Tag: Dream Pop

Fresh New Tracks, Vol. 39 – Darksoft, Frank Joshua, Kiffie, Koyal

On By EclecticMusicLoverIn Reviews13 Comments

It’s time once again for another edition of Fresh New Tracks, and today I’m pleased to feature terrific new songs released over the past week by four talented acts I’m especially fond of from both a musical and personal standpoint. They are, in alphabetical order: Portland, Maine-based alternative dream rock artist Darksoft, English singer-songwriter and producer Frank Joshua, English singer-songwriter, composer and producer Kiffie, and L.A.-based indie pop-rock band Koyal.

Darksoft – “After All”

I love dream pop/rock in all its forms, and the music of singer-songwriter, producer and multi-instrumentalist Darksoft is right up my alley. Originally from Seattle, he relocated in late 2021 to Portland, Maine, where he’s continued creating music that’s both sumptuous and pleasing, with compelling lyrics addressing timely and relevant issues related to technology, social media and disillusionment, and delivered with his soothing ethereal vocals. Starting with the release in late 2018 of his brilliant debut album Brain, a concept work named for the first computer virus to attack the internet back in 1986 (which I reviewed), the imaginative, talented and hard-working artist has released five more concept albums, another of which, Beigeification, his beautiful 2023 work featuring songs inspired by overused phrases and idioms like “it is what it is”, “you gotta do what you gotta do” and “only time will tell”, I also reviewed.  

Darksoft began the new year by dropping a new single “Devil’s In The Details”, the first from his forthcoming seventh album Rationalism, slated for release on February 21st. Now he returns with a second single “After All“, released via Spirit Goth Records. Once again, he serves up an enchanting and dreamy slice of ear candy, filled with crystalline jangly guitars and assertive but gentle percussion. His captivating vocals beautifully express a sad resignation as he croons the lyrics touching on feelings of loss and regret over a romantic relationship’s that ended: “After all we’ve been through, thought that we’d be close. But all is said, said and done. And you’re so far away.” Given its first two tracks, Rationalism promises to be another superb album.

Frank Joshua – “Walls”

Over the past two years, London-based Frank Joshua – an enigmatic but enormously talented singer-songwriter and producer who, wanting his music to speak for itself, shares no photos of himself – has become a favorite of mine on the strength of his gorgeous baritone voice and beguiling music style. It’s no exaggeration for me to say that Mr. Joshua has one of the most enthralling singing voices I’ve heard in a long while, and I was blown away the moment I first heard his music. The prolific artist has released a staggering amount of music over the past four years or so, including three albums, an EP and 41 singles! Every one of his songs is a captivating feast for the ears, and I love them all. I’ve previously written about three of them, most recently last February when I reviewed his single “On This Night”. His song “Bluebell Wood” ranks #53 on my 100 Best Songs of 2023 list, while “Winter Cowboy” ranks #36 on my 100 Best Songs of 2024. 

His latest and 41st single is “Walls“, released via British music label Numen Records. Although Frank writes some of his songs, like the majority of his singles, “Walls” was written by his frequent collaborator Simon Pitheakley, and produced by Tony White. And like all his songs, this one’s a real beauty, with gorgeous reverb-drenched bluesy guitars accompanied by warm piano keys, soaring orchestral synths and gently crashing cymbals layered over a sensuous pulsating beat. It all creates a glorious cinematic backdrop for Frank’s melancholy yet captivating vocals which are both passionate and heartfelt.

The poetic lyrics speak of the challenges of growing older and maintaining a long-term relationship, in which there’s often a tug of war between the comfort and security that comes from being with a devoted loved one, and the primal urge to be independent and free of responsibility or commitment – which is something I’ve long struggled with myself. “It has to be love though it hurts to let go. The blue of your eyes and the shame of the know. I am in it too deep and I can’t let you go. I can’t let you go. Makes no sense to be sunny. But there she is sipping Mai Tais with honey. Confused this boy is.” The lyrics then address the added element of trying to raise children amidst all this drama, which I think is a brilliant addition to the song: “Our children are smashing up downtown, spouting logic and facts without sense. Rootless sensationless moody and cute, they just pound on the walls of their age.” “Walls” is another oustanding addition to Frank’s already impressive repertoire. 

Kiffie – “The Exclusion Principle”

British artist Kiffie (the music moniker of Daniel Paul Kiff) is a creative and fascinating singer-songwriter, composer and producer of electronic music based in Norwich, England. Drawing from a wide range of music genres including electronica, hip-hop, rock, folk and classical, his arresting songs are inspired by current events, as well as the oft-covered topics of love, lies and betrayal. Kiffie records and produces all his own music at home using hardware instruments, synthesizers and drum machines. In a space of only four years, the incredibly prolific artist has released an astonishing 15 albums, 12 EPs, two compilation albums, two CDs, and numerous singles. His songs have received critical acclaim, and garnered airplay on BBC Radio 6 and other internet radio programs. In July 2023, I reviewed his album The Product, a powerful work addressing such timely issues as creeping authoritarianism, income inequality, misinformation and fake news, anti-science/conspiracy mongering, and political corruption. (Read that review here.)

Now, the busy artist is back with a new instrumental track “The Exclusion Principle“, the third in a series of tracks from his forthcoming album Approaching the Horizon. The album will be the third and final installment of his ‘Home’ trilogy which began with his 2021 collaborative album Home, followed by his 2022 album Interplanetary Exodus. Kiffie explains “The trilogy is basically a cosmic space opera about love at a distance and the idea that all of us one day will be refugees, escaping some never explained planetary problem that forces us to seek somewhere else to live. The love aspect is that during this upheaval people will become separated. ‘Approaching the Horizon’ is going to reunite the ‘star crossed lovers’ and many of the tracks will have titles based on physics and quantum theory.” “The Exclusion Principle” is a marvelous spacey track featuring an array of ominous sound textures and beats that nicely convey a sense of impending upheaval without ever becoming over dramatic. I like how it gradually builds, then slowly trails off.

