heels of this crushing experience.

I am providing a musical journey but also a narrative of resilience, independence and transformation. It’s an exploration of my attempt to navigate through personal tragedy and channel those emotions into a distinctive and evocative sound. As listeners delve into these archival recordings, I hope to give the listener a unique opportunity to connect with me on a deeper level, to take the listener back to the genesis of a musical rebirth born from the ashes of personal devastation.

Neil has been an unwavering pillar of support throughout my career, a steadfast ally who played a pivotal role in breathing life back into my stalled artistic journey. His unyielding belief in my work and his ability to see beyond the shadows that surrounded me were instrumental in revitalizing my creative spirit. In moments when the industry had cast doubt on my potential, Neil emerged as a beacon of light, offering encouragement and unwavering support.

The depth of Neil’s support became particularly evident when he spearheaded the resurrection of the London Sessions. Understanding the struggles and challenges that had plagued my career, he took it upon himself to champion this project, infusing it with renewed energy and purpose. His dedication to bringing my music to a wider audience and his commitment to revitalizing my artistic voice were nothing short of transformative.

There have been times in my journey where music, once a steadfast companion, felt like the ultimate betrayer. The music business, with its intricacies and demands, has a way of testing one’s resolve, and I discovered, perhaps painfully, that I just didn’t have the stomach for it. The industry’s pressures, the compromises demanded, and the constant struggle for visibility often left me feeling disillusioned and disheartened.

Music, the creative process, once a sacred space where emotions and melodies intertwined, became overshadowed by the harsh realities of the business side. The paradox between artistry and industry created a dissonance that echoed through my soul, leaving me questioning my place in a world that seemed more focused on charts and sales than the emotional resonance of the music itself.

Discovering that I didn’t have the stomach for the music business was a profound realization, one that forced me to reevaluate my relationship with my craft. Ultimately, I had to acknowledge that my passion for creating music could not surpass my intolerance for the industry’s pitfalls and people I simply couldn’t stand. In this realization, there was a sense of liberation, a reclaiming of the authentic essence of my artistry without the burden of conforming to external expectations. Neil helped me to have a bit of fun again, without the burden of recording labels, jesters, sycophants and strawmen.”

OK, let’s get to the album. It opens with “Unattainable Love“, a sleek, joyously upbeat dance-pop song that would feel at home on Janet Jackson’s Rhythm Nation 1814. The lyrics speak to Jill’s penchant for becoming romantically involved with guys who were exciting but not right for her, or else couldn’t commit to a long-term relationship (been there, done that!): “Oh, you and I are the same kind. We run from those who try to tame the fires. It’s either hit or miss, I find it hard to remiss. Unattainable love.”

On the more introspective “Living Legend“, Jill touches on how the desire for fame drives a lot of people – in her case she’s referring to the music industry, but it also applies to other areas of the arts, sports, business and politics – to do things that aren’t always so savory or admirable, not to mention also being shallow and phony. “I want to live forever. I want to be a living legend. You know what that means.” The song has a cool, almost jazzy vibe with even a touch of progressive that makes for an intriguing listen, and Jill’s colorful vocals remind me a lot of Teena Marie’s here, as well as on some other tracks – a good thing, as I loved the late artist.

“Long Time” touches on the disappointment she felt when discovering that men she cared deeply for didn’t support her in return. Jill said in an interview that the song was inspired by Joni Mitchell’s song “Man To Man”. Over a head-bopping yet breezy synth bass groove, she croons “Ooh I tried to keep this love alive, but you treat me like a fan./ I need to find a man who understands my body.”

The dark and sonically fascinating “White Dogs” helped Jill come to terms with the heartache of losing her two beloved dogs in the house fire, and in a sense represented the end of her Prince era. The song has a more rock-oriented/techno vibe evocative of some of the great songs of the 1980s, with mysterious industrial synths, edgy psychedelia-tinged guitars and sharp percussion. Like the heavier instrumentation, her soulful vocals here are fantastic, packed with a raw, unbridled passion that elicits chills as she sings “Suicide or survival, I’m alone either way./ Oh I turn my back, and now you’re gone away. Some said I loved you too much. I guess I did.”

The influence of both Prince and Teena Marie can be heard on the lighthearted and funky “Some of Us“. I love the lively, skittering dance beat, super funky guitars and spirited piano keys, accompanied by Jill’s sassy vocals as she playfully croons “When kitty wants to roam, there’s no control. It’s irresistible.” “Red” is a solid rocker, featuring an aggressive stomping beat overlain with swirling orchestral synths and resonant guitar notes that I can’t properly describe, given my almost total lack of musical knowledge, other than to say they’re great. Jill says the lyrics speak to working through life’s challenges, and navigating the many minefields of the music industry and the duplicitous people in it: “Don’t know how much more can be tolerated. The threshold of pain has gotten to the limit. Why can’t you taste the venom on my tongue?/Red’s the color that I feel.”

Things end on an upbeat note with the delightful ear worm “Tango“. The song has a joyous Prince feel, with twinkling synths, jaunty guitars and exuberant horns layered over a sensual and funky bass groove. Jill’s lilting vocals are sexy and playful as she sings “Thought I heard a tango in the restaurant, baby. It was my favorite song. When we met the atmosphere was sexy, baby. Knew it wouldn’t be too long.” I think it just might be my favorite track on The London Sessions.

It’s a shame these songs haven’t seen the light of day until now, but as the old saw goes, better late than never. Thank you Neil and Jill for finally bringing them to life for our enjoyment, as The London Sessions delivers 25 minutes of auditory bliss.

