“The Narcissist” by British rock band Blur maintains its grip on the #1 spot for a second week on my latest Top 30, while American pop-rock trio Beach Weather slide into second place with their charming “Pineapple Sunrise”. Entering the top 10 are the deliriously zany “Overrated” by Canadian singer-songwriter dwi, at #9, and “Rescue Me” by L.A. ska band Dirty Heads, re-entering at #10 after spending two weeks at #12. The song peaked at #3 a month ago on my chart, and is currently #1 on the Billboard Alternative Airplay chart. The biggest upward mover this week is “Call Me What You Like” by British indie rock band Lovejoy, jumping six spots to #11.
Two beautiful songs make their debut this week; the first is the ethereal “What Was I Made For?” by Billie Eilish, which enters at #27. Written by Eilish and her brother Finneas for the motion picture Barbie, the melancholy but hopeful song has already topped the music charts in the UK, Australia, Ireland and Switzerland. The second new entry is the captivating “Loving You” by L.A. dream pop band Cannons, at #30. I can’t believe it’s nearly been a year since I saw them in concert.
THE NARCISSIST – Blur (1)
PINEAPPLE SUNRISE – Beach Weather (3)
WHY – Future Theory (2)
PSYCHOS – Jenny Lewis (4)
VAMPIRE – Olivia Rodrigo (5)
SAY YES TO HEAVEN – Lana Del Rey (6)
STUCK – 30 Seconds to Mars (7)
PUPPET SHOW – Beck Black (8)
OVERRATED – dwi (11)
RESCUE ME – Dirty Heads (12)
CALL ME WHAT YOU LIKE – Lovejoy (17)
BONES – HEALER (13)
WALK THROUGH THE FIRE – The Frontier (14)
ORBIT – Gooseberry (15)
LAST TIME EVERY TIME FOREVER – Grian Chatten (16)
RESCUED – Foo Fighters (10)
GOOD VIBRATIONS – MISSIO (19)
DAYLIGHT – David Kushner (20)
ESSENCE – Refeci & Shimmer Johnson (9) 21st week on chart
KISSES – Slowdive (22)
DIAL DRUNK – Noah Kahan (23)
ODYSSEY – Beck & Phoenix (24)
FRANCESCA – Hozier (25)
DAYDREAMS AND ALGORITHMS – Eleanor Collides (27)
CANNONBALLERS – Colony House (29)
FORGIVING TIES – Deer Tick (30)
WHAT WAS I MADE FOR? – Billie Eilish (N)
LEAVING – Au Gres (18)
NOT STRONG ENOUGH – boygenius (21) 21st week on chart
Formed in 1988, British rock band Blur went on to become one of the most successful bands of the 1990s, releasing six albums in that decade alone. They were far more popular in the UK than in the U.S., and though a few of their singles made the top 10 on the Billboard Alternative chart, I’m embarrassed to admit that I never heard of them until only a few years ago. Over the course of their career, they’ve released nine studio albums (seven of which reached #1 in the UK), five live albums, five compilation albums, one remix album, four EPs, 35 singles, 10 promotional singles and 37 music videos.
Though they disbanded in 2003, reunited in 2009, then went on a hiatus in 2015 that lasted seven years, Blur has always consisted of their original lineup of singer-songwriter Damon Albarn, guitarist Graham Coxon, bassist Alex James and drummer Dave Rowntree. Their sound started out as a blend of Madchester (a musical and cultural scene that developed in Manchester in the late 1980s) and shoegaze, evidenced by their debut album Leisure, but for their next three albums, they transitioned to Britpop, a style influenced by English guitar pop acts like the Kinks, the Beatles and XTC. Their self-titled fifth album Blur, released in 1997, saw another stylistic shift toward the lo-fi styles of American indie rock groups, whereas their sixth album 13 (1999) saw them experimenting with electronic and gospel music. Their seventh album Think Tank (2003) continued their experimentation with electronic sounds and was shaped by Albarn’s growing interest in hip hop and world music. After they disbanded, he focused on his very successful virtual band Gorillaz, which he’d created in 1998 and with whom he would release eight studio albums, three compilation albums, 11 EPs, one remix album, and 46 singles. (Gorillaz’ recent single “New Gold”, a wonderful collaboration with Tame Impala and Bootie Brown, spent three weeks at #1 on my Weekly Top 30 earlier this year,)
After Blur reunited in 2009, they released a series of live albums in quick succession, but it wasn’t until 2015 that they would release a new studio album The Magic Whip, which went to #1 in the UK, and became their highest-charting album in the U.S., peaking at #24 on the Billboard 200 Album chart. The band went on yet another hiatus after touring for The Magic Whip, only to reunite for a second time in 2022. They went on to record their ninth album The Ballad of Darren, which they released on July 21. The album’s beautiful lead single “The Narcissist”, which Albarn describes as “an aftershock record, a reflection and comment on where we find ourselves now“, is my new #1 song this week.