Koyal – “hiatus”

Photo by Jeremiah Rafferty

Koyal is delightful and charismatic indie pop-rock band I’ve been following for a couple of years. Originally formed in Atlanta as a six-piece in 2018 while still in college, the band reduced to a trio in 2023 consisting of Pooja Prabakaran (lead vocals), Noah Weinstein (guitar, production) and Henry Wallace (drums & piano). With a shared love of Glass Animals, Yeah Yeah Yeahs and GROUPLOVE – all acts I love too – Koyal draws from an eclectic range of elements, including indie, alternative, rock’n’roll, blues and jazz. They started releasing a series of singles in 2020 which culminated with the release of their debut album Mountain City in July 2021. They followed with more singles, along with an EP Joyride in November 2022, which I reviewed. In February 2024, they began dropping a series of excellent disco/dance-infused singles that will be featured on their second album breathe in. breathe out, scheduled for release on February 28th. And in September (2024), they relocated from Atlanta to Los Angeles.

On January 28th, they dropped “hiatus“, their fifth single from the forthcoming album. Co-written by all band members along with singer-songwriter and musician Tony Doud, who also co-produced the track with Noah and played the wonderful saxophone, the song’s a bouncy, yet sophisticated, dance gem about disconnecting from your phone and enjoying a bit of quiet solitude. Though it seems to pay homage to some of the disco hits of the late 70s, “hiatus” feels fresh and contemporary. I love the sensuous dance groove overlain with swirling synths, sparkling piano keys, funky guitar notes and Tony’s warm sax. Pooja’s lilting vocals are full of unbridled euphoria as she sings the joys of having a bit of alone time to herself: “Where my time, time is my own, I can turn, turn off my phone. Take a hiatus.“

The charming video, shot in a single take at Elysian Park in Los Angeles, shows Pooja singing the song while playfully walking through the park, and features animated artwork and lyrics created by her.

FRANK JOSHUA – Single Review: “On This Night”

On By EclecticMusicLoverIn Reviews9 Comments

Over the past year, London-based Frank Joshua – a rather enigmatic yet enormously talented singer-songwriter and producer who, wanting his music to speak for itself, shares no photos of himself – has become a favorite of mine on the strength of his beautiful baritone voice and beguiling music style. It’s no exaggeration for me to say that Mr. Joshua has one of the most enthralling singing voices I’ve heard in a long while, and I was blown away the moment I first heard his music. His lush, vibrant vocals are soothing and warm in the vein of crooners like Michael Bublé or Michael Feinstein, only better in my opinion. Despite his wish to remain somewhat anonymous, it hasn’t kept him from engaging with his fans on social media and showing genuine appreciation toward them. He’s been particularly supportive of me, which makes me more than happy to support him in return.

The prolific artist has released a staggering amount of music over the past three years or so, including two albums and numerous singles, all of which have been exceptional. Every one of his songs is a captivating feast for the ears. I’ve previously written about two of them, the lovely “Bluebell Wood”, which spent three months on my Weekly Top 30 and ranks #53 on my 100 Best Songs of 2023 list, and “Patent Leather Car”, a breezy tune Frank said is about “feelings of fear and love, and finding solace in something you know probably isn’t good for you.” His enchanting single “Winter Cowboy” is currently enjoying a long run on my Top 30, where it currently sits at #8.

On February 16th, he dropped his 32nd single “On This Night“, yet another outstanding track released via Numen Records. Although Frank writes some of his songs, like the majority of his singles, “On This Night” was written by his frequent collaborator Simon Pitheakley, and produced by Tony White. The song, along with several of his recently released singles, will be included on his forthcoming third album Turn To Your Soul, planned for release in April.

The song opens with ambient sounds of wind or perhaps the distant rumbling of a subway, accompanied by sirens, creating a foreboding sense of danger. This is soon joined by gentle thumping beats, wispy atmospheric synths and somber piano keys as Frank begins to sing of searching for guidance that might help him find peace of mind and his sense of purpose in this world: “On knees in the outback. Open hearted for cross check. Praying for purpose, needing a voice on this night. Deep in this night.” The music gradually builds into a dramatic soundscape of glittery piano keys, crisp percussion and soaring cinematic synths, as Frank’s vocals grow more impassioned in the choruses, expressing a fervent sense of desperation and pain I’ve not heard from him in any of his previous songs.

It’s a gorgeous, dark and impactful song that immediately ranks among my favorite of his many great songs.

Giving something and nothing
Giving faith and nothing
When skies turn to seas
Turn to oceans
Skies turn to oceans

On knees in the outback
Open hearted for cross check
Praying for purpose
Needing a voice
On this night
Deep in this night

And if it pleases this mortal
For all his falter
Is pleading for guidance
Is trying for peace
In this night
Peace in this night

Of mind in this distance
Should it please your indifference
Would love to be shown the path of your choice
In this night
Deep in this night

And for all this muddle
And to give in his struggle
His heart would believe if you’d give him the choice
In this night
Deep in this night

Though the eye’s full of trouble
Of a simplistic struggle
A truer devotee could not be found
On this night
Deep in this night

Let him bleed forever
If the bleeding’s essential
If hurting may heal
His eternal fight
On this night
Deep in this night

The beautiful video, produced by Italian filmmaker Diego Monfredini, features scenes of a dire medical emergency set amidst a world of glittering nightlife in a dense urban environment, skillfully conveying the contrasting sense of danger and beauty of the night, where every emotion and experience seem heightened in one way or another. Sexual attraction and romantic desires feel more intense, and entertainment in all its forms, be it the theater, movies, music concerts, gambling, etc., seem more enjoyable (perhaps due in part from higher consumption of alcohol or other mind-altering substances), whereas our worst fears and worries feel more burdensome and intractable, emergencies more calamitous, and the unfamiliar or unknown more ominous and threatening under the cover of darkness.