Here’s the album on Spotify:

And on Soundcloud:

Connect with Jill:  Facebook / Instagram

Find her music on Spotify / Apple Music / Amazon Music / Soundcloud

THE OCEAN BENEATH & LIZ MANN – Single Review: “Dream Tonight”

On By EclecticMusicLoverIn Reviews2 Comments

Today I have a terrific new dance single to share with my esteemed readers – “Dream Tonight“, a collaboration by British artists The Ocean Beneath and Liz Mann that dropped yesterday, February 9th.

The Ocean Beneath is the music project of Leeds-based electronic musician, composer and producer Matt Burnside. Influenced by bands such as Gunship, HVOB and Talk Talk, he combines 80’s synthpop elements with modern recording techniques, analogue synthesizers and huge melodic grooves to create music that sounds retro, yet fresh. Like many electronic artists, he often collaborates with other musicians and vocalists, and has released a substantial amount of outstanding music, some of which I’ve reviewed previously.

Liz Mann is a silky-voiced synthpop artist from Manchester who, in her own words, “mixes 60s pop melancholy with a synth-based vintage style”. Thus far, she’s released two wonderfully sultry singles, “Chocolate” in 2022 and “COOL” in 2023.

As is typical with The Ocean Beneath’s collaborations, he composed the music and beats and produced the track, while Mann wrote the lyrics and sang vocals. The track was mastered by Tony Dixon, with additional vocal production by Grant Henderson. The beautiful single artwork was conceptualised by Jack Loxham.

About the song, Liz explains “I’ve been such a big fan of The Ocean Beneath’s work since he remixed Purple Thread’s track ‘Something Good’ a few years ago. So this was a special collaboration in the making. It’s a bit of a departure from my usual sound, but we hope you’ll join us on a dark disco pop journey through the realms of dreams and desires, exploring the yearning to connect with a special someone in the ethereal landscapes of the subconscious mind.”

I’m a sucker for dance music of all kinds, so “Dream Tonight” fills the bill quite nicely. I love the hypnotic, thumping dance groove and enigmatic synths, punctuated by spacey and funky flourishes that call to mind some of the great 70s euro-disco music by artists like Cerrone and Alec Costandinos. Mann’s sensuous vocals perfectly complement the track’s dark and sultry soundscape as she croons, “Come close to me, come close to me, want you in my dreams tonight.”

Connect with The Ocean Beneath: Facebook / Twitter / Instagram

Connect with Liz Mann:  Facebook / X (Twitter) / Instagram / TikTok

VULTURE PARTY – Album Review: “Archipelago”

On By EclecticMusicLoverIn Reviews8 Comments

Vulture Party is a creative Scottish three-piece who, in their own words, make “disquieting Alt Pop for the socially conscious“. Based in Falkirk, a large town located roughly halfway between Glasgow and Edinburgh, the band consists of Louise Ward on vocals and piano, David King on vocals, guitar and synths, and Dickson Telfer on bass and backing vocals. Their pleasing sound is delivered with an array of styles ranging from infectious, new-wave infused dance-pop to moody, introspective piano compositions, and featuring lovely piano keys, bewitching synths and sublime vocal harmonies. Having both male and female vocalists gives their music even greater richness and depth.

I first featured Vulture Party this past June when I reviewed their marvelous dance-pop single “Blood Wolf Moon”. Now they return with their second album Archipelago, released on October 14th via the Scottish not-for-profit independent record label Last Night From Glasgow. The album features nine tracks, including “Blood Wolf Moon” and their previously-released singles “Afterlife” and “Iso Disco”.

About the album, the band explains: “Archipelago is our second album as it was never intended. Back in 2020, we were ready to hit the studio to lay down a fully written, good-to-go second album, but . . . enter pandemic, and thus a re-think. What transpired was a change of direction and a new set of songs, written and put together from a distance. Each of us (David, Louise and Dickson) our own little island, we were forced – like many others – to collaborate in a new and government-rule-approved way. Sending files back and forth using a variety of pieces of kit, and software, we created Archipelago, an album about fear, isolation and hope. Using driving electronic beats, pulsing grooves and big hooks, the album reflects on love, family and friendship being all that counts when the rest of the world seems so bleak and far away.”

All nine tracks on Archipelago are solid, but I’ll touch on my favorites and those I feel are standouts. Opening track “Better Days Will Come” kind of sets the album’s overall theme of hope and resilience in these trying times – that no matter how bleak things may seem at the moment, we need to hold onto the things that matter most: “In the darkness, in the darkness, in the darkness we find our friend. In the sadness, in the sadness, in the sadness, we don’t pretend. Better days will come, better days will come, if you want them to.” The languid trip hop groove, delicate piano keys and fuzzy synths create a soothing backdrop for Louise and David’s comforting vocal harmonies, all of which wrap us in a warm blanket of sound.

My favorite song on the album is “Blood Wolf Moon“, a flawlessly-crafted and addictive dance-pop gem. Essentially a love song with simple lyrics like “Give me your love. It’s all I need“, Vulture Party decided to bring the song to life with a charming video, created under the direction of Neil McKenzie of Keep it Creative. It tells the story of a female werewolf, played by Louise, searching for human contact and finding love through music and dance.

Another favorite is “Ride That Feeling“, a beautiful song about freeing oneself of negative thoughts and obsessions, and instead allowing positive influences and experiences to flourish, in the hopes of living a better life: “You are free if you want to be. No more hiding in the dark. Let it all go. Ride that feeling again.” Musically, the song starts off slowly, with a serene, almost atmospheric vibe, but eventually becomes more intense, with gritty synths and harsh, jangly guitar notes before calming back down.

