LOUIE JAMES – Single Review: “Real Friends”

Louie James3

Louie James is an outstanding young singer/songwriter from Wakefield, England who’s quickly becoming one of my favorite artists. I featured him on this blog only a month ago, when I reviewed his lovely acoustic single “Yellow Doors” (which you can read here). Now this prolific artist is back with a moving new single “Real Friends,” along with a brilliant companion video. On “Real Friends,” Louie departs from his usual mellow acoustic style, employing layers of glittery synths to create a beautiful and haunting track.

In the verses, Louie sings in his gentle vocal style, accompanied by delicate electronic synths that convey a sense of sadness amid the lovely sounds. His vocals become more impassioned in the choruses as the synths swell into a lush soundscape brimming with emotional intensity.

The mournful lyrics speak to a bitter realization that the friends you thought you had don’t really care about or support you:

Who needs enemies with friends like these?
Talk all the shit you want
They’re out for blood and…
A lonely life when you trust no one.

Walk around with a chip up on your shoulder
21 but I don’t feel any older
Run me off, take another stab shot
Tear it all down, this is everything that I’ve got

Real friends are with me til the end but…
Woke again to another fatal head shot
Don’t forget me, this thing you’re making
Real friends but I know you’re only snaking

The video opens with Louie staring into a mirror, crossing out the eyes of his forlorn reflection with lipstick. As the video continues, he’s shown singing while soaking in a bathtub or standing in front of the mirror, where he writes “Real Friends” on the glass with lipstick, eventually crossing out the words. I love the song and video!

Connect with Louie:  Facebook / TwitterInstagram
Stream his music:  Spotify / Apple Music
Purchase on  iTunes

VOX EAGLE – Interview & Album Review: “TriumAvium”

Vox Eagle2

Electro-psych pop music project Vox Eagle burst onto the music scene in 2017 with their infectious dance-pop EP Flamingo Paradiso Pt. 1. Previously comprised of Australian-born Andy Crosby and American Luke Hamel, Vox Eagle is now essentially Andy’s solo project (along with occasional collaborations with other musicians). Wanting an escape from the distractions and noise of Manhattan, in 2017 Andy made another life-changing move along with his new wife, this time to the Colorado Rockies. They purchased a piece of land with a cabin at 9,000 feet above sea level, and Andy quickly got to work building his own recording studio, which he dubbed “The Eagles Nest.” The pristine surroundings and new found freedom greatly expanded his creative energy, inspiring him to experiment with fresh sounds and take his music into exciting new directions. The result of all this is his brilliant genre-bending new album TriumAvium, which officially drops October 9th.

Vox Eagle album art

I’m chomping at the bit to talk about the album, but before getting into my review, I’ll share the recent insightful conversation I had with Andy about his career, life changes and the album. And now’s a good time to make special mention of the brilliant album art, which pays homage to Andy’s move from Manhattan to the mountains. The Manhattan skyline is shown upside down along the top edge of the cover, and a forest scene covers the bottom half, with a mountain-shaped outline intersecting its mirror image in the center.

EML:  Hi Andy, thanks for wanting to talk with me about your new album TriumAvium, which I absolutely love! First off, what’s the meaning behind the album title? I googled the words and found that trium is Latin for three, and avium is a solitary or lonely place. Am I close?

AC:  Hey Jeff, firstly thanks for checking out the album and doing the interview. Greatly appreciated as I know you’re getting drowned in submissions and new music these days with the writings of Eclectic Music Lover. Yes you were close with the title. Trium Avium is about a remote wilderness, perhaps with reference to my own new found remote wilderness in the Arapahoe Forest of Colorado. The Trium grew from my obsessions over the number three when writing and mixing the record and meditating on various frequencies and it just came out of that. It is Latin in origin.

EML:  You are Australian, and relocated to the U.S. in, when, the late-2000s? You settled in New York, and Luke lived in Los Angeles, but you guys would meet in various locations around the country to record songs for what would become your terrific debut EP Flamingo Paradiso Pt. 1. Eventually, you settled in the Colorado Rockies, where you built your own recording studio. What made you decide to settle in a such a beautiful but remote location?

AC:  I moved out here from Australia in mid 2012 after finishing a record with The Cracks and having a label deal gone wrong with the death of our A&R guy at the time. I was kinda in musical purgatory at the time so set my sites on the musical mecca of the United States.

I moved to Brooklyn, had a studio in Greenpoint, then lived in Manhattan for 6 years hunting down new sounds and production/mixing techniques. Luke always lived out in California. We had toured the East and West coast together in another band in 2014 (The Canyon Rays) so I got him in to do the Flamingo EP. I think Luke is a great writer/producer in his own right, however, in terms of work ethic and chemistry it was just never really there between us so we parted ways halfway through Flamingo Paradiso Pt. 1. The whole idea of VoxEagle in the beginning was to collaborate with various artists whilst settling into my new home in the USA. When I’m focusing on a project I need to immerse myself in 100% and that was impossible for us to do on separate coasts.

I decided to move out to the Colorado Rockies with my wife Paige, as we had just got some rescue puppies Prince and Charlie, and they needed space to run around bigger than our Manhattan studio apartment that was being torn up by Prince. So we ditched the concrete grind and decided to head for the Rockies, as we both had spent significant time there during college. We left NYC and got married in 2017 in Colorado, and settled in the little town of Evergreen on the top of Black Mountain where we border the Arapahoe state forest that’s just magical. We bought a piece of land at 9,000 feet above sea level so its real high up, with a cabin and a shed. I spent 3 months building the recording studio called ‘The Eagles Nest’. It has a 48-Channel Oram Analogue Console at the command and then I have a chain of guitars, drums, samplers, synthesizers, effects and outboard gear running through a sea of madness. We moved out for the space and it just magic out here, and less distractions than Manhattan. My studio in Manhattan was on 57th St. above the Late Show where Dave Letterman was in Times Square, so it’s a totally different vibe now. 9,000 feet above the clouds. It’s a totally different trip, which leads into the next question.

VoxEagle Studio 2

EML:  Flamingo Paradiso featured songs that were primarily electro-psych dance-pop, but many of the songs on TriumAvium have a more edgy, urban vibe, with quite a bit of hip-hop. I find that interesting, given the rural mountain-forest environment you now reside in. Where did the inspiration for the new songs come from?

AC:  I just wanted to do something completely new for this record. I could have easily spat out Flamingo 2; it’s sitting in a folder on the hard drive, however I just wanted to open the sound up a little more and give it a bit more breathing space. I wanted to make something completely new but also something people could go nuts to at a club gig or festival. Everyone out here is doing Americana, Jam band, folk or indie rock so I wanted to do something that was different to what everyone else was doing. I also wanted to learn a new talent and teach myself how to freestyle. I wanted to be able to battle anyone of any caliber.

So I spent several months (hard to say how many) testing various psychedelics in my garage basement learning to sing in freestyle by surrounding myself with white boards and vision boards hanging from the ceiling, with classic Nicolas Cage films rolling in the background and learning to rhyme from walking round the room with words and pictures everywhere and then getting ideas on whiteboards and reworking them. I also recorded most of those days/nights/session, so have loads of tape reels and hard drives I need to sift through some day… I was kind of all-out madness, but I think it worked.