Connect with Frank:  Facebook / X(Twitter) / Instagram 

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

SIVAN LEVY – EP Review: “SIDE:W”

On By EclecticMusicLoverIn Reviews7 Comments

Sivan Levy is a multi-faceted Queer Israeli artist currently based in Tel Aviv, who’s not only a talented singer-songwriter and musician, but also a successful actress and filmmaker. She’s starred in several highly acclaimed films and television series, earning multiple awards for her exceptional work. Her latest film, My Daughter My Love, written and directed by Eitan Green, premiered last summer at the prestigious Jerusalem Film Festival. Also last summer, in June, Levy released a beautiful EP side:s, her first music release since her self-titled three-song EP in 2015. The EP features six captivating tracks written and sung by her, one of which, “Jacaranda”, received a special live performance that was captured in a lovely video. Levy released that video last August, which I featured on this blog (you can read my article about it here). 

Now Levy returns with a new EP side:w (‘w’ is for winter, whereas the ‘s’ in her previous EP side:s represented summer). Continuing the journey that began with side:s, side:w takes us on an emotional rollercoaster through the human psyche with introspective songs exploring relationships, love and loss, and emotional well-being, served up with dreamy and often dramatic instrumentals and Levy’s arresting ethereal vocals. Like side:s, side:w was recorded and co-produced by Levy and Yoav Rosenthal, who also played guitar and bass, handled programming, and sang backing vocals. Levy played piano and keyboards, Giori Politi played drums, percussion, and programmed beats, Maya Belsitzman played cello, and Yael Enosh played additional synths. Mixing was done by Nicolas Vernhes.

The EP opens with “Forgot“, a haunting song mourning the dissipation of a once-torrid love affair. Starting off with rather unsettling scraping sounds accompanied by a gentle pounding drumbeat, the music gradually expands into a mysterious, darkly beautiful soundscape, whereupon Levy softly laments of her memories of what it felt like to be in love, feelings she no longer shares: “I got used to breathing on my neck. To the warmness that caresses all night long. To mornings full of joy or fight or silence. My love had faded through the years, and I forgot, oh, everything. I’m just a rock inside a sea, that’s waiting floods to be.” The piano and cello are particularly affecting and along with the airy synths, create a gorgeous backdrop for Levy’s enchanting breathy vocals. By song’s end, Levy asks whether life is worth living without love: “And there’s no one in my mind. And I’m in no one’s mind. Am I alive when I’m not loved? When I can’t love no more.“

On the equally haunting and cinematic “Kick Off“, Levy sings of not allowing fears and self-doubt to keep you from living your life to the fullest: “I will not run I won’t get scared. I will stay here and I’ll breathe / Kick-off that voice in your head that just judge and judge and judge and judge and suddenly, you’ll see how the green is greener. How the blue is bluer.” The lovely video utilizes AI-generated imagery to great effect.

The captivating “My Far Away Femme” seems to touch on a brief romantic encounter, and how the other person’s idealized image and adoration of you is not based in reality – a sentiment I’m afraid I’ve fallen victim of more than once: “My far-away femme. You see someone in your sleep, and you’re in love with her completely. She’s everything you’re dreaming. Your fantasy (does not exist). And this someone has my face and has my body. This someone has my eyes and has my voice. But this someone who’s so present in your head is so far away from being me. Your fantasy (does not exist).”

“When the Winter’s Coming In” is an achingly beautiful and emotionally powerful song, and I may be way off, but my take on its meaning is that it seems to be about coming to terms with one’s eventual passing from this earth, with winter a metaphor for the end of life. There is no despair, only acceptance and a hope of being reborn in another life. Levy’s vocals are appropriately chilling as she plaintively sings “When the winter’s coming in, no, I will not miss so much. Everything that’ll never be, I will be enough. Wild sky. Smoking velvet, brutal pink. Pure me up and bare me down. Rebirth me, please.“

On the melancholy “Steams“, she remorsefully sings of a love affair that now appears to be broken beyond repair, and my guess is that steam signifies feelings of suffocation in a toxic relationship: “The air got thicker in the room. The steams have nowhere to get clear / I didn’t think we’d dare to leave the maze we’ve built in so much pain. You were so brave to rip the chords and breathe me into air. Our eyes are empty. There’s nothing left of us. Everything is, Everything is over now.” And on the captivating closing track “Silent Legs“, Levy sings of searching for solace in the tempest of life, and our tendency to want to wall ourselves off in order to avoid being hurt and subjected to pain: “Now you’ve found how to build that wall around you, you can’t get hurt, you can’t get hurt anymore. Silent legs, silent eyes. Your heart made too much noise.” The mournful cello and atmospheric synths create a doleful but lovely backdrop for Levy’s haunting, emotive vocals.

side:w is an exquisite, brilliantly executed work of almost surreal beauty. With a run time of over 29 minutes, and such deeply impactful and breathtaking soundscapes and vocals that take us on an enthralling sonic journey, it feels more like a full album than an EP. Sivan Levy and company should be very proud of what they’ve created here.