“Afterlife” is a delightfully upbeat track which David describes as “a light-hearted and playful contemplation of a life after death.” And though not a dance song per se, its infectious beat will most definitely have your toes tapping and hips swaying. In sharp contrast, “Leave Your Parables” is a dark, rather unsettling track, with somber piano keys, eerie synths and a spooky droning male vocal, all set to a funereal melody. I’m not sure, but the lyrics seem to speak of connecting with a ghostly spirit, and possibly letting go of fears of the unknown: “Lay down your parables at the doorway. Cause when I’m through, you’ll be done. Maybe if you’re ready, look at me. Now here comes the light. Take in the moment, hold it, let in your delight. I’m slow in my movements. Don’t scare him away. He’s slow in his movements. He scares me away.”

Archipelago ends on a highly satisfying note with the gospel-like “Let Love Shine (On Your Misery Now)“, which brings the album’s theme of the power of love and friendship full circle. I love the soaring melody, warm sweeping synths, twangy guitar and arresting vocal harmonies. At 6:19 minutes, it’s a rather long song, and when first hearing it, I thought it went on a bit too long. But after repeated listens, I’ve come to the conclusion it’s length is just right. It’s the perfect ending to a lovely, uplifting album.

Connect with Vulture Party:  Facebook / Twitter / Instagram

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

Purchase the digital album on Bandcamp or on pink vinyl through the Last Night From Glasgow website.

5ON5 – Single Review: “Don’t Dance”

On By EclecticMusicLoverIn Reviews4 Comments

Berlin, Germany-based music collective 5ON5 is a collaborative project comprised of four distinctly unique artists spanning two generations and coming from very different music backgrounds. The brainchild of Max Koffler, a singer-songwriter, musician and producer with over 20 years of experience in the music industry and two solo albums to his credit, 5ON5 also includes singer-songwriter and producer $INAN (aka Sinan Pakar), rapper and visual artist Maxx B, and singer Yumin. Their unusual name 5ON5 was inspired by Max’s music label sonsounds, and reflects the group’s eclectic blend of music genres and styles, including EDM, synth pop, hip hop and alternative rock. 

Last August, they released their enchanting debut single “Runaway”, which was actually a ‘maxi-single’ featuring an original version of the song and a special party remix (you can read my review here). 5ON5 followed in late November with their second single “Ayo”, and are now back with their third release “Don’t Dance“, which drops today, January 7th. Written and produced by Max and Sinan, the track was mixed by Jeson Huang and mastered by Chris Gehringer at Sterling Sound. 

I love any song with a dance beat, whether it be disco, EDM, dance-pop or house, so “Don’t Dance” is right up my alley. And despite it’s title urging us not to, the song most definitely compels us to sway our hips with a hypnotic, head-bopping deep bass groove, over which 5ON5 layer a colorful mix of skittering synths, humming keyboards and throbbing percussive beats. The distinctive vocals of each of the four members, some of which have been electronically altered, are wonderful, and I especially love their beautiful harmonies in the choruses. The combination of the sophisticated instrumentation and captivating vocals make for a really great dance track.

As to the song’s meaning, my take is that it’s generally about trying to come to terms with a relationship that can never be, however, Max told me the lyrics are open to one’s own interpretation. He also stated that the song has an unintended side story; during the period in which they finished recording the song and wrote their press release, clubs in Berlin had recently reopened, only to partly close again, but only for dancing. In other words, people were allowed to meet in clubs, but weren’t permitted to dance. He added “this song isn’t particularly about that, but these are the times wherein people don’t dance, or only in secret.”

Put 'em waves on you to slide every night
Never mind
It‘s alright

I put 'em waves on you to slide every night
Never mind

And I don’t dance anymore
No I don’t want to dance
And I don’t dance anymore
No I don’t want to dance
want to dance

Now we out here cuttin' dem ties
We got no place, nowhere to hide
Why you so afraid of love songs
and push ‘em till tomorrow
Flying high like a satellite
so we choose darkness over light
Can’t act on what I don’t know
so I rather stay solo

Would you love me if I told you I would never dance
Would you love me if I cry for you
All our dreams are lost forever in the neverland
and will never ever come back to you
Back to you


So wonderful in review
Wonderful in review
Wonderful in review

I don’t dance any amore (wonderful in review)
I don’t dance any amore (wonderful in review)

The accompanying animated video for the song was created by Joong Hyun Cho, and shows the members of 5ON5, as well as Vane and Eli The Kid, as animated versions of themselves dancing to the music.

Connect with 5ON5:  Facebook / Instagram 

Stream their music:  Spotify / Apple Music

WILD HORSE – Album Review: “When The Pool Is Occupied”

On By EclecticMusicLoverIn Reviews6 Comments

I’ve commented more times than I can remember on this blog about the staggering amount of musical talent that continues to emanate from the United Kingdom. One of the many British acts I’ve been following for more than four years is the charismatic young rock band Wild Horse. Based in Heathfield, East Sussex, the talented trio consists of brothers Henry and Jack Baldwin, and their long-time friend Ed Barnes. Now in their early 20s, the guys are already seasoned musicians who’ve been writing and recording songs since forming in 2013 when they were barely teenagers. Both Henry and Jack are multi-instrumentalists who play guitar, bass and keyboards, as well as sing vocals, while Ed plays drums and percussion, sings backing vocals and plays guitar on a few tracks.   