If steve jobs was peering down the rabbit whole, this was more like burrowing out the warren, hanging some picture frames & getting a nice comfy sofa to call place home for a while.

I worked on TriumAvium when I was building the studio as well, so there are some recordings from all over the place that have made their way onto the record, or will be coming out soon in other material I am going to be releasing over the coming months. Some of it’s a bit more on the electro-psych/dance side. I’ve also been playing with some local Colorado musicians like guitarist Aaron Dixon to get the live show ready, so it’s all systems go at the moment. Firing up the engines. I have another 20 songs ready to go that were off cuts from this record, so am just compiling them into EPs at the moment and deciding what to release next.

EML:  One of my favorite tracks is the mesmerizing instrumental “Let’s Go Back – The Ballad of Randy Eagle in F#minor.” Given the song has no lyrics other than some chanting, what’s the significance of its title? 

AC:   “Lets Go Back – The Ballad of Randy Eagle in F# Minor” is a song about reminiscing and moving forward. Its about a race car driver recovering from a crash and getting back behind the wheel to race. My friends always called me Randy when I’d get out of control so that’s how it got to Randy Eagle. It’s kind of an alter ego I created. He’s a race car driver that’s a total dick and everyone hates, but he never gives up. As you may notice there’s a heavy racing theme that carries out through the album.

EML:  I also like the re-interpretation of “No Sleep” from the EP that’s now “No Sleep No Sleep” on the new album. Any story behind that one, or just having fun with a remix?

AC:  I wanted to have something from the original EP on this record as a nod, but was finding it really hard to get one of the old tracks to sit in with all the flow of this record. So I did a more upbeat version of “No Sleep” and played it to Aaron Dixon, and he was really vibing on it so we got his guitars down on the chorus and it was done. We kept it super simple. One vocal take, one bass line, so it was a very different approach to the original which was really a lot larger in production, like 6 Harmony per chorus, etc. So on this whole record I was really more jammin out with loop pedals, 808s, pianos synths. Everything on this record we can do 100% live with every part, so super pumped to get out and play it. I think our first show is in Arizona for MesaFestival on Saturday November 10th, so we’re super pumped to try the new stuff live and jam out the old stuff.

EML: I read on the website PopDust that you’ve landed deals with VW, Jim Beam, Toyota, Smirnoff, and Coca Cola, along with music production for Sony, Disney, and Universal. How did you manage to score those deals? Did those companies use your songs in their ads, or did you write new music for them?

AC:  Yes, I have been really fortunate to have a bunch of my songs licensed in TV, commercials and movies along the way. It definitely keeps the ship sailing, and helped me invest in some really awesome recording gear along the way. A lot of the projects have been solo specifically working with music supervisors, producers or directors to do a custom score or song. Sometimes a director/producer hears a tune previously recorded or in the works, and just has to have it in the film. So the dice can roll any way really, as long as you’re constantly working and connecting with people in the industry.

I’ve also been in a few other bands and projects – Soundcasino and The Cracks – and I write with a bunch of artists and still connect with those projects from time to time. My main focus now though is VoxEagle and smashing out a big live show this year. Am really stoked on those projects and happy to have been part of them and still create music with most of them, just have been taking a hiatus from everything else over the past year to focus on developing the new sound with VoxEagle, and trying to do something new and unique as an artist.

EML:  Since you and Luke have parted ways, is Vox Eagle basically you going forward, along with some collaborations like you did with Pierre Fontaine on the marvelous track “Wander”?

AC:  VoxEagle has always been my connection and collaborations with various artists across the US since I moved over here and now call it home. I’ve always enjoyed collaborating with new artists to get a new energy and vibe, and create something that’s unique and different. I bring some styles and flavors from my musical upbringings in Australia and can share that energy with a rapper from Brooklyn and create something totally unique.

For touring and playing live I use a bunch of loop pedals connected to my synths, drums and vocals so I can do the whole live show solo if I have to. I like sharing the stage with others though, so have got Aaron Dixon doing a bunch of live shows with me and have done a bunch of collaborations this year, my favorite of which has been “Wander” with Pierre Fontaine.

I heard Pierre Fontaine’s material through another artist I work with, Eman, and was blown away. We hung out and have since worked on a few tunes and beats together. He’s a really impressive writer, and his lyrics are always on point. He’s just one of those guys who has put the time in and knows every corner of the industry. He writes, sings, raps, plays killer drums, and he inspires an army of youngsters under him. He has a label FreshMind with a tonne of incredible artists on it so definitely check ’em out. Anyways, he’s a super impressive guy and I wanted him on a track, and then he heard me making the “Wander” beat on an Instagram story I put up and was like yoooo I want in on that! So I had kinda freestyled a melody and a rough first verse, sent it to him and then the whole thing was done super fast.

The whole record is kinda built around that track. I was so hyped on that song I was like its gotta be on the record, its gotta be on the record!! So it became the song that the whole record is built around. I must have scrapped 20-odd other tunes that were pumping coz “Wander” had to be on the record. That’s maybe why its such an eclectic record which I know scares a lot of people.

It goes from Electro to Dub, to Hip Hop to Indie psych to Rock, its like WTF. But at the end of the day it works for me and that was all I gave a shit about. Making a record I was happy with that was unique. It was the first record I have mixed, produced, engineered, and done everything solo for. It was a lot to take on for a first record doing all those things.. Maybe too much.. But fuck it, I like it, I learnt a tonne and have a swag of tunes ready to go with the studio now fully built and recording new material everyday and night. It’s all growing and building as an artist and I feel I now have a level of control over my material I have never had before through mixing and producing everything in-house.

The responsibility is all on me now, but better than having too many cooks and all that, which is what I felt on Flamingo. Must have had six different dudes mixing it, files everywhere… just an expensive nightmare coz Luke was never happy with the mixes.

The first incarnation of VoxEagle, before I’d even met Luke, had my friend Terence Conor on the drums. One night, October 1st 2012, after a rehearsal jam/recording session in Green Point we went to the Lucky Dog in Brooklyn for a few drinks to wind down. I tried to convince Terence to come back to our place as he usually did to chill and play some tunes, however he decided to ride his bike back to Bushwick, as he had an exam the next day. That was the last time I saw him, as he was tragically killed in a hit and run whilst cycling home down Metropolitan Avenue that night. I found out the next morning when my buddy Harald rang and was crushed to pieces. I am always thinking of him on this journey as he was such a talent on drums and in energy, and that needs to be carried forward. So VoxEagle is a musical energy; I hate to call it a band or whatnot. Its vibe I suppose is with me at the helm. Its just gotta have big melodies and be real energetic and vibey. Its ups and downs, highs and lows but a consistent, persistent energy that is going to get the crowd going at any gig. For 2018 its me Andy Crosby, and Aaron Dixon on guitars, heading out on the road. We got some vintage racing suits on ebay, so its gonna be wild. So hope to catch you somewhere for a show Jeff!

EML:  I would love to see you perform live! Anything else you’d like to add that I neglected to ask about?

AC:  I think we covered it all. Thanks for your time Jeff, love the blog and writings of the EclecticMusicLover. Look forward to chatting again soon.