Connect with Sivan:  Facebook / Twitter/X / Instagram / TikTok

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

THE SYLVIA PLATTERS – Single Review: “Kool Aid Blue”

On By EclecticMusicLoverIn Reviews16 Comments
Artwork by Landen Sperling; Photo by Sue Ubels

The Sylvia Platters are a wonderful band from Vancouver, British Columbia, Canada, and I love their music. Comprised of Alex Kerc-Murchison, Stephen Carl O’Shea, and brothers Nick and Tim Ubels, they play melodic jangle pop, infused with elements of alternative rock, indie, shoegaze and dream pop, and served up with stellar arrangements, exquisite instrumentation and Nick’s sublime vocals. While not at all retro, their pleasing sound nevertheless reminds me at times of such 90s bands as the Gin Blossoms and Toad the Wet Sprocket, with hints of 60s The Byrds.

From what I can tell, they’ve been putting out really fine music for about nine years, beginning with their 2015 debut album Make Glad the Day. Since then, they’ve released a second album Shadow Steps, in 2018, as well as numerous singles and three EPs, including the outstanding Live at Malibu Sound last year. If you like great jangle and power pop, I strongly recommend checking out at least some of their back music catalog.

Photo of the guys drinking the blue Kool Aid by Anthony Biondi

Now the guys are back with a marvelous new single “Kool Aid Blue“, a tasty cup of jangle pop goodness. Released January 19th, the track was recorded and produced by Jordan Koop at The Noise Floor, Gabriola Island, BC, and mastered by Greg Mindorff at Suite Sound Labs in Vancouver. I know next to nothing about the mechanics of music, so can only do my best to describe what I hear.

First off, I really like the song’s fascinating melody that sounds more complex and unpredictable than a typical pop or rock song, which I find causes me to want to listen more carefully and closely. Second, I love the contrasting gnarly and jangly guitars, which makes for a richer, more dramatic soundscape. And what exceptional guitar work it is, those gorgeous jangly guitar notes sparkling like precious gems, accompanied by grungier notes soaked in glorious reverb. Of course, I have to call out the brilliant rhythm section of resounding bass and aggressive percussion that together drive the song forward so beautifully.

Nick’s vocals are warm and comforting as he sings the poetic, yet relatable, lyrics that seem to be about having uneasy feelings of self-doubt and uncertainty, and attempting to escape from them through alcohol, symbolized by Kool Aid blue.

Living in sequence
Gets a little uneven
Spin in a fixture
Alight as a stone

Alternative vision
A tragic hair decision
Read in the leaves
That all you need’s a missing page

Glimpse the ether
A mirror figure
It’s just a phase you can’t escape

A sinking feeling
Amber light; a dimmer view
But that sinking feeling
Will dissolve in Kool Aid blue

Slow motion sickness
Wasted in stasis
Another draft begins alone
With three sheets to the wind
You follow it home

A sequined ceiling
In the dark, a clearer view
And that sinking feeling
Will dissolve in Kool Aid blue

And that sinking feeling
Will dissolve in Kool Aid blue
Will dissolve in Kool Aid blue
Oo oo oo oo oo oo

The video was written and directed by Daniel Sparrow, filmed by Brendan Taylor, with additional photography by Daniel Sparrow and Alex Kerc-Murchison, and produced by Zone Pictures. It stars Junnicia Lagoutin, who’s shown in scenes with and without Nick Ubels, along with Jordan Hughes and the other band members.

And here’s the song on Bandcamp, along with a bonus “sugar free” instrumental version:

Follow The Sylvia Platters:  Facebook / X (Twitter) / Instagram

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

LOVEPROOF – EP Review: “Winter’s Children”

On By EclecticMusicLoverIn Reviews10 Comments

Toronto, Canada-based Loveproof is a collaborative music project formed in 2013 by singer-songwriter and guitarist Ciaran Megahey and multi-instrumentalist & producer Brendan McGarvey. The two originally met in high school and formed a short-lived band, but eventually went their own ways. Ciaran is also a member of Canadian indie band The Autumn Stones (whose music I previously featured on this blog in 2016 and 2018).

After reconnecting in 2013, they began writing songs inspired by their shared love of bands like Joy Division, Guided by Voices and My Bloody Valentine, and soon had a collection of dark and fascinating songs on their hands. Describing their sound as “dreamy, dubby doom pop,” the duo named their project Loveproof, in honor of the My Bloody Valentine classic “Loveless.” In December, 2017, they released their debut album Neon Blood, Volume One, which I reviewed the following March. My, how time does fly by! 

The duo then decided to assemble a full band so they could perform their songs in front of live audiences, enlisting Brendan’s brother Chris McGarvey on guitar and Joey Proulx on drums. In January 2020, they released a New Order-esque re-imagining of the Joy Division classic song “Wilderness”. Now they’re back with a new EP Winter’s Children, their first release of new original music in six years.

After listening to the EP, I can state that it was well worth the wait. Combining elements of dream pop, indie rock, and dub with a dark gothic sensibility, Loveproof have crafted four utterly captivating songs. For their recording, Ciaran sang vocals and Brendan played and programmed all instruments. I love Ciaran’s sensuous vocal style that reminds me at times of Bryan Ferry, so it’s a treat hearing him sing again.

