FIONA GREY – Song & Video Review: “Saviour”

Fiona Grey is a colorful and charismatic singer-songwriter with a lot to say about the current state of affairs. With her sassy, sultry vocals and glamorous, yet playful style, she defines her dynamic sound as “dirty pop.” To my ears, her sound is a mash-up of Charli XCX, Gwen Stefani and early Madonna. Alternative newspaper LA Weekly recently named Grey the best pop singer in Los Angeles.

Chicago-born and now based in Los Angeles, Grey draws inspiration for her songs from the world of Hollywood, namely, it’s unrealistic expectations and the vices that people use to escape their anxiety and pain. She hopes her music will help listeners aim to be the most pure and honest versions of themselves. “There is a lot about living in a pop culture centered world that we deem as normal behavior“, she explains. “I hope that the music can remind the listener that this follower-centric, alternate persona universe we live in is all temporary happiness.”

Fiona Grey

She released her wonderful debut EP Belladonna in 2014, then followed with a series of singles, culminating in the release of her second EP Cult Classic in September 2018. That EP addresses the cultural issues Grey feels