EML: Thanks again Andy!

VoxEagle_Studio 1

Okay, let’s get to the music! The album kicks off with the sultry dance track “Stay A While,” instantly hooking us in with a throbbing deep-bass driven beat and dangerously sexy synths. Andy croons “Won’t you stay a while. Play those games a while. Imaginate a while. Fall over here,” and who could possibly resist? The track is a mere 2:11 minutes long, but man is it scorching hot!

As the next track “Wander” unfolds, it’s immediately clear Andy has somehow captured the magic of the forest surrounding his studio and transferred it into this enthralling song. The sparkling piano, xylophone and string synths are gorgeous, and paired with the dope hip hop beat, it all makes for a captivating soundscape. Andy freestyles about how communication has broken down in his relationship, his vocals going from sultry to falsetto as he sings: “We don’t talk no more, baby girl, we just wander.” Pierre Fontaine’s smooth rap vocals take over for the last third of the track, adding another element of texture to this marvelous number. It’s my favorite track on TriumAvium, and I can fully understand why Andy wanted to build the rest of the album around it.

Race Fever” is a great example of how Vox Eagle melds genres and styles to create incredibly dynamic and interesting songs that surprise and dazzle our senses. The track starts off with a trip hop beat and altered vocals, then alternates with an irresistible melodic hip hop dance beat, with sounds of speeding cars and screeching brakes thrown in. He freestyle raps about the thrill of driving fast and winning races: “Wheels keep spinning faster, they won’t catch us now.” “Salvation” is a trippy song, opening with a brief vintage piano riff, then settling into a slow hip hop dance beat with almost carnival-like psychedelic synths and gunshots from what sound like duck or pheasant hunting.

Another favorite of mine is “Let’s Go Back – The Ballad of Randy Eagle in F#minor,” a mesmerizing instrumental track with fantastic exotic-sounding synths and chanted electronically-altered vocals. As Andy explained in our interview, it’s about his out of control alter ago ‘Randy Eagle.’ “The Change” delivers spacey industrial synths set to a hypnotic EDM beat as he sings about living a hedonistic life: “Run away to Paris, we’re living life lavish. Popping champagne we can’t afford but we got to have it / I feel it coming, the change.”

No Sleep No Sleep” is a stripped-down reimagining of “No Sleep,” and a nod to the first single released by Vox Eagle that Andy wanted to include on TriumAvium. I love the original, but really like this cool and stylish version too. The guitar and bass are terrific. “Too Damned Awesome” is another trippy and unusual track, with trip hop beats and otherworldly, industrial-sounding synths. Sampled spoken words of a man’s voice saying “Hell, you don’t know where I’m at. You couldn’t possibly know where I’m at. It’s too damned awesome.” are repeated throughout the track, as Andy croons “Just trying to touch the sky.” I love his vocals, which have an earnest vulnerability that’s really striking. He keeps with the racing theme on closing track “Fast Car Fast Bitch,” a one and a half minute-long trip and a half! Andy pulls out all the stops on this short track, throwing in funky riffs, thumping bass notes, pulsating techno synths, and copious amounts of revving engines and screeching brakes that make for a fun and exuberant listen.

One of the things that most stands out for me about TriumAvium is its incredible flow, how each track so beautifully and seamlessly follows the next, leaving me almost breathless in the process. It’s a relatively short album, running only around 22 minutes in length, but it packs a major punch. It’s really a remarkable work of music brilliance, and I love Vox Eagle even more than I did after Flamingo Paradiso Pt. 1. I cannot wait to hear more of his music.

Connect with Vox Eagle:  Facebook / Twitter / Instagram
Stream: Spotify / Soundcloud / Apple Music
Purchase: iTunes

MELOTIKA Releases New Video for “Bittersweet Reality”

Melotika is an indie/pop artist based in Toronto, Ontario, Canada, and the alter-ego of singer/songwriter Mel Yelle. Born and raised in Montreal, Mel’s rich, smoky vocals remind me at times of fellow Quebecois Celine Dion, with whom she also bears a striking resemblance. She teamed up with electronic DJ/producer Jackman Jones (also known as Mista T Dot) to create urban beats for her debut EP Unaware, which dropped this past March. I reviewed her sultry single “Unaware Part II [Blindside]” in February, which you can read here.

Melotika

She’s just released a stylish new video for “Bittersweet Reality,” one of the tracks on Unaware. The song features cool synths set to a hypnotic dark wave dance beat, with hand claps, kick drum, bass and chanted backing vocals adding fullness to the sound. Mel’s vocals have a sense of bitter resignation as she sings about the conflict between our reality and the self-image of the persona we project to the world based on who we think we should be: “Doesn’t matter what we say, you won’t believe it anyway. Done my time but talk is cheap. Your bittersweet reality. Running back and forth at times can drain all my energy.”

About the video, Mel explains “‘Bittersweet Reality’ is about losing yourself in a synthetic realm of beauty and social media appearance. The character I am playing is a vulnerable side of me believing everything the media has taught me, and on the other hand rebelling against it.”

She’s shown scrolling through her social media accounts on her mobile device, elated one moment, then frustrated and angry the next as she reacts to either the attention she feels she deserves or criticism – or even worse, indifference – which pisses her off (sentiments I can certainly attest to feeling at times). Ultimately, she suffers a meltdown over all the conflicted emotions. Take a look:

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

JENNIFER DOLL – EP Review: “With Everything”

Jennifer Doll is a young singer-songwriter from New Jersey who, in her own words, strives “to make music that makes me feel how my favorite songs make me feel.” She released her debut EP The Crystal Hours last November (2017),  and was recently featured on a remix of electronic music composer Manipulant’s “What Good are the Stars” (which I reviewed). Now she returns with a brand new EP With Everything, which dropped on September 21 via WEATNU Records. On her Instagram page she posted her feelings about its release: “I am so excited – and slightly melancholy – to finally be releasing this EP. These songs were written between graduation and starting life, but most of those days are now behind me. They are now yours. Take care of them.”

Jennifer Doll

And what powerful and emotionally compelling songs they are. Jennifer has a fascinating sound and vocal styling that, to my ears at least, sounds like the product of a collaboration between Phantogram, Lana Del Rey and Lorde. She uses intriguing chord progressions and melodies and complex synths to create songs that are fresh and uniquely original. She wrote, produced, mixed and mastered most of the tracks, with the exception of the two remixes, and “Siren Song,” which was mixed by electronic music composer and engineer Almark, who’s vocals are also featured on the track “Cosmo.”

First up is the mesmerizing “Siren Song,” a hauntingly beautiful track about a woman desperately trying to escape her demons. The track opens with sounds of waves washing onto the shore and church bells ringing in the distance, then pulsating synths and a thumping drum beat ensue as Jennifer sings “She had to find a way to get away from the horrors of herself. She had to find a way to keep away darkness as it fell.” Her ethereal vocals start off gentle and breathy, but gradually become more impassioned along with the arresting synths and horns as the track progresses, soaring to spine-tingling heights in the chorus.
 