Two fine songs make their debut this week: “Cannonballers” by Tennessee-based indie rock four-piece Colony House, at #29, and “Forgiving Ties” by Rhode Island-based alternative rock-folk band Deer Tick, at #30. It’s the first appearance on my Weekly Top 30 for both bands.
THE NARCISSIST – Blur (2)
WHY – Future Theory (1)
PINEAPPLE SUNRISE – Beach Weather (3)
PSYCHOS – Jenny Lewis (6)
VAMPIRE – Olivia Rodrigo (7)
SAY YES TO HEAVEN – Lana Del Rey (8)
STUCK – 30 Seconds to Mars (9)
PUPPET SHOW – Beck Black (10)
ESSENCE – Refeci & Shimmer Johnson (3)
RESCUED – Foo Fighters (4)
OVERRATED – dwi (14)
RESCUE ME – Dirty Heads (12)
BONES – HEALER (15)
WALK THROUGH THE FIRE – The Frontier (16)
ORBIT – Gooseberry (17)
LAST TIME EVERY TIME FOREVER – Grian Chatten (18)
CALL ME WHAT YOU LIKE – Lovejoy (19)
LEAVING – Au Gres (11)
GOOD VIBRATIONS – MISSIO (22)
DAYLIGHT – David Kushner (23)
NOT STRONG ENOUGH – boygenius (13) 20th week on chart
KISSES – Slowdive (26)
DIAL DRUNK – Noah Kahan (27)
ODYSSEY – Beck & Phoenix (28)
FRANCESCA – Hozier (29)
WE’RE ALL GONNA DIE – Joy Oladokun & Noah Kahan (20)
British alternative psychedelic rock band Future Theory remain at #1 for a second week with their exquisite song “Why”, while fellow longtime British rockers Blur slide into second place with “The Narcissist”. Beach Weather‘s title track from their wonderful album Pineapple Sunrise moves up two spots to #3. Entering the top 10 this week are “Say Yes To Heaven” by Lana Del Rey, at #8, “Stuck” by 30 Seconds to Mars, at #9, and “Puppet Show” by Beck Black at #10. This puts five women in my top 10 for the first time in recent memory. The biggest upward mover this week is “Overrated” by brilliant Canadian artist dwi, climbing seven spots to #14.
Three songs make their debut: “Odyssey”, a duet by American singer-songwriter Beck and French alternative pop rock band Phoenix, at #28 (the song is already #1 on the Billboard Adult Alternative Airplay chart), “Francesca” by Irish singer-songwriter Hozier, (replacing his previous single “Eat Your Young” that drops off my chart this week), at #29, and “Daydreams and Algorithms” by British singer-songwriter Eleanor Collides (which I recently reviewed) at #30.