The EP opens with “A Song is Not Enough“, a bewitching track that channels the best of Joy Division and Depeche Mode. I love Brendan’s mysterious dreamy synths and sharp percussive notes built over a sensuous pulsating beat, accompanied by Ciaran’s ethereal sultry vocals as he softly croons “A song is not enough to break this spell.“

Equally bewitching is “Spires“, a glorious chillwave gem with icy synths layered over a sensuous bass-driven dub groove, and punctuated by emphatic percussive beats. Ciaran’s breathy croons are enchanting as he sings from the perspective of someone grasping for something solid to hold on to amid all the chaos and uncertainty. “In a world full of darkness, you said ‘the truth is coming’, and you howled to the mountains and you tore their lies asunder. With time, with faith, your spires to the heavens shine, and love will light our way.” The beautiful video created for the track features images of Loveproof performing the song interspersed with scenes of Toronto and various animals in their natural settings.

On the enchanting but bittersweet “Even the Stars“, Ciaran softly laments over a lost love: “Come back to me, Scarlet Rose / Everything good dies here, even the stars.” A highlight of this track for me are Brendan’s beautiful chiming guitar notes.

The final track “Young Lords” addresses the political polarization of modern society. Ciaran elaborates: “Not really making any political judgments, but just noticing the religious character of people’s political identities today. The phrase ‘Young Lords’ is actually the name of a far left organization that I believe still exists today. I’m just using it as a metaphor for political militancy/extremism though. I read a book that mentioned them a long time ago and I remember really liking the name, as it sounds really poetic. I don’t really know much about them specifically though. So, I guess I am just lamenting how that polarization seems to have made it difficult for people to see each other’s humanity. It seems to have coarsened public life.” “Young lords colliding. Used to be a mountain, used to be a king, hungry as a lion’s heart. Used to be a master, used to hear you sing, thundering the soul apart. Goodnight my heart, goodnight my love.” I’m sounding like a broken record as I continually use the word ‘sensuous’, but the track’s languid dub groove is overflowing with it, enhanced by Brendan’s lush, moody synths and throbbing bass.

Although its four tracks are decidedly melancholy, with less than happy subject matter, Winter’s Children is nevertheless a stunning and flawlessly-crafted work that makes for an enjoyable listen. If you’re a fan of 80s-inspired darkwave and electro-pop, as well as ethereal sultry vocals, you will like this EP. It’s good to have Loveproof back!


Connect with Loveproof:  Facebook / Instagram 

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

SIVAN LEVY Releases a Captivating Live Session of Her Song “Jacaranda”

On By EclecticMusicLoverIn Reviews15 Comments
Photo still from video by Eric Raphael Mizrahi

Sivan Levy is a multi-faceted Israeli artist currently based in Tel Aviv, who’s not only a successful actress and filmmaker, but also a talented singer-songwriter and musician. She’s starred in several highly acclaimed films and television series, earning multiple awards for her exceptional work. Her latest film, My Daughter My Love, written and directed by Eitan Green, was screened last month at the prestigious Jerusalem Film Festival.

Photo by Alon Shastel

In June, Levy released a beautiful EP side:s, her first music release since her self-titled three-song EP in 2015. Featuring six captivating tracks written and sung by her, side:s was recorded and co-produced by Levy and Yoav Rosenthal, who also played guitar and bass, and sang backing vocals. Levy played piano and keyboards, Giori Politi played drums and programmed beats, and Maya Belsitzman played cello. Mixing was done by Nicolas Vernhes. One of the songs from the EP, “Swimming Backwards”, has already been streamed over 400,000 times on Spotify alone. Another track, “Jacaranda“, is now the subject of a special live performance filmed and recorded by Levy and her supporting musicians, released as a video premiering on August 4th.

One of the standout tracks on the EP, “Jacaranda”, is named for the Jacaranda mimosifolia, a type of tree that produces huge clusters of purplish-blue flowers in mid-to-late spring. Native to tropical and subtropical regions of Central and South America, they also thrive in Mediterranean climate regions like Spain, Portugal, Italy, Israel and Lebanon, northern Africa, Australia and California. They even grow in the hot desert climate of the Coachella Valley where I live.

The jacaranda tree has a special meaning for Levy, who says her song “‘Jacaranda’ is a love song for my childhood jacaranda tree. It was my favorite place to climb and sleep and hide. On my birthday, the 4th of June, I would wake up every year to a yard covered in a purple carpet. A gift from the tree.”

The live performance of the song, filmed by Eric Raphael Mizrahi, is an acoustic reimagining of the original studio version found on the EP, which features lush atmospheric synths, shimmery guitars and feathery percussion. Yet it still retains its enchanting vibe, with Levy’s lovely piano work, accompanied by Yoav Rosenthal on bass and Giori Politi on glockenspiel and gentle percussion, all of which create a stunning backdrop for Levy’s bewitching ethereal vocals, transporting us to a beautiful and dreamy world.

Connect with Sivan:  Facebook / Twitter/X / Instagram / TikTok

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

WESTERN JAGUAR – Album Review: “Oblivion”

On By EclecticMusicLoverIn Reviews14 Comments

In late May, I featured the poignant song “Better Daze” by Canadian alt-rock act Western Jaguar, the music project of singer-songwriter and multi-instrumentalist Jeffrey Trainor, on one of my Fresh New Tracks posts. Though I generally prefer to not write about an artist or band again so soon, I like his new album Oblivion so much that I just have to share it with my readers. Besides, I know the album means a lot to him, marking a return to making music after a two-year hiatus during which he’d all but given up on it, so it means a lot to me too.