Jennifer injects a bit of dubstep into the mix on “Secrets for the Dance Floor, ” employing industrial-sounding synths, deep bass and echoed vocals to create a trippy, otherworldly vibe. She sings about the emotional emptiness of being stuck on the endless merry-go-round of partying: “One more drink for some clarity, then throw it back at me, but do we really even care?  One more party, do it all again. Forget as much as we can. All we crave is the end. Can anybody hear it? All the broken dreams and hollow lies?

The gorgeous “Cosmo” features dazzling synths and guitar work that are a lush, glittery soundscape for Jennifer’s beautiful, fervent vocals. Additional vocals are provided by electronic music composer and producer Almark. And “Heavy” is a brooding, yet beautiful track, with deep bass and dark, sweeping synths, punctuated by an enchanting piano trill, xylophone, and an occasionally recurring beat that sounds like a gentle foot march.  Her vocals are dreamy as she croons “Let me go, trust I’m better on my own.

The EP features three bonus tracks, the first of which is “glitter tits,” which speaks to the aftermath of the excessive partying that Jennifer sang about on “Secrets for the Dance Floor.” Accompanied by sparkling synths set to a slow dance beat, and backed by her own vocal harmonies, she laments: “Now there’s glitter on the floor, our remembrance of the night before. Tonight all we have is glitter tits.” Next up is “glitter tits (OneManStanding R3M1X),” a remix by electronic music composer/producer OneManStanding. He takes the same song, but significantly slows down the tempo, drawing it out to more than twice its original length. His synths are more spacey, and Jennifer’s vocals make the lyrics seem all the more compelling at this speed.

The third bonus track is “Cosmo The Little Girl Found (Jigsaw Sequence Remix),” a loose and greatly extended remix of “Cosmo” by Scottish synthpop musician and composer Jigsaw Sequence. At nearly six minutes, this track is the longest and most complex on the EP. Jigsaw Sequence seems to channel the 80’s with his glorious sparkling and pulsating synths, and hypnotic dance beats. Jennifer’s amazing vocal gymnastics are on full display here, breathy and gentle one moment, then piercing and powerful the next, raising goosebumps. It’s a marvelous tour de force.

With Everything is a beautiful, expertly-crafted EP, delivering music that’s innovative yet accessible, with lyrics we can all relate to. Jennifer and everyone involved in its production should be very proud.

Connect with Jennifer on Twitter / Instagram
Stream her music on Spotify / Soundcloud / Apple Music
Purchase With Everything on Bandcamp / iTunes

STRANGELY ALRIGHT – EP Review: “Stuff”

Strangely Alright Stuff

As all of us who use it know, social media can sometimes be a major source of aggravation, but it also has its rewards, one of which – for me at least – has been to connect with scores of musicians and bands from around the world. With some of them, that connection has run deeper and become more personal for a myriad of reasons, but most often due to the warmth and magnanimity of the artists themselves. One such band is a five-piece from Seattle, Washington with a delightfully quirky name – Strangely Alright. Not only do they play great rock music, they also project a strong message of love and acceptance in their songs, while clearly having a lot of fun in the process.

The band is headed by Regan Lane, who does most of the songwriting and sings lead vocals, Sean Van Dommelen (lead guitar, vocals), Ken Schaff (bass), Raymond Hayden (keyboards, vocals) and Jason Bair (drums). Their wildly-entertaining style of punk-infused rock is inspired by various generations of British iconoclasts such as David Bowie, T.Rex, the Jam, Suede, the Buzzcocks and Supergrass.

They’ve released a number of recordings over the past several years, including their terrific album The Time Machine is Broken in 2013, and a compilation album of singles All of Us Are Strange (The Singles) earlier this year.  On September 20, they dropped a fantastic new EP simply titled Stuff. The band describes the EP as “six songs about love, working together, setting boundaries, the digital age and the change that’s coming.” The tracks were written in the wake of the 2016 presidential election, and speak to “walking the tightrope of acceptance and resistance, of not giving in to the overwhelming forces of hatred and turmoil.” I could sure use some pointers on that subject.

The opening title track “Stuff” speaks out against our materialistic ways, namely, our thinking that acquiring more things will bring us happiness when, at the end of the day, it’s the love and support we extend to others that will bring our lives meaning and a real sense of contentment: “And I have learned through the trials and the times. That I need to look inside if I want to stay alive. All of the things that I gather are things I will leave when I am gone. It’s all just Stuff. It ain’t enough. Without the love in my heart it’s all just Stuff.

I love the silly opening with ukelele and a bit of jibberish, and how it then erupts into an explosion of gnarly and screaming guitars, set to Jason’s infectious hard-driving rock beat that grabs us by the hips and gets our asses moving! The guitar work is so good and, combined with the gritty synths, throbbing bass and Regan’s feisty vocals, “Stuff” is one hell of an awesome rock song!

Building Bridges” is an admonishment for us to work together to build things up rather than fighting to tear things apart. The track starts off with a portion of the famous and moving speech given by Bobby Kennedy at the time of Martin Luther King Jr’s assassination: “What we need in the United States is not division; what we need in the United States is not hatred; what we need in the United States is not violence and lawlessness, but is love and wisdom, and compassion toward one another, and a feeling of justice toward those who still suffer within our country.” It then launches into a thunderous volley of gritty riffs, assertive keyboards and pounding drums that form a lively soundscape for Regan’s fervent, at times distorted, vocals.

The kiss-off song “Wave Goodbye” starts off with Regan saying in an almost smarmy voice-over “Dinner is served,” then organ synths and fuzzy guitars take over as he sneers: “I thought you were my friend but I can see you’ve been pretending from the snide remarks that drip from you tongue.  Walking with a shovel, you’re surprised that you’re in trouble while you’re piling dirt on people you love./  Even when you say you can change. hey, we don’t trust you. Maybe you should just float away./ Wave goodbye.

Strangely Alright takes on misinformation and fake news on “Information Game.” The track has a wonderful T.Rex glam rock vibe, with psychedelic synths and layers of distorted and wailing guitars. Regan’s vocals actually sound a bit Bolan-esque as he snarls: “Liars thieves and pretty faces. TV stars that run the nation. Maybe there’s a quiz at the end. Same old show a different station. Fairy tales and race relations. Cherry pick the good and the bad. The more I see the less I know. The less I know the more I see. It’s clogging up my brain.

Whatcha Gonna Do?” is straight-up rock’n’roll with an irresistible head-boppin’ beat, and one of my favorite tracks on the EP. Keeping with their penchant for quirky intros, the track opens with what sounds like a merry-go-round , symbolizing the circus-like atmosphere we now seem to be living in. Sean’s guitar work is fantastic, as are Raymond’s jazzy keyboards, Ken’s bass and Jason’s drums. And Regan seems to channel early David Bowie on this track as he croons: “Well I vote in the elections and I feel no real connections with the humans that we trust with our lives. Baby baby It just feels like lies lies lies lies. Who hoo hoo hoo. Whatcha gonna do? when it all just breaks in two.

The EP ends on a upbeat note with the psychedelic-rock “Don’t U Know.” The lyrics speak to the optimism of youth, and that change for the better is coming, even though those of us who are older may feel cynical and pessimistic about it: “Well my children tell me that a change is gonna come. Hiding in the sunlight is the truth that we are one. Open doors of freedom. Doors of dialogue. Freight train and I feel it’s coming coming coming.