WHY – Future Theory (1)
THE NARCISSIST – Blur (4)
PINEAPPLE SUNRISE – Beach Weather (5)
ESSENCE – Refeci & Shimmer Johnson (2)
RESCUED – Foo Fighters (3)
PSYCHOS – Jenny Lewis (6)
VAMPIRE – Olivia Rodrigo (7)
SAY YES TO HEAVEN – Lana Del Rey (11)
STUCK – 30 Seconds to Mars (12)
PUPPET SHOW – Beck Black (13)
LEAVING – Au Gres (8)
RESCUE ME – Dirty Heads (9)
NOT STRONG ENOUGH – boygenius (10)
OVERRATED – dwi (21)
BONES – HEALER (18)
WALK THROUGH THE FIRE – The Frontier (19)
ORBIT – Gooseberry (20)
LAST TIME EVERY TIME FOREVER – Grian Chatten (22)
CALL ME WHAT YOU LIKE – Lovejoy (23)
WE’RE ALL GONNA DIE – Joy Oladokun & Noah Kahan (14)
Named after his childhood imaginary friend, Eleanor Collides is the solo music project of London-based singer-songwriter and guitarist Nick Ranga. The talented artist melds alternative, indie and dream rock with synth pop to create his distinctly melancholic, yet beautiful sound. I love how he’s described his influences: “I find inspiration in the cathartic vulnerability of Low, the poetic storytelling of R.E.M., the passionate anthems of Manic Street Preachers, the genre-defying artistry of Orville Peck, and the darkly captivating electronica of Depeche Mode. These influences, among many others, have shaped my artistic vision, allowing me to carve out a unique sonic identity.”
Though he’d been writing songs for many years, he finally started recording and releasing music in the summer of 2021, beginning with a four-track EP How to Make Friends. He followed up with a couple of singles, then in March 2022, he released his debut album People are Taller in Real Life. Since then, the prolific artist has dropped eight more singles, one of which, the hauntingly beautiful “Pantomime“, I featured in a Fresh New Tracks this past April. Today he’s back with his latest single “Daydreams and Algorithms“, another outstanding track. All eight singles will be included in his forthcoming second album, due for release later in the year.
For the recording of the song, Nick sang lead vocals and played guitars, bass, piano, drums and strings, and Charles Connolly, who mixed and mastered the track, played marimba and sang backing vocals. Though “Daydreams and Algorithms” starts off slowly, with just a simple, rather melancholic strummed guitar, it soon becomes clear that there’s a lot going on musically. As the song progresses, the instrumentation expands into a captivating soundscape, with added guitar, piano and warm strings, accompanied by Charles’ enchanting marimba and Nick’s steady drumbeats and moody bassline. Nick’s pleasing, low-key vocals have a comforting, almost sensuous quality, nicely complemented by his and Charles’ ethereal backing harmonies. It’s a stunning song.
As to the song’s meaning, Nick says it’s “about longing and obsession in the age of social media, about falling in love with someone through a screen who may or may not be real.”
I can hear the sound of dreams The cigarettes and faded blue jeans The photographs and played back scenes Never knowing what they mean
I can see your days collide The indecision codified The fantasies and rising tide History happens in real time
ooh ooh ooh
You could be my daydream My landslide, my slipstream My devil chasing moonbeams Intention lost to the mainstream
I could be your joyride Your agent on the outside Your lowest low and highest tide Watch as I revert to type
April 7, 2023 seems to be a big day for releasing new music, as scores of artists and bands I follow are dropping new singles, EPs or albums today. Because my time and energy are of limited supply, I’m able to only write about a tiny fraction of it. With that in mind, I’ve chosen three new singles for my latest edition of Fresh New Tracks, all by British acts. They are, in alphabetical order, singer-songwriter Eleanor Collides, psychedelic alt-rock band Future Theory, and indie rock band THE Q’s. I’ve previously written about Future Theory many times, whereas Eleanor Collides and THE Q’s are new to me.
Eleanor Collides – “Pantomime”
Eleanor Collides is the solo music project of London-based singer-songwriter and guitarist Nick Ranga. After having written songs for many years, Nick finally decided during one of the Covid lockdowns in March 2021 to start recording them under the moniker Eleanor Collides, the name of his childhood imaginary friend. Working with a group of like-minded London musicians named The MusiCollective, Nick recorded songs with such acts as Pisgah, Colin Tyler, Corporate Drone and Lucoline. That July, he released a four-track EP How to Make Friends, then followed in March 2022 with his debut album People are Taller in Real Life. Since then, he’s released a series of six singles, the latest of which is “Pantomime“. All six singles will be included in his forthcoming second album, due for release later in the year.