While presenting a fun, lighthearted image with their high-energy and eclectic punk-infused style of blues rock, the guys take their music very seriously. Their dedication and drive, fortified with thoughtful lyricism, ace musicianship and a mature approach towards the music business, have taken them far and brought them both critical acclaim and a loyal and growing fan base. The Baldwin brothers are also prolific songwriters who’ve penned hundreds of songs over the years, and now have five albums to their credit. 

Their debut album It’s Begun, featuring songs recorded when their average age was only 14, was released in January 2016 by a New York-based record label they were signed with at the time. (Henry sang lead vocals on that album, where he sounded alarmingly like a young Mick Jagger.) Working independently since 2017, the guys subsequently released three EPs from late 2017 to early 2018, then followed that June with their second album Songs About Last Night. They’ve continued to drop a new album every year since then. In April 2019, they released their third album DANCE!! Like An Animal, which I reviewed, then followed up in July 2020 with their fourth album WE ARE IN AN IDENTITY CRISES…BUT WE LOVE IT, featuring 16 tracks. Now they’re back with their fifth album When The Pool Is Occupied, which dropped November 18th. Their most ambitious work yet, the album contains a whopping 18 tracks!

Before I get to my review, I want to include a few thoughts about the album the guys shared in an interview for Brighton and Hove webzine BN1. “The album name ‘When the Pool is Occupied’ is actually a metaphor for self-love. We realised that this was the theme of the album quite late into the making of it. When we started writing the album, we were not in the best place personally, with lockdown giving us anxieties about the future and the direction we were going in our lives. As we neared the end of making the album we were in a much better place, as the whole process actually taught us a lot about ourselves, and we decided to make it our most honest record. So the album has become a musical imprint of our journey to self-love and happiness, which we hope everyone who listens will be able to relate to!

This album is definitely more mellow and that is down to a few things. Firstly, we didn’t want to be perceived as just a rock band anymore, and wanted to push the boundaries as much as we possibly could. We wanted our first record back after covid to be one that would make people dance, hence the strong disco and 80’s influence. Also, we took a new approach to writing and creating music in not only taking the reins on production, but also because Jack (our main songwriter) taught himself piano over lockdown and began writing songs on [piano], which gave us a whole new feel. From there, synths became a much more integral part of our sound, and we became really obsessed with creating an atmosphere in our music. Our previous albums were all recorded quite quickly, whereas this one took us over a year. The main difference is that every single tiny note and lyric on this album had so much thought put into it, which is why we’re so proud of it.”

Well, let me say that Wild Horse has created a near-epic album running just over an hour in length, and featuring 18 wonderful tracks that span across genres from rousing post-punk bangers to angst-filled piano ballads to bouncy dance-pop gems. The songs explore issues related to growing up in the modern world, relationships, struggles with addiction and mental health, and the long journey towards self-acceptance and self-love.

Opening track “Happy Love Songs” is a short and bittersweet piano-driven tune that sets the tone for the album. In his quirky endearing vocals, Jack plaintively laments “Why are there never happy love songs anymore? It takes two to fall in love, but it only takes one to fall apart. And then there’s never.” The song immediately segues into “Freaky Together“, a catchy, lighthearted earworm celebrating the liberating freedom of a no-strings-attached approach to relationships and life (ah, the joys of youth). The guys layer jangly guitars and woozy synths over a delightfully funky bassline and thumping drumbeats to create a fun and sexy dance beat that aims straight for the hips. Jack croons “Baby, I know that you could never need me. But come on let’s get down and dirty. Oh yeah, Oh, give it to me.” The sweet video nicely showcases the guys’ youthful charm and charisma.

The guys keep the lively vibes going with the delectable “Pornstar Martini“, an irresistibly bouncy mashup of punk, disco and funk, then later slow things down with “Coffee In The Morning“, the first of several romantic piano ballads. Jack’s heartfelt vocals are raspy and vulnerable as he sings of his ardor and desire to a potential romantic partner: “I’m sitting in my dirty University room. Haven’t slept for days now. And I was hoping that you could come around and stay, for 17 days.” But once they’ve become a couple, cracks appear in their relationship, which are explored on the lovely but bittersweet “Feel“: “I wanna talk to you about last night. You know I hate it how we always fight. But if you saw the world through my eyes, then you would understand about the way I feel.” And on “Symphony of Broken Hearts“, Jack sings of the pain he’s feeling over a broken relationship: “You said forever, and then you couldn’t stay. You said forever, until you walked away. And now I’m lying on my own, feeling sorry for myself.“

One of my favorites on the album is “Anxiety“, a joyful, upbeat song about the emotional roller-coaster ride we willingly take when attraction for another hits us like a ton of bricks, rendering us helpless in the throes of passionate longing. I love the exuberant synths, funky dance grooves and the guys’ beautiful vocal harmonies. Jack’s plaintive vocals sing of emotions we’ve all felt at some point in our lives, fearful we’ll make a fool of ourselves: “Petrified by the things you say (petrified). I only met you yesterday (yesterday). But really I’m fine. I’m just going with the groove. Only been preparing for like 24 hours through.”

Another favorite is the ebullient and sexy “Pray 89“, in which the guys sing the praises of a seemingly more innocent time (although those of us who were already adults in 1989 know it really wasn’t) and the freedom of living a life where self-love without emotional attachments is prioritized, but with an appreciation of the beauty in other people. The lyrics include the album’s title: “You bring the fire and sexy eyes. I bring the smoke to stay alight. When we go party we’ll do it right, like we belong in ‘89. Dance on the table to New Order’s new song. And we’ll be feeling alright when the pool is occupied.”