Hailing from the picturesque Fraser River Valley of British Columbia east of Vancouver, Western Jaguar was born in 2012 when Trainor turned to music to get him out of a low point in his life. With the help of an evolving lineup of musicians, he released three stellar EPs and several singles between 2013 and 2019, including the excellent “Disappear”, which went to #1 on my Weekly Top 30 in 2019. Despite his prior accomplishments, when the pandemic hit in early 2020, bringing things to a halt for just about every musician and band, the social isolation allowed him to reflect on how unhappy he’d become as a musician. He says he’d become fixated on “likes, a following, positive feedback…and making music other people liked.” By the end of 2020, he decided he didn’t want to make music anymore, essentially walking away from Western Jaguar, which he conveniently blamed on the pandemic.

Thankfully, after a long break he came to realize that, just like in 2012, music could once again lift him out of his slump. He decided to restart Western Jaguar as essentially a solo act and went to work resurrecting a few previously-written songs and writing and recording new ones for what would become his latest album Oblivion, which he released on July 7th. For the recording of the album, Trainor sang vocals and played most instruments, though his former Western Jaguar bandmates Davis MacKenzie Zand played bass and AJ Buckley played electric guitar and drums, and sang backing vocals on two tracks, and musician KC Roces played electric guitar on “Daydreaming”. Trainor produced and mixed two of the tracks, with the rest produced and mixed by Zand, and mastering was done by Jordan Koop.

The album opens appropriately with “Start Again“, a lovely 57-second-long instrumental piece with guitar and gentle synths that serves as an intro to the bittersweet song “Milwaukee“. The instrumentals gradually build with the addition of beautiful jangly guitars, organ, swirling synths and spirited drums, turning the song into an arresting anthem by the final chorus. Most of the songs on Oblivion deal with aspects of love and loss, and “Milwaukee” touches on both, as expressed in the lyrics “Now my patience is strained, and my love has gone away. There’s nothing left of me, and I’m out on the streets of Milwaukee.“

Continuing on a similar theme, “Matador” speaks to regrets over allowing a love to slip through his fingers, and willing to do anything to get her back: “I loved her with all of me, you better believe that I had hoped to one day get down on my knee. But I was dumb and she left me, you better believe that I would do anything. I’d bury my heart in the depths of hell. Drive my car at the speed of sound. Get bucked off a bronco’s back just to have a chance at bringing you back.”

Like “Matador”, “Doomsday” was actually recorded pre-pandemic by the previous Western Jaguar lineup that included Davis MacKenzie Zand on bass and AJ Buckley on guitar and drums. Originally slated for release in June 2020, the song features fantastic watery guitar work by Buckley, while he and Zand keep the rhythm on solid footing with their masterful drumming and thumping bassline. The lyrics are directed to a lover who’s abandoned the relationship, despite the singer’s attempts at redemption, which Trainor sings with heartfelt conviction: “You packed it up and left while I was trying to make amends. This is something I won’t forget, though I still don’t comprehend.“

“Better Daze“ is a melancholy but pleasing song about going through hard times after a tragedy and trying to get back to better days. Musically, the song has an upbeat dream pop feel, with a breezy melody, beautiful chiming guitars and snappy drums that contrast with the darker subject matter. Trainor’s clear, pleasing vocals have a hint of sadness as he sings the lyrics telling a story about a woman named Suzie, whose fiance Harold died suddenly after a fall in the shower just before they were due to be married. Suzie falls into a deep depression, and with the best of intentions, her father insists she take medication to help improve her mood. Unfortunately, the drugs only make her feel worse: “Suzie’s felt worse since the medicine. Her lungs are burning and she can’t breath in. Her father insists on the vice, it’s the only way for a normal life. But a normal life was lost last June when Harold fell in the bathroom. She hasn’t taken them for 6 weeks. If only it was that easy. Her father asks if she’s feeling well. She gives him a smile though she feels like hell. She wants him to think that she’s okay, even though she’s thinking of better daze.”

On the beautiful and bittersweet “Daydreaming“, Trainor laments of a love that wasn’t meant to be, due to his partner’s emotional struggles and inability to commit to the relationship: “There was a time for us to move into oblivion. But you were daydreaming, just lost in your mind, leaving me behind.” The gorgeous shimmery guitars are played by KC Roces.

Though most of the songs on Oblivion deal with loss, Trainor is in fact a happily-married man, which he celebrates on the sweet love song “Darling“. Calling it the poppiest song he’s ever written, it’s definitely the most upbeat track on the album, with a bouncy melody, sunny guitar lines, plucky bass, cheerful xylophone and exuberant hand claps. The charming lyrics express the love he feels for his wife: “I’ve been waiting all my life for you, my lovely darling. I’ve been waiting all my life I’d say, it’s worth it darling. And I know you don’t prescribe to lovesick lullabies.”

Trainor turns philosophical on “Just Racing“, contemplating the rapid passage of time and the attendant challenges of making sense of the never-ending barrage of information and changes thrown at us: “It’s all moving way too fast. It’s not too much to ask, just slow it down so I can breathe. Help me take apart my enemies. / So won’t you pick me up and take me home. I’m only 25 but I feel so old. Caught up again in the cracks of my brain, racing to the end like a bullet train.” Musically, the song has a languid, introspective feel, featuring just his strummed acoustic guitar, backed by a lovely organ synth.

Similar to the opening track “Starting Again”, Oblivion closes with a simple but stunning atmospheric instrumental composition “Phases“. Consisting of a delicate piano movement accompanied by airy synths, the track nicely brings this outstanding album full circle. Trainor’s a talented, earnest and thoughtful guy, and I’m happy he resurrected Western Jaguar and gifted us with these deeply moving songs. It’s a triumphant return, and I hope we’ll continue to hear more from him in the future.