I have to say that the more I’ve listened to their music, the more I’ve come to love Strangely Alright – not only for their uniquely quirky sound and impressive songwriting and musicianship, but also for their humanity and kindness. Stuff perfectly exemplifies all those admirable qualities that make them a very special band indeed.

To learn more about Strangely Alright, check out their website
Connect with them on Facebook / Twitter / Instagram
Stream their music on Spotify / Apple MusicReverbnationSoundcloud
Purchase on Bandcamp / iTunes

FIE! FIE! FIE! – Album Review: “No Light For Lies”

Fie! Fie! Fie! album art

Fie! Fie! Fie! is a gloriously-named alternative rock band who make glorious music. Based in West Yorkshire, England, the band was formed in 2013 by seasoned musicians Daniel Varley and Pete Long, both of whom play some pretty mean guitar. Later joining the band were bassist Avon Blyth and multi-instrumentalist/percussionist Matt Burnside. (Burnside recently departed the band, though he’s played on all their recordings, and Marcus Ambler is a new addition to the lineup.) Daniel sings lead vocals, and the other band members provide backing vocals.

Fie Fie Fie

They’ve released a number of tracks and albums, including Can You Hear This? in 2015, and Live at St. Mary’s and a terrific single “Hit the Spanish Main” a year later. In August 2017, they released a double A-side single “Edge of Space/Everything I Told You”, which I reviewed, then followed with another single “Famous Liars.” This August (2018) they dropped a new album No Light For Lies, which includes all four of the aforementioned singles.

The guys describe the album as being about “Courage, Truth & Love – that there is no light for lies – yet there is light for the truth.” It opens with “Intro Venus,” a brief but captivating instrumental that immediately draws us in with a haunting guitar riff paired with dark synths. Having gotten our rapt attention, Fie! Fie! Fie! proceeds to blow our minds with the stunningly beautiful “Edge of Space.” Oh man, this song has one of the most arresting guitar-driven melodies I’ve ever heard. What sounds like lush synths is actually an effect that Pete put down on one of his guitar tracks, along with an achingly beautiful guitar riff that burns itself into your mind. It stayed with me long afterward, leaving me humming the melody and wanting to hear the song again and again.

Using metaphors of space exploration, Daniel fervently sings about finding enough forgiveness to salvage a damaged relationship, or possibly a damaged world: “Could you find a way, a way to see past this. Past the mess that we both left, could you see through it. Gliding through the stratosphere, could fall off, float away. There’s bigger fears alone up here as we try to find our way.” The song ends with snippets of what sound like old recordings of astronauts speaking from their spaceships, and a final dramatic flourish of distorted guitar.  It’s fantastic, and my favorite track on the album.

Another highlight for me is the fun and bouncy “Hit the Spanish Main.” As it’s title suggests, the song features lots of tasty Latin guitars, but the guys spice things up with jolts of gritty and distorted guitars in the choruses that have the effect of Tequila shots on a beer buzz. Daniel sings about leaving their troubles behind when they reach Panamanian shores: “Got red-faced about everything. Still it all gets better when we hit the Spanish main.” The guys change up the tempo again with the mellow folk-like ballad “Everything I Told You.” The silky layered acoustic guitars floating above a smooth bass line and gentle percussion are sublime, and I really like Daniel’s earnest vocals, backed by a dreamlike harmonizing chorus. Here’s a lovely live performance of the song:

Famous Liars” is a fascinating tune, with sweet acoustic guitars, gentle snare drums and an enthralling background whistle set to a delightful galloping drumbeat. The delicate whispered vocals add a nice bit of mystery to the track. “From the Wreck” speaks to overcoming adversity and moving on with your life, becoming a stronger person for it: “Come on, you’re that long lost mother’s son. Her unwanted Caesarean. Who’s skull she loved to smash against the paisley walls in the living room. / And after all that, and after all this, hearts still beat. Could care less.” The pleasing acoustic guitars seem to give a feeling of reassurance.

The guys shed light on hypocrites and phonies on the Americana folk songs “Bullet Points for the Bullet Proof“: “Your sped-up lines just don’t rhyme, so unctuous and overrated. If you could see past your nose, you’d be better off castrated.So declare your manifesto, then we’ll decide if we’ll abide you or throw you over the side”, and “Bleeding Obvious“: “Who do you think you are telling us not to go far. With your snide remarks and your half-assed retorts. Is it stating the bleeding obvious you made such a stink and a fuss? About whether we have the right. Well our needs are a must.”

The hard-driving “Bloody Lane” is a moving protest song against the senseless jingoism and profiteering that lead to war: “bunkers filled with bankers playing with remote controls. Squares count lives in dollars...”  They close out the album with “Outrospective,” a biting but optimistic clarion call for us to rise up against the tyranny and bullshit being foisted upon us by our so-called leaders and big corporate interests: “They bankrupt and bleed you more. Disrupt their aims, move to settle the score. / You pay your dues, they burn your soul. You’ll run them out, run into the light. Become free, become one. You can’t submit. Cast out the bullshit. / Come out, come on. We are so strong! Get it together, you’re not alone. Morning coming, we are the light!”

No Light For Lies is a wonderful album from start to finish, and every track is stellar, with not a single filler. I’ve had a few conversations with Daniel by internet, and I found him to be generous, thoughtful and kind. I admire this band’s philosophy and dedication to their craft, and love their music and lyrics, so they’ve got a huge fan in me!

To learn more about Fie! Fie! Fie!, check out their website

Connect with them on  Facebook / Twitter / Instagram
Stream their music on  Spotify / Apple Music
Purchase their music on  Bandcamp / iTunes / Amazon / cdbaby

DVR – EP Review: “Down”

DVR pic

DVR is a studio project by singer/songwriter and multi-instrumentalist Olav Christensen. Originally from Denmark, Olav is now based in Brooklyn, NY, and writes, records, produces and masters all his music. He’s been recording music for a number of years, and began releasing singles in 2015, and dropped his first full-length album California in 2016. That work was inspired by memories collected by Olav when he lived in Santa Monica, and was a collaborative effort with bassist/synth musician Ancelmo James.

In late July, he released a new EP Down, which he describes as “five depressing songs for the kids, guaranteed to make you feel better.” While the songs’ themes do address the down sides of love and relationships, his wonderful music is generally upbeat, having the effect of softening the raw emotions expressed in his dark, poetic lyrics.

The first track “Precious Little Time” is a lovely pop-rock ballad that seems to be about regret over past transgressions that resulted in the loss of a loving relationship. The instrumentals are a pleasing mix of acoustic, electric and slide guitars, accompanied by gentle percussion, that perfectly complement the wistful lyrics:

Precious little time makes me lose my head
It’s not that you did wrong, I’m just hanging by a thread
Running out of time and I keep slowing down
Beat and broken down, knees to the ground
I’ll send you love from the great beyond
To take the edge off breaking my bond

Low” has an edgier rock sound, with fuzzy and psychedelic guitars, heavy bass and industrial synths set to a driving beat. DVR’s electronically distorted vocals give the track a bit of a Peter Gabriel vibe. It’s a brilliant song, and probably my favorite on the EP. “Another Year” is a soulful pop-rock track with some fine, intricate electric guitar and a strong thumping drumbeat.  His smooth vocals are really nice, as are his own backing harmonies, which he very effectively uses on other tracks as well. He sings about his shortcomings and how he always fails to live up to his best intentions: “I won’t make no resolutions. There really is no point. Cause when it comes to execution I just disappoint.”