The guys’ willingness to venture out of their musical comfort zone is exemplified by the bluesy hip hop track “Confidence“, on which Henry’s backing vocals are more prominent. On the poignant “Just About Enough”, they turn tinkling piano keys into a true percussive instrument as they combine them with assertive strummed guitar notes and pounding drumbeats to become a powerful driving force, before finishing things off with gorgeous bluesy guitars, accompanied by Jack’s fervent vocals. And on “One Night Robbery“, Jack does a decent job rapping some of the verses letting a former girlfriend know he doesn’t appreciate how she used him and only wanted his money after all the nice things he did for her.

Hands down the most charming track on the album is “Record Collection“, a delightful pop-rock song with a retro 60s power pop vibe. The sweet lyrics speak of connecting with someone you meet on a night out and taking them home, not because you want to have sex with them, but because you like their taste in music and want to share your record collection with them: “I don’t wanna be your lover. I just wanna show you my record collection. I don’t wanna get under the covers. I just wanna know if you like Mott the Hoople. I don’t wanna touch your hand. Just tell me your favourite band. Oh, the only thing I’m turning on is the record player.” I love the jangly guitars on this song.

“Kelsie” is a shining example of how a kiss-off song can still sound sweet. “Kelsie, you’re much happier on Twitter. But you want me back on tinder. And I just laugh and smile ‘cause I’m finally over you. Have you noticed I don’t care what you do? When you tell me you’re getting drinks bought for you. Shit, me too.” The track has a mellow, head-bopping melody with subtle hip hop elements, making for a really pleasing tune. The guys close the album on a positive note with “Thank You (It’s Gonna Be Alright)“, a minute-long piece with a church-like organ riff accompanied by Jack’s echoed vocal repeating the words “It’s gonna be alright“, followed by “The pool is occupied.” As the music abruptly ends, he says “And that was the album, thank you very much. Woo!”

Woo indeed! What a fun, delightful and brilliant album this is! With When The Pool is Occupied, Wild Horse pushed themselves into expanding their songwriting and sound in the hopes of making their most honest record yet, and I think they’ve succeeded quite nicely. It showcases their continued growth and maturity as songwriters and musicians, while their sense of humor and playfulness remains fully intact.

Connect with Wild Horse:  Facebook / Twitter / Instagram
Stream their music:  Spotify / Soundcloud / Apple Music / Reverbnation
Purchase:  Bandcamp / Amazon

Fresh New Tracks Vol. IX – G. Samedi, The Frontier, Shimmer Johnson

On By EclecticMusicLoverIn Reviews8 Comments

It’s been a while since my last installment of Fresh New Tracks, and truth be told, I’ve been rather hesitant to do more of these posts, as I suspect a lot of artists don’t appreciate sharing the limelight with others. That said, there’s just so much great music being released nearly every day, and my time to write posts and reviews is limited, so combine them I must.

For my latest installment, I’ve chosen new singles by three of my favorite indie artists, all prolific musicians who possess really beautiful singing voices – Australian singer-songwriter G. Samedi, American singer-songwriter The Frontier, and Canadian-American singer-songwriter Shimmer Johnson. I’ve previously featured each of them on this blog numerous times, and love their new songs so much that I have to share them.

“Rearview” by G. Samedi

Sam looking cool as always

G. Samedi is the music project of Sam Dawes, a remarkably talented and dangerously charismatic singer-songwriter from Sydney, Australia. He’s also lead vocalist and songwriter for the wonderful soul/funk/jazz/pop band Thunder Fox, who I’ve written about several times as well. He has a distinctive soulful and silky vocal style that effortlessly glides from smooth, sultry croons to a plaintive falsetto and back again. Drawing from R&B, soul, trip hop, electronic and alternative rock elements, Sam creates moody and sensuous soundscapes for the expression of his bold lyrics addressing the darker and more introspective aspects of love and relationships. He writes all his own music and lyrics, records and programs all instruments, sings all vocals, and produces and mixes all tracks. The only think he outsources is the mastering.  

While still actively involved with Thunder Fox, who will be releasing their second album next month, Sam began recording and producing some of his songs as a solo artist in early 2020. In less than two years, he’s released an astonishing 10 singles, one of which, “Icarus”, I reviewed this past May. His latest is “Rearview”, which dropped October 16th, and it’s another stunning & dreamy track. I love all the colorful instruments and sounds he incorporates into the song, highlighted by sparkling synths, enchanting organ, and a mix of shimmery and gnarly guitar notes. As always, his layered vocals are smooth, sensuous and incredibly emotive.    

Connect with G. Samedi: Facebook / Twitter / Instagram

“On the Other Side” by The Frontier

Jake sharing a moment with his trusty sidekick Atlas

Regular readers of this blog know I’m a huge fan of The Frontier – aka Jake Mimikos, who’s based in Fairfax County, Virginia. Jake is an enormously talented guy with a kindness and sense of humor to match, and I’m quite fond of him both as an artist and human. Since 2015, he’s released an impressive amount of music both as a solo artist and as a band under The Frontier moniker, and we’ve been following each other on social media for nearly that long. Drawing upon elements of pop, folk, rock and electronica, his music is always incredibly pleasing and flawlessly crafted. As with many singer-songwriters, Jake’s songs are often inspired by personal experiences, and deal with love, relationships and loss. He prefers to write lyrics that are honest and straightforward, as if he were having a conversation with a friend. I’ve loved all of his songs, and have featured several on this blog, most recently “Shattered”, which I reviewed this past July. Two of his singles, “Dark Places” (from 2019) and “Can We Go Back” (from earlier this year) reached #1 on my Weekly Top 30, while “Sleep” (released in late 2020) reached #2.