Drawing influences from some of his favorite acts like Depeche Mode, Alice in Chains, Hole and Manic Street Preachers, he melds alternative, indie and dream rock with synth pop to create his distinctly melancholic, yet beautiful sound. A great example of his signature sound can be heard on “Lifeboats”, one of my favorite Eleanor Collides songs. His latest single “Pantomime” is even more enchanting, with dreamy atmospheric synths layered over a throbbing bassline and accompanied by gentle percussion and subtle guitar notes. Nick’s smooth vocals are comforting, but with a quiet vulnerability that’s nicely complemented by his own backing falsetto.
He states the song “started life on acoustic guitar, with a four chord loop in the Dorian mode which lends the track a mysterious, melancholy sound, andis about going through the motions and feeling insignificant.” The lyrics describe a couple being driven apart by unseen forces, unsure of how to fix things: “I can be there if you want me. I can give you space if you need time. Floating away on the breeze. Replaying this old pantomime.What time did love arrive? When did affection slip out of the room? But we’re just two people, and what the hell can we do?“
I’ve been following British alternative psychedelic rock band Future Theory since early 2017, and was immediately impressed by their intelligent songwriting and strong musicianship. Blending elements of alternative and progressive rock, psychedelia, grunge, shoegaze and funk, they fearlessly create arresting music characterized by complex melodies and arrangements, and delivered with lavish instrumentation and mesmerizing vocals. Like many bands, the Lincolnshire-based foursome has experienced changes in lineup over time, and now consists of Max Sander on rhythm guitar and vocals, Chris Moore on lead guitar, Jacob Brookes on bass and Rohan Parrett on drums.
Almost exactly six years ago, I reviewed their superb debut EP Fool’s Dream, and have written about them and their outstanding music many times since. It’s been a pleasure watching them mature and grow as artists, and their music keeps getting better and better. One of their singles “One and the Same”, from their 2022 debut album Future Theory, spent 18 weeks on my Weekly Top 30 chart and ended up ranking #42 on my 100 Best Songs of 2022 list.
Future Theory have been hard at work over the past several months recording a new batch of songs with Corsican producer Yves Altana (Peter Hook & The Light, The Chameleons), and will be releasing a series of singles throughout 2023, as well as touring in Northern England and Scotland in June. The first of these singles is “Why“, a dramatic and powerful song about a dysfunctional relationship that’s breaking apart. And what a spectacular song it is! First off, the jangly and chiming guitars by Chris and Max are breathtaking in their beauty and intricacy. Then there’s Jacob’s deep, resonant bassline, keeping the rhythm in perfect time with Rohan’s muscular drumbeats. Topping it all off are Max’s distinctive, emotion-packed vocals I love so much as he plaintively croons “Say, for me and you there’s really no in-between. We either set sail or crash and burn the dream. Get up before I scream. You’re breaking my heart./ Tell me why, would I lie? Tell me why.” The music builds to an electrifying crescendo of gnarly guitars and explosive percussion that continues to the end of the track. I can’t wait to hear their upcoming singles.
Last, but certainly not least, are THE Q’s, an indie rock band based in Leeds. Formed in 2014 while they were all in secondary school, the five-piece consists of Leo Grace on lead vocals, Freddie Franchi on rhythm guitar, Dexter Burningham on lead guitar, Mattia Paganelli on drums, and Ben Woolford on bass. Apparently possessing a cheeky sense of humor, the guys released their first single “IN NEUTRAL” on New Year’s Eve, December 31, 2021, followed by “TRANQUILO” on Valentine’s Day 2022. Both are really good! Listening to their songs I would generally describe their sound as a happy blend of indie, rock’n’roll, punk and shoegaze.
Now they’re back with their third and latest single “MOVIES“, a sweet, upbeat song about young love, and the trials, tribulations and second-guessing that come with it. I really like the bouncy punk groove, exuberant guitars and snappy drums, and that funky little bass riff in the bridge is terrific. Leo’s vocal are perfect for the song, conveying just the right amount of youthful angst when he sings “But I don’t mind when you make a scene. You make life feel like a movie. And when you’re lying there with me, love life feels like a movie. You’re quite a find. Make life feel like a movie.” But later in the song, he pleads for her to cut him some slack, admitting that he’s partly to blame for their misunderstandings: “Don’t hang up that phone. I know that you’re at home. We’ll sort this out tomorrow, c’mon just let it go.I’m a dickhead, yeah, I know.”
ECLECTIC MUSIC LOVER 