He speeds things up on “Your Shoes,” a peppy, upbeat-sounding rock song with great guitar work and decidedly dark lyrics. Spoken from the point of view of someone who’s completely cynical and emotionally dead, his words offer a bit of empathy to another who’s suffering, though from what we’re not told. His earnest, emotionally-charged vocals almost reach a falsetto level at times.

It’s a bitter pill to swallow 
But I’ve been dead for a while 
My spirit’s dull and hollow 
My soul is dark and vile
But here 
Close to the ground 
Flat on my back 
Nothing to lose 
Here 
I realize what it’s like 
To be in your shoes

On “Undetected,” DVR employs a wide assortment of rich guitar textures, and layers them over a thumping bass line and strutting drumbeat to create an uptempo backdrop for his heartfelt vocals. With a sense of sad resignation, he laments about how the object of his desire doesn’t seem to care about him:

I’d like to be on your radar
It’s my favorite place to be
But all the while, here you are
Not looking for me
I’m always undetected
As I drift across your scope
I’ll always be neglected
Here at the end of my rope

Down is a great little EP that left me wanting more from this versatile artist. Though he refers to himself as a “shitty” guitarist in his Twitter bio, I’d say he’s a pretty good one! And given his rather prolific output over the past few years, I’m sure we’ll be hearing new music from DVR soon.

Connect with DVR:  Facebook / Twitter / Instagram
Stream on Spotify
Purchase Down on Bandcamp

I FIGHT FAIL – Single Review: “Silhouettes”

Silhouettes

I Fight Fail is an Alternative/Electronic/Emo/Rock band from Canton, Ohio. Consisting of Andy Potter on lead vocals and bass, Daryl Johnson on guitar and backing vocals and Anthony Carter on drums, the band formed in 2014, after the guys had played together in previous bands. Their band name is about perseverance, in their words “a state of mind or an idea that you have to keep going forward even when you fall down.”

Fusing alternative rock with an electronic/pop sound, I Fight Fail creates music that’s fresh, smart and incredibly pleasing. They released their debut EP Move Me in 2014, then followed two years later with their second EP Voyages and Vantage Points, both of which are excellent. In January 2018, they dropped a new single “Silhouettes,” which will be included on a forthcoming third EP, to be released in 2019.

The song is a sort of coming of age anthem, spoken from the point of view of teenagers eager to jump headlong into adulthood, but still struggling to find their way forward and forge their identities: “You were skipping school and I felt cool cause I was older. We broke all the rules, and I let you cry onto my shoulder. / And we can’t wait to start planning our escape. We’re all lost, we’re all lost in our heads. Bring us back. Bring us back from the dead. We are silhouettes.”

Musically, the guys make generous use of glittery synths, delicate keyboards, chiming guitars and snappy drums to create a joyful sense of hopefulness and optimism, but with a serious undercurrent that keeps the song grounded in reality. Andy’s smooth, earnest vocals are really nice, as are the guys’ soaring choruses that appear later in the track. It’s a wonderful song.

Connect with I Fight Fail:  Facebook / Twitter / Instagram
Stream their music:  Spotify / Apple Music / Soundcloud
Purchase on iTunes

DEF STAR – Artist Spotlight & Interview

I’ve mentioned it several times before, but it bears repeating that one of the things I love about Twitter is all the interesting people I’ve met and continue to meet. And since my account is primarily about music, I follow and am followed by several thousand musicians and bands. One that I’ve had the distinct pleasure of getting to know is a hard-working singer/songwriter who goes by the artistic name Def Star. Based in the Chicago area and born Mike Purcell, Def Star is an incredibly creative, talented and nice guy with seemingly boundless energy. In just the past couple of years, he’s recorded an impressive output of songs in a variety of genres, including hip hop, rap, rock, alternative rock, electronic, industrial, trap and pop. He’s also very supportive of other musicians, as well as his fans and followers, plus he has a wonderful sense of humor – all things I greatly admire in an artist.

Def Star 4

I recently sat down with Def Star (well, we were actually sitting at our respective computers 2,000 miles apart) to discuss his love for music, what inspires him, and his creative process. I was blown away by his thoughtful, articulate and deeply honest responses.

EclecticMusicLover: Hi Def Star. Thanks for agreeing to an interview! We’ve followed each other on Twitter for a while now, but I don’t really know a whole lot about you. Tell me a bit about yourself and how you came to be interested in making music.

Def Star:  First & foremost, thank you for taking an interest in my music! About me: both of my grandpas sang (one jazz/lounge & the other church songs).  I witnessed the power song has over women at a very young age when I saw U.S. Navy pilots perform a very well-choreographed lip sync of The Righteous Brothers’ “You’ve Lost That Lovin’ Feelin’.”  In middle school, girls would call me and ask that I sing “If I Ever Fall in Love” by Shai – great song! My tastes were and are in complete & utter disarray – the only file left up there in my mental rolodex is labeled chaos and I think it’s empty.

Really though, I remember absolutely falling in love with whole eras of music and the two that stick out most are grunge rock and gangsta rap.  Comin’ up the outside of the track was always R&B. Regardless, ever since I can remember, there have always been songs that absolutely knock me over and latch their claws into my soul and leave these beautiful scars or bandage ones that were already there.  Anyway, what I’m intending to get at is this: it never mattered what genre these great works of art were labeled, or what style or culture or anything else anyone could say right here… to me, I’m thankful that I was exposed to an incredibly vast variety of music by people who genuinely loved the music they love and that I’ve been fortunate enough to have had experiences that later on change from mere memory into what is recalled as these moments.  I don’t know if they’re milestones so much as they are simply stars in the night sky we call our life; the point is they matter because the chords get struck and they run deep. Not only that but they’re like little shortcuts or portals straight to the heart – for better and worse. 

EML:  I can identify with how you developed a passion for music at an early age. My much older brother loved artists like Elvis, Fats Domino and Little Richard when he was in his teens, so I got exposed to that music as a baby and danced to those songs as soon as I could stand up on my own lol.

DS: I love the magic that is music and its effects on every single person it touches from inception on.  For some, that’s the name of this game, really: the best songs never die. In my experience, it can feed twisted delusions of grandeur not limited even to the absurd such as immortality.  Flipside of that? Oh, but all of the rest about it – any which way ya cut it – music is escape, hope, consolation, companionship, love, hate, nothing, everything. I love how some songs can plant themselves firmly in one specific moment in time and other songs are ethereal, transcendent, and timeless.