On October 15th, he dropped his latest single “On the Other Side”, a beautiful song with heartfelt lyrics directed at a former romantic partner that’s hurt him, and who he now wants to try and get over: “Gotta get my head right, gotta get you out of my mind. Tell me what it feels like on the other side.” About the song, Jake told the blog Cool Top 20 “The music for this song came to me, oddly enough, when I was creating a video on Tik Tok. At the time, I was just messing around and posting little videos of me playing with my looper pedal. One of the loops I created had this really cool lead part over this simple progression. When I heard it I knew instantly I wanted to develop it a bit more and turn it into a song. You can hear the lead guitar part over most of the song in the background. It’s really simple, but to me it was the coolest thing hearing it come together.” It sounds very cool indeed Jake!

Connect with The Frontier: Facebook / Twitter / Instagram

“Starts with You” by Shimmer Johnson

Shimmer working her magic

Let’s kick the mood into high gear with a hot new dance-pop song, “Starts with You” by Shimmer Johnson. Originally from Edmonton, Canada and now based in Los Angeles, Shimmer has an incredibly beautiful and resonant singing voice. Her clear, pitch-perfect vocals are strong, but with a raw vulnerability that beautifully conveys the subtle yet powerful emotions expressed in her heartfelt lyrics, enabling us to connect with her songs on a deeply personal level. In addition to her amazing vocal talents, she’s also a fine guitarist and pianist, and has collaborated with several songwriters and producers to create an impressive repertoire of outstanding songs over the past few years. She started out singing Country songs, but eventually transitioned to a more adult contemporary pop sound. 

I’ve featured Shimmer several times on this blog, most recently this past June when I reviewed her powerfully moving single “It’s Fate’s Turn”. Her latest single “Starts with You”, released on October 15th, sees her venture into dance-pop, and I absolutely love it! Co-written by Shimmer, her husband Corey, and Ted Perlman, the song features an infectiously upbeat dance groove guaranteed to have even the biggest wallflowers on their feet and swaying their hips. It’s essentially a song of love that starts off with the singer feeling a bit unsure about her new lover’s intentions: “All alone feeling emptiness. She’s leaving. He won’t see me. What I need, I can’t breathe” but ends up with her feeling happy and secure: “He does see me. What I need to be free (Feel this moment). He helps me see all the things I can be.” I love the funky little Nile Rodgers-like guitar riff and Shimmer’s smooth, breezy vocals. It’s a great track that’s already one of my favorites of her many songs, and I’m certain it will be a hit.

Connect with Shimmer:  Facebook / Twitter / Instagram

New Song of the Week – NOPRISM: “Animosity”

On By EclecticMusicLoverIn Reviews5 Comments

Since the release of their spellbinding debut single “Lisbon” in March 2020, British electronic pop band NOPRISM have been on a creative tear. Formed in early 2020 and based in Newcastle Upon Tyne, NOPRISM are comprised of Andrew Young, Mark Nelson, Phil Taylor and Alex Hindle. Influenced by a wide and eclectic array of artists ranging from The Rapture, LCD Soundsystem and Arcade Fire to Daft Punk, Chaka Khan and Talking Heads, they create exciting and innovative electronic pop music loaded with infectious funky grooves and intoxicating dance vibes. Their songs have garnered both critical and popular acclaim, with their single “Happiness” earning praise by Duran Duran’s Simon LeBon as “perhaps the best new song ever” on his Wooosh! Radio show.

Despite the limitations imposed upon them by the Covid pandemic, they managed to make good use of their down time by recording and releasing seven singles, the latest of which is “Animosity“, which I’ve chosen as my New Song of the Week. The song addresses the contradictions between the joys of love, and the sacrifices we sometimes make to have it. Band vocalist Andrew Young elaborates: “I’m always fascinated (obsessed) about the idea that for every action there is an equal and opposite reaction, and the idea of love is no different. Very often you see people giving up important things or opportunities in their lives for the sake of love. But obviously it’s why we’re all here, and the positives that it brings is what makes us human. We decided to write a song for voguing to, but with our own imprint on it.“

Inspired by the campy vogue music played on the wonderful MJ Rodriguez/Billy Porter TV show Pose, the band initially wrote the song as a distraction during the first lockdown, then put it out on Spotify under a pseudonym. After the song started getting airplay on BBC radio, they quickly realized they had a potential hit on their hands. Consequently, they pulled the song, re-recorded it with the full band, had it remixed and re-mastered, and released it under their own name. This new and improved version of “Animosity” is what we’re now blessed with.

The guys start with a strutting bass-driven groove, fortify it with energetic thumping drums and swirling cinematic synths, then add layers of funky and bluesy guitars to create a soulful and sensuous dance track that aims straight for the hips, while at the same time producing a lush wall of sound that beautifully captures the joy and euphoria of love. The guys’ pleasing vocal harmonies are wonderful too, adding to the song’s overall jubilant vibe. It’s a marvelous song.

The stylish video, shot in black and white, shows a group of beautiful and exotic-looking young people posing and vogueing to the song.