Follow Western Jaguar:  Facebook / Twitter / Instagram

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

BENJAMYN & BRÍ – Single Review: “Illuminate”

On By EclecticMusicLoverIn Reviews3 Comments

Today I’m pleased to showcase the enchanting collaborative single “Illuminate“, by Irish singer-songwriter and electronic music producer BENJAMYN (aka Ben Hogan) and Irish singer-songwriter Brí (aka Briana Horan). I’ve previously featured Brí twice on this blog, whereas BENJAMYN is new to me.

For a bit of background on the two artists, both of whom are based in Dublin, BENJAMYN is a multi-instrumentalist who’s been performing since he was a child, experimenting with musical genres ranging from indie rock and acoustic folk to funk and hip-hop to create his own distinctive blend of indie, dance, and electronica. His songs have received coverage from radio stations, blogs and playlists across Ireland and beyond, and he’s played numerous shows around Dublin since launching his music project in 2018. This past February he released his marvelous debut album FLOW to both critical and fan acclaim.

Brí is a lovely and talented singer-songwriter with the voice of an angel, creating hauntingly beautiful and emotionally compelling indie pop with folk and electronic overtones. In the summer of 2019, she began dropping a series of singles that culminated in the release of her excellent debut album Hide, in October 2021. Her music has garnered radio airplay and received high praise from numerous music writers, me included (I wrote about two of her singles, “More Than” and “Time”, which you can read by clicking on the ‘Related’ links at the end of this post.) She’s performed at Beatvyne’s Music X Tech Experience, Whelan’s Ones to Watch, The Ruby Sessions, and headlined The Sound House in Dublin and Spirit Store in Dundalk.

Released through BlueTide Music, “Illuminate” was co-written and recorded virtually by BENJAMYN and Brí, produced by BENJAMYN (who also created the striking artwork for the single), mixed by Michael Heffernan and mastered by Peter Montgomery. About their first collaboration together, Brí commented “I heard the early beginnings of Ben’s beat on Instagram. I was so compelled to write a song to it that I messaged him straight away; luckily he was up for a co-write. Both of us were going through our own ‘uphill battle’ at the time. ‘Illuminate’ fueled us to overcome those struggles and we hope it does the same for you.” BENJAMYN added “I was buzzing to work with Brí on this track. It all came about so naturally after she heard an earlier version of the beat, and when we spoke I knew she would be perfect for it. Once we started writing the song together it really came into its own. I think we both felt the same vibe from the beginning, and I leveraged our ideas with the production as best I could. I can’t wait for people to hear it and feel like they’re lighting up.”

The song is gorgeous, featuring an intricate mix of shimmery and skittering percussive synths layered over a deep, pulsating synth bass beat, creating a captivating atmospheric soundscape that conveys feelings of enlightenment, of emerging from darkness into the glorious light.

The lyrics speak to addressing our challenges head-on, learning to overcome them, or at least accept them and not allow them to defeat us, in order to live a brighter existence. I like how Brí sings the first two verses, with BENJAMYN joining her at the end of the second verse “Shedding my skin, it’s paper thin, body twitching, I’m itching. Problem, it’s time to fix it. I’m reaching in, I’m healing all of my feelings. Feeling good, good. Pick myself up off the floor, I can do what I want.“, then singing the third verse: “I’m fighting on an uphill battle, but my wounds are only small and shallow. I move with greater purpose filling me, my shine is light a starlight shimmering. If I could take the world into this fight, and turn all of the darkness into light. Then maybe they would stop prohibiting, and we could all begin envisioning a brighter way.” He’s a fine singer too, and his warm vocals complement Brí’s lilting ethereal vocals quite nicely.

Here’s the song on Youtube:

And on Soundcloud:

Connect with BENJAMYN:  Facebook / Twitter / Instagram

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

 Connect with Brí:  Facebook / Twitter / Instagram

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

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

On By EclecticMusicLoverIn Reviews19 Comments

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

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

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

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

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

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

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

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

Connect with Chief Springs:  Facebook / Twitter / Instagram

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

CALLUM PITT – Album Review: “In The Balance”

On By EclecticMusicLoverIn Reviews2 Comments

One of the brightest spots on the British music scene today is Callum Pitt, a thoughtful and immensely-talented singer-songwriter based in Newcastle Upon Tyne. Inspired by such esteemed artists as Elliott Smith, Julien Baker, Adrianne Lenker, Sufjan Stevens, The War on Drugs and Fleet Foxes, he creates, in his own words, “indie-folk with a grand, orchestral, chamber pop sensibility plus an alt-rock edge”. I say that’s a pretty accurate description of his beautiful music, which is characterized by lush harmonies, captivating melodies, and honest, meaningful lyrics touching on subjects like depression, anxiety, and social and political unrest, expressed through his emotive pleasing vocals that nevertheless manage to instill feelings of optimism and unity.

Since 2017, Callum has released an impressive number of singles as well as a four-track EP Poisoned Reveries in 2019. His second single “Least He’s Happy” has been streamed more than two million times on Spotify, with several other singles garnering well over 100,000 streams. He’s also earned accolades such as the Alan Hull Songwriting Award in 2019, and the Fender Player Plus competition in 2021. I love his music, and have previously written about four of his songs, two of which – “Fault Lines” and “Mayfly” – made my Weekly Top 30 chart, with “Fault Lines” ranking #84 on my 100 Best Songs of 2020 list, and “Mayfly”, which peaked at #8 earlier this year, guaranteed to rank even higher on my 100 Best Songs of 2023 list. (You can read some of my previous reviews by clicking on the ‘Related’ links at the end of this post.)