I’ve said this from the very beginning: “Music Speaks, I Translate.”  At the time that I first started saying that (whenever people would ask about how I write lyrics or develop melodies) I wasn’t trying to brand myself or come up with some sort of catch phrase.  Today, it’s mine & I own it. It began because that’s how I feel it happens most of the time for me. I get an instrumental from one of a few incredibly talented producers I’m blessed enough to be close, personal friends with; it may be one of a handful of different genres or a unique mix of two or more; I like to consider what the emotion of the beat’s describing or even “saying.”  Sometimes the producer says I hear this here or I kept thinking of that there, other times he or she says what they were thinking or feeling when they made it. Most often, I’ve been entrusted with free reign to build whatever I feel like building on the allotted real estate, whether only one verse for a collab or promo, or an entire track for a solo.

I started out rappin’ in 1999, singin’ in 2001, rockin’ in 2003 and from there, there have been mixtapes, groups, bands, shows, writing, recording and finally an artist who realized that if he doesn’t light the fire, no one will ever even have a chance to carry the torch.  So now, I have a catalog of recorded songs somewhere upwards of the mid-300’s, I may or may not be currently working on an official album or two right now as I type this, there is always new promo material popping up like my first actual music video that came outta nowhere just last week on YouTube:

I’m all over Twitter & InstaGram like a fool, lol! Cliché alert: I figure we have this one life to live, just one. That’s it! So, do I really, truly, genuinely, whole-heartedly, sincerely believe that there’s something going on with my music that’s worth at least giving it a little air and a little light? Yes, I do. If it grows, maybe give it a little more food, air, and light?  DEFinitely. Next question: what am I waiting for?!

EML: Well, shedding a little light on your music is my aim! You state that grunge and gangsta rap were the two genres you really felt passionate about – which makes sense as you came of age in the 90s – but I hated them back in the day. I’m much older than you, and in the early 90s I felt music quality had gone over a cliff. I absolutely hated all rap, and just didn’t get the appeal of grunge. I was in my 30s by then, and figured I was already too old and that music no longer mattered as much to me – something that seems to happen to a lot of people as they get older. Most of my friends are now in their 50s and 60s, and few of them have the slightest interest in hearing new music anymore. They think it’s great I have a music blog, but they’re not at all interested in reading it or learning about new music.

I’ve since come around about grunge, hip hop and rap, though I still don’t like gangsta rap. It’s just too much for me.

DS:  Re: grunge & gangsta rap… A couple things (& I completely relate to where you’re coming from)… I, too, (now in my late 30’s) have felt like “new” or newer music, style, content (especially rap) has just fallen off & it’s all garbage… I have felt like that at times. But, that’s typically before I’ve given any of which I’m judging an honest chance. There’s usually something about it I like, or I might shockingly end up loving it, or at least then I have legit reasons I don’t like it. But that’s me.

I have since fallen madly in love with other bands & even genres entirely! My journey has seen so many chapters or phases & most often, even if I move on to a new thing, chapter, or phase, I don’t just stop having this place in my heart that a previous love carved out. It’s still there & feels good when filled again with that old love. But I crave the new, too! So, yeah, I went through Emo, Screamo, Hard Rock, Heavy Metal, Death Metal, Post-Hardcore, Electronic Rock, EDM, Pop, Pop Punk, and more. It’s been a TON of fun & I’ve picked up a lotta things along the way that have positively influenced my approach on music and just my overall enjoyment of life. There’s a few artists that are like guilty little pleasures of mine that I don’t talk about often but I love their albums too. Never thought I’d see these particular artists albums in my personal iTunes but they’re there & I’m happy about it, lol.

Gangsta rap today? Not so much. Strangely enough, though I myself am a rapper of sorts, I don’t listen to rap often. I don’t listen to much Grunge today either. Maybe some “classics” here & there or the Temple of the Dog album I absolutely love, but it is the exception rather than the norm.

Last thing I’d love to touch on & it sounds like you’ve experienced a bit of this: your friends have less interest in reading your blog than you’d hoped or expected. I can absolutely relate – simply switch out the words “reading your blog” with the words “listening to my music”… lol! My buddy I make music with and I have discussed how funny it is that people I don’t know at all will oftentimes support my work and my social media sites more than my own friends & family – I’m crazy thankful for any & all interested & supportive, for certain! THANK YOU ALL!!! But some of the people I just kinda expected to pick up some balls and run with ’em just haven’t. And even the whole family thing… some have come around, most haven’t given it the time of day, and some ask from time to time but very few have listened let alone tell others about it. Oh well! Living & learning. It really does take a village though & I do have the greatest family, friends, followers, and supporters.

EML:  Your songs encompass an eclectic mix of genres, including hip hop, rap, alt-rock, metal, trap and even pop. Who are some of the artists who inspire or influence you to create the type of music you make?

DS:  Some of the artists that influence(d) me: Chris Cornell, Eddie Vedder, Lane Staley, Scott Weiland, Corey Taylor, Method Man, Mos Def, Tupac, Twista, Kurt Cobain, John Lennon, Aaron Lewis, Craig Owens, Biggie, Hayley Williams, Do Or Die, Joan Jett, Lynn Gunn, Eminem, I.V., Pistol Pete, Bogus, Chavi, J-Slay, Koncept, Ace, Halsey, Alan Walker, 112, Boyz II Men, Wretched, Tool, Eyes Set to Kill … I could go on & on, and the current list doesn’t even begin to think about beginning to scratch the scratch of the surface!

Def Star (2)

EML:  When did you begin writing and recording songs? What is your process for creating new music?

DS:  I began writing lyrics way back when I was in elementary school. I loved wordplay, puns, and especially rhymes. My first song? Not 100% sure but one of the first that’s coming to mind in the moment is freshman year high school, History class.  Two of my classmates and I played a modified version of George Thorogood’s “Bad to the Bone” called “Bad History.” We shoulda just called it what it was: “Bad Song.” Ha! Seriously.  I did have a sweet Fender Squier – the bumper car of electric guitars – but I did not invest the effort early in high school to learn it nor take the time to truly appreciate it.

EML:  What, if any, instruments do you play?

DS:  I wanna say vocals but part of me feels like that sounds pretentious.  The other part of me feels that the first sentence of this response, along with this sentence, sound really pretentious already so we passed that point long ago.  Now that that’s been established, I do not play any instruments. Sit me down in front of a keyboard or piano and I can wing some cool shit but I’ve been lucky enough to have this sort of relatively steady flow of instrumentals or other opportunities for collabs in multiple genres which has kept me very busy and growing through the challenges of constantly pushing the borders of my envelope and testing the limits of my comfort zone.  I don’t know which it is but I either don’t have a comfort zone at all or my comfort zone is just that whatever-it-is to where I have yet to face a challenge musically that struck me as so uncomfortable or outside of any alleged comfort zone that I didn’t or couldn’t do it (and end up turning out something really cool in the process).

EML:  I see that quite a few of your songs are collaborations with other artists, which I think is great. In fact, it seems that a lot of hip hop artists tend to collaborate with other artists on their songs. What do you find appealing about the collaborative process?