Follow NOPRISM:  Facebook / Twitter / Instagram

Stream their music:  Spotify / Apple Music / Soundcloud

Purchase:  Bandcamp

BUEL – Single Review: “Small Talk”

On By EclecticMusicLoverIn Reviews4 Comments

When I first featured the beautiful and talented Los Angeles-based singer-songwriter BUEL exactly four months ago, I fawned over her brilliant reimagining of Nirvana’s classic “Smells Like Teen Spirit” (read my review here). With her distinctive and beguiling vocals that range from smoky purrs to sultry vulnerability, combined with a sophisticated pop-rock style, she’s captured the attention of music critics and fans alike, garnering airplay on radio stations across the U.S. and in the UK. Her video for “Lemon Smile” won an award at the 2021 London Music Video Festival. 

Now BUEL is back with a another marvelous single “Small Talk“, along with a stylish and entertaining video. The song addresses the superficiality of small talk people often make to fill the time and airspace when there’s no meaningful connection between them. She elaborates “Small Talk is about the ingenuine daily conversations between people. Even though it’s pretty common and seen as an innocent aspect of our daily lives, I observed that oftentimes it tends to make people feel uncomfortable because talking to someone without giving any depth and sharing words to pass the moment can only be kind but not real.”

I love how the song opens with BUEL’s breathy gasp, accompanied by airy, otherworldly synths, setting a sultry tone for what’s to come. Soon, she croons “Some are scared of silence, when I need it so bad. And I’m calculated nihilist for the questions you ask to evaluate my life. Innocently creeping in, just to say ‘Hi, I’m alive, are you too?’ The way you look has left me blind. Are you too? I like you. Small talk, can find you anywhere.” Musically, the song features a slow, seductive dance beat, with a wonderful pulsating bassline creating a sultry smoldering groove that aims straight for the hips. The instrumentals are punctuated with exquisite keyboards, percussive synths and guitar notes, resulting in a beautiful and compelling soundscape for her enchanting vocals.

“Small Talk” is another winning single by BUEL, and if she continues turning out music this good, her star can only continue to soar.

Follow BUEL:  Facebook / Twitter / Instagram

Stream/purchase her music:  Spotify / Apple Music / Amazon

Fresh New Tracks Vol. VI

On By EclecticMusicLoverIn Reviews9 Comments

New music continues to gush forth from the creative juices of too many artists and bands to mention, and here are three great new tunes, all released on March 12th, by (in alphabetical order) French dance/rock band DeStijl, featuring British singer Liam Croker, British singer-songwriter Flo Gallop, and Florida alternative pop-rock band Infinite Eights.

“F.O.S. (Howie B Remix)” by DeStijl featuring Liam Croker

DeStijl is a dance-rock band originally from Montpellier, France, but now split between Montpellier and Manchester, England, where their new lead singer and drummer reside. Their music is strongly influenced by such bands as New Order, Depeche Mode, Joy Division, Editors, Primal Scream, Doves, Kasabian and Massive Attack, and they’ve released six albums over the past 25 years (with a 10-year break lasting roughly from 2000-2010). Liam Croker is frontman and lead singer for Manchester-based electro/dance-pop/funk band The Winachi Tribe, whose terrific music I’ve written about several times on this blog. Howie B is a legendary Scottish composer, producer and DJ who’s worked with artists such as Björk, U2, Tricky, Massive Attack, Siouxsie and the Banshees, Soul II Soul an Robbie Robertson.

De Stijl and Liam Croker collaborated on the electro/dance-pop track “F.O.S.” (along with a few other songs released in 2020), and have now released an exciting new remix by Howie B. The single will be included on a forthcoming collaborative EP by DeStijl and Liam, due for release later this year. The track was produced by Howie B and mastered by famed mastering engineer Peter Maher.

“F.O.S.” (full of shit) is a cheeky take-down of the egotistical blowhards Liam’s met over the years who are full of themselves – essentially full of shit. The original version is a great song, with an infectious and strong pulsating dance groove, punctuated by spacey synths and shimmery guitars. For the remix, Howie B shaves 47 seconds off the song, and modifies the dance beat with trip hop elements. He also emphasizes the spacey aspects, adding subtle industrial synths that give the track a darker, somewhat more menacing vibe. Liam’s saucy croons have a bit more echo, adding to the track’s overall air of mystery.

Follow DeStijl:  Facebook / Twitter / Instagram

Follow The Winachi Tribe:  Facebook / Twitter / Instagram

“Can’t Be Friends” by Flo Gallop

London-based singer-songwriter & self proclaimed comedian Flo Gallop was raised around music. Her father was a songwriter, so she grew up learning to emulate him, scribbling words into her diary that she would eventually translate into songs. Drawing influences from some of her favorite artists like Oasis, The 1975, Bastille, and Tom Odell, she writes honest lyrics set to catchy, upbeat melodies. A natural-born artist and sociable soul, she loves to perform – something that’s been impossible over the past year of lockdowns and such. Like all musicians, it’s driven her crazy, but that hasn’t stopped her from writing and recording songs.

She’s previously collaborated with the likes of Tom Fuller and Will Thompson, but in late January, Flo released her debut single “21”, then followed a month later with a Rob Savage-produced remix of the song. Now she’s back with her new single “Can’t Be Friends“, a fun and flirtatious track about falling for the wrong person, and blithely ignoring the consequences. In an interview with the webzine PopDust, Flo confided: “The song was written when I was in that headspace of just not being able to cut someone out who was no good for me. It’s also about making the excuse of ‘being friends’ when you know that’s just never gonna happen with that particular person, but you use it as your defense to keep seeing them.” I can attest to the folly of this approach, as I’ve ‘been there, done that’!