Photo by Daniel Stark

Now Callum has just dropped his long-awaited debut album In The Balance, and it’s a real stunner! The culmination of nearly three years of work, the album’s nine songs were informed by a number of events that prompted him to explore questions of existentialism and fate, including a vehicle accident that could have killed his parents and brother, a close friend almost dying of a drug overdose after leaving a party at his house, and the death by suicide of a childhood friend. Remarkably, he wrote and recorded the album while also working at a job and studying for his masters degree in Occupational Therapy.

He wrote the album in his bedroom, using only a nylon-string guitar and cheap 90s keyboard. He then took his demos to the studio, where he worked with long-time producer John Martindale to turn them into rich recordings, featuring a string quartet, and trumpets by James Leonard Hewiston and saxophone by Alex Saxon. Callum sang lead vocals and played acoustic and electric guitars and keyboards, Luke Elgie played bass, Gavin Christie played drums, and John Martindale played percussion, with Ada Francis and Jodie Nicholson on backing vocals

The album kicks off with “I Feel a God and Devil in This Room“, in which Callum explores how both good and evil are present in human experiences more than in otherworldly realms like heaven or hell, and that we should embrace our lives here and now, rather than wait for a theoretically better afterlife: “I feel alone, but I feel in my bones tonight, something bigger moving like a tidal wave, a wilting bouquet, on fire. I feel a God and devil in this room.” The song is enchanting, opening with delicate guitar, piano and strings, then gradually building to a dramatic crescendo with added saxophone, heavier percussion and gorgeous harmonies. The lovely video, filmed and produced by Gareth Williams, features Mia Fuller dancing to the song in an empty church.

“Black Holes in the Sky” addresses the aforementioned close friend that almost died from an overdose of acid after leaving a party at Callum’s house, and was thankfully saved by a passing dog walker at dawn: “You left our party, the last one to go / I heard that a stranger found you laid down, blue in the lips and frost upon your clothes on the edge of town.” The song starts off with an almost gospel-like feel, but transitions into a stirring anthem, with emphatic piano keys, bold guitar notes and blaring trumpets. On the hauntingly beautiful and contemplative “Crow“, Callum speaks of his struggles with depression and anxiety: “There’s something in the leaves reminding me there’s no light without dark.” His piano and guitar work are particularly stunning here.

“Fraction of a Second” was inspired by a night in 2019, in which Callum was reminded of how a change of a mere second of time could have resulted in a life-altering outcome. Minutes after he waved goodbye to his brother and parents as they left his house, a fire engine hit the back edge of their car. They were all unharmed, but had their car been in the engine’s path a fraction of a second later – if he’d said one more word to them at the doorstep – it would have slammed directly into the drivers’ side. Musically, the song has a melancholy yet hopeful feel, and features a buoyant drumbeat overlain with delicate sweeping synths, beautifully-strummed guitar notes, lovely piano keys and vibrant strings. As always, Callum’s smooth vocals are comforting and warm as he sings of his gratitude that his family safely survived the crash: “And I don’t know what I’d do, if that truck had taken all of you, I think the moon may disappear. But a fraction of a second kept you here.”

On the piano-driven “More Than This“, Callum touches on the impermanence of life and worldly beauty: “And no one ever said there would be more than this, but I feel it turning golden in the fall. Everything must go, it’s an angel in the snow. And I will never ask for more.” The moving video was directed by Sel MacLean and filmed by Ross Marshall, and shows Callum singing the song in an empty theater as he watches a couple, played by Igor Tavares and Laura Alise do an interpretive dance.

One of my favorite songs on the album, “Mayfly” is essentially about adulthood, and speaks to Callum’s feelings of apprehension over the responsibilities he’ll face as a potential parent, fearing he might not be up to the task: “I don’t deserve the love that I am shown, but someday I will. ‘Cause I, I need time, so I can be, who you need me to be. So hold out please.” Musically, the song has a lively, upbeat melody that contrasts with the poignant lyrics. I love the perfect melding of acoustic guitar notes and delicate piano chords in the verses, and how the drums become more intense in the choruses, accompanied by glorious exuberant riffs and swirling keyboards. Callum’s smooth vocals are both comforting and heartfelt, backed by Ada and Jodie’s lovely harmonies, and Alex’s bold saxophone in the final chorus is wonderful.

On “Moths and Butterflies”, Callum speaks to the value of expressing one’s emotions in a society where the expectation is for men and boys to suppress their feelings. Though still essentially a folk song, it has more of a rock vibe, with heavier guitars and drums, especially in the bridge. The enchanting “Uncanny Moon” features delicate guitar notes, stirring strings and gorgeous soaring harmonies.

Album closer “The Will of the River” is a beautiful, cinematic anthem in the vein of Sam Fender’s “Seventeen Going Under”, which means I love it! The combination of gentle acoustic guitar notes with more resonant jangly chords and fuzz-coated gnarly riffs, layered over an exuberant stomping groove, make for an exceptionally impactful track. The poignant lyrics speak of the childhood friend who took his own life, leaving him wondering if there might have been something he could have done to prevent it: “I’m so sorry for how we drifted, maybe I knew you too soon. It’s darker now. You’re now away, but my memories are so clear. We move at the will of the river, but you’re ringing in my ear.”

I’m not sure what more I can say about In The Balance, other that to state with confidence that it’s a gorgeous little masterpiece. Mr. Pitt and company have gifted us an impressive, flawlessly-crafted work, for which they should be quite proud.

Connect with Callum:  Facebook / Twitter / Instagram
Find his music on Bandcamp / Spotify / Apple Music / Soundcloud / Amazon