To me, I have held this view since day one: any way the music can reach ears that it wouldn’t have otherwise reached of my own accord, I’m in.  Even if it means that I spend time or money of my own to get it out there, I’m in. I’m not currently in a position to demand nor expect money for my music.  I will be. And it will be soon.. Until then, I will continue to post FREE MUSIC on MY YouTube CHANNEL!!! My apologies, I digress (as per usual). To answer this question directly, my goal with collaborations is three-fold: A) to reach not just my audience with a new song but the other artist’s audience as well.  Then, sometimes, one plus one results in a sum greater than two. It’s funny what happens when a flash of excitement in the pan of good timing, for example, can ignite the whole skyscraper. And, B) the challenge of making an impression such that these new listeners want to find my stuff & hear more. Lastly, C) the ability to work with friends and have a damn good time along the way.  One of the countless things I love about music is that, generally, the people I’ve known that have anything to do with music and its creative process from A to Z are really great people with a lot to offer the world but they’re not on that mission. They’re not out to take over the world or clutch at status for the sake of status. They have beliefs. They don’t fall for shit. They can typically see through the bullshit or at least have reasons they believe what they believe even after examining both sides of a coin.  They’ve got their priorities straight. I need people like this in my tribe.

EML: What artists would you especially love to work with, and why?

DS:  I already work with the sickest buncha straight-up artisans so I will respectfully pass on answering this question with names of popular, mainstream artists and provide a glimpse at a few names that are already poppin’ or are right around the corner:  I.V. , WavRiders, J-Slay, Red Focus, Chavi, Koncept, Swilly.

EML:  Ah, Swilly’s awesome, and I love the collaboration you did with him and guitarist Kevin Campbell on “Right or Wrong.” And “Change Your Life” with J-Slay and Koncept is another fantastic collab.

EML:  What are your thoughts about the current state of music and/or the music industry?

I LOVE the state of music right now!  I feel like this: whether we recognize it or not, and as much as many may complain about the lack of anything original and a void of any artists aiming at a new paradigm or even daring to shake things up for fear of public opinion and sales quotas, there are so many talented, unique, incredible artists and bands that are out there killin’ shows, slayin’ audiences, rockin’ mics, sellin’ merch, packin’ venues, puttin’ out EP’s and albums, promotin’ it on multiple social media platforms like crazies just like me … that ARE making music that sounds like nothing I’ve ever heard and moves me in new ways.  And that’s a big goal with my music is to create a truly genreless, timeless product that is a cohesive album yet plays like a playlist of your favorite songs over many years and genres of music, all in one, ready to go from the point of purchase & play. An instant classic. A soundtrack to the movie that is your life.

EML:  Have you performed live very much?

DS:  I have performed live and I love it!  I wish I could say I’ve done it a bunch of times or been on tour before but I can’t yet.  I’m that new – to the “scene.” As far as experience, the Romans would say I got a couple of X’s under my belt.  Specifically, live performances of mine I could count on my hands. More importantly, I got miles traveled beneath my feet and even if they high now, the message is still deep.  Plans to do more live performing? Absolutely. AB. SO. LUTELY!!! I made up this little diddy and I do believe it applies here: “Whatever lights your fire, rock it to infinity.”  So, HELL yeah!!! I’m taking this thing as far as life allows, much of it is outta my hands but I gotta keep trying to do whatever I can. Hmmm, lyrical… “much of it is outta my hands… but I gotta keep – try’na do – whatever I can”… sweet, lol.  Hashtag lit AF, am I right? rofl.

EML:  You’ve recorded quite an impressive output of tracks, but haven’t released a full album yet. Why not? Do you have plans to release an album anytime soon?

I have a secret.

But first, thank you!  I’ve said it before and I will happily repeat it ad infinitum: I appreciate that you have taken the time to even know enough to ask these great questions!  This has been a serious trip & thanks for humoring me, I hope my tangents aren’t unbearably obnoxious. I’ll wrap it up here now, sorry! LOL! (I’m not sure if it’s because I’ve had some days upon which to think about this thing and it’s finally coming out now, or if I’m just in a zone, OR if I just think this is SO cool because your platform – the Eclectic Music Lover – it’s the most comprehensive music review site with these exquisitely written pieces on songs, albums, artists, bands… it’s an honor to be a guest, as it were.)

Now for the secret, and now that I think about it, I touched on this earlier too but here it is again and it’s really working in my favor: over the years, I may not have been doing much self-promotion but I have been writing, recording, and amassing a killer library of songs that I have at my fingertips to release here & there while I’m currently, possibly, confidentially, secretly, hypothetically, theoretically, not really but maybe actually, recording two albums right now concurrently.  One or both of these maybe’s, if what I just wrote were true, will be out sometime during the Year of the Earth Pig.

EML:  You are hilarious, and I’m really touched by your kind words about my blog! Is there anything I’ve neglected to ask that you’d like to tell your fans & followers?

DS:  Great question, once again.  And thank you for offering the opportunity for the interviewee to chime in with somethin’ he might’ve hoped to have show up in the piece – very considerate, I like your style my friend!  I think we’ve really covered a good amount of ground here. I’m not sure if I’m ready for a full-blown commitment so we’ll just keep it casual for now, mmmkay?! LMAO jkjk!!! I have a broken machine in my head that plays with words, thinks it’s funny, and gets me in trouble cuz it never shuts off.  A constant stream of comic genius; can you imagine?! The HORROR!!!

Nah, but on a serious note, I suppose I would love to just know that anyone who comes across this article and wants to find out more about me or hear more music, knows where & how they can do that.  For me, I have my YouTube channel https://www.youtube.com/channel/UCExzLvLnZIgpzZ2Gfa4cXDA and they can connect with me on Twitter and Instagram. (Some of his music can also be streamed on Soundcloud.)

Thank you, thank you, thank YOU!

EML:  And I thank YOU my friend for being such a great subject, and taking the time to share your detailed thoughts and perspectives with me and my readers. You’re awesome, Def Star, and I can’t wait to hear that album – or two!

Here are a few more of his songs I especially like that showcase the broad range of his music style:

HANOVER – Single Review: “Saw You Alone”

Hanover is an electronic pop band based in Liverpool, UK that I had the pleasure of discovering through Tom Taylor, drummer for fellow Liverpudlians Wide Eyed Boy (who I’ve featured several times on this blog). Hanover consists of Calan Nickle, Joel James, Dan Hancox and James Rookyard. They’re quickly building a name for themselves in the Liverpool music scene, having opened for such bands as Saint Motel, Peace and Saint PHNX, and getting airplay on BBC Merseyside. In late May, they released their debut single “Saw You Alone,” a beautifully-crafted track that sets a high bar for the four-piece.

It’s an uptempo, synth-driven song with a captivating melody and pulsating beat that compels your body to sway to the music. The sparkling electronic synths are really lovely, but there’s a hint of sadness too, reflecting the bittersweet lyrics that speak of seeing an old flame and having all the feelings you once had for them come flooding back, hoping that love might perhaps be rekindled again and you can make another go of things. Calan has a smooth vocal style that’s incredibly pleasing, and sings with a subtle vulnerability that conveys the poignant emotions expressed in the lyrics, without becoming maudlin. It’s a terrific song and a fine debut for this promising band, and I’m eager to hear more from them soon!

Hanover will be appearing with Wide Eyed Boy and Milpool on Thursday, July 26 at Buyers Club, Liverpool

Connect with Hanover:  Facebook / Twitter / Instagram
Stream/Purchase “Saw You Alone”:  Spotify / iTunes / Soundcloud / Google Play