The song has an infectious, trap beat-driven groove, highlighted by a great little guitar riff, and accompanied by shimmery synths, a tasty thumping bassline and snappy drums, all of which build to an exuberant crescendo in the chorus. Flo has a distinctive and lilting vocal style, which she uses to great effect in expressing a playful sense of both resignation and exasperation over her inability to quit the guy who’s never gonna be right for her: “We always played this game, until we’re fighting fires again. It’s how we know we’re both to blame. This is why we can’t be friends. You always blurred the lines and I can never cut these ties.”

Follow Flo Gallop:  Facebook / Twitter / Instagram

“Nausea” by Infinite Eights

Formed back in 2012 while young teenagers, Infinite Eights is a charming and talented indie alternative pop/rock band based in Tampa, Florida. They were one of the very first bands to follow me on Twitter back in the fall of 2015, when I was just starting out as a music blogger and still a complete unknown. At the time, two of the band members, Parker Wilkson (guitar, keyboards & vocals) and Tyler Hanks (drums & percussion) were still in high school, and Davin Norman (bass) was in college. I was impressed by the excellence of their songwriting and musicianship, as well as their kindness, professionalism and gracious humility, rare qualities in musicians that young.

In addition to their studies, they’ve released numerous singles over the years, as well as a six-track EP Unfound in 2015. They’ve performed in several music festivals alongside some of the biggest names in music, and have opened for Kaleo, AJR, In the Valley Below, and The Relationship. I’ve featured them twice on this blog, the first time in April 2016 (which you can read here). It’s been a pleasure watching them grow and mature as musicians, and their music keeps getting better and better.

Infinite Eights have just dropped their latest single “Nausea“, delivering more of their signature gorgeous melodies and dreamy instrumentation we’ve come to love and expect from them. Parker has become a programming wizard, producing a lush, swirling soundscape of glittery synths, over which he layers intricate guitar notes, while Davin and Tyler drive the pulsating rhythm forward with their commanding bass and drums, respectfully. Parker’s warm vocals have also matured quite nicely too, and he’s never sounded better. His plaintive soaring falsetto in the choruses is beautiful and deeply moving. Though I cannot make them all out, the lyrics seem to speak to the stomach-churning emotional roller coaster aspects of love and relationships. Parker told me he drew inspiration from Jean Paul-Sartre’s novel of the same name: “The song is an exploration of the feelings that arise when a period of existential dread is punctuated by an encounter with a potential romantic partner. Those feelings may be best summed up as ‘parasitic’ – attaching yourself to someone as a means of finding direction and escaping a sense of purposelessness.”

Follow Infinite Eights on Facebook / Twitter / Instagram

New Song of the Week – MELOTIKA: “Beautiful Disguise”

On By EclecticMusicLoverIn Reviews8 Comments

I follow thousands of indie artists from around the world, and have featured several hundred of them on this blog over the past five and a half years. One that I’m particularly fond of is Canadian artist Melotika, the alter-ego of singer-songwriter Mel Yelle. The hard-working, charismatic and personable artist began her music career in Toronto, releasing her first music in early 2018, but moved back to her home town of Montreal last summer. Her distinctive, sultry vocal styling, exotic beauty, and strong sense of individuality and determination coupled with an endearing vulnerability, set her apart from a lot of other female artists. Her honest and relatable lyrics touch on the universal subjects of relationships and love, as well as timely issues such as the minefield of social media and how pressures to conform can affect our emotional well-being.

I’ve featured Melotika’s music on this blog several times over the past three years, when I reviewed her singles “Unaware Part II [Blindside]”, “Bittersweet Reality“ and “Bury the Bones“, a dark, haunting song about a woman who’s a psychopathic killer. And just last month, I featured a collaborative single “Eternal Eclipse” that she recorded with German electronic music producer Lazer Squad as one of four fresh new tracks.  Now, the prolific artist returns with her latest single “Beautiful Disguise“, which I’ve chosen as my New Song of the Week. Released on February 12th, it’s the lead single from her forthcoming album Dancing Without You, due for release this coming fall. She wrote the lyrics, and the music was composed by her frequent collaborator Sean Savage, who also mixed and mastered the track.

A concept album, Dancing Without You will be a collection of songs that Melotika states are “sort of like a personal diary exposing super vulnerable moments of my life, through alternative electro pop dance music. If I were a teenager, this would have been the perfect pop album to listen to.” Especially fond of artists like Blondie, Eurythmics, Madonna and Depeche Mode, she wanted to capture the essence of their 80s dance-pop/new wave sound for “Beautiful Disguise”, and I think she and Sean succeed quite nicely. The mesmerizing song features a lush palette of shimmery, almost haunting synths and bold hand claps layered over a hypnotic dance beat. Melotika’s rich, sultry vocals were run through tape, providing a captivating vintage texture that’s quite appealing.

“Beautiful Disguise” is based on a song Melotika first wrote in her late teens. She shared some details about it on her Facebook page: “The original song was called ‘Misery’ then switched to ‘Victim’ for some time. The song was a generic angsty break-up type song. Last year when I looked back at it, I decided to reinvent the song and add some more fictional story telling. I thought that a typical break up song would be cliché and over done, so I created a tale about a beautiful forbidden lover, and breaking free from the toxic situation. The lyric ‘The devil inside of me is the devil inside of you when you got nowhere else to go’ refers to the concept ‘misery loves company’. Do we fall in love with bad people or are we obsessed and fall in love with the drama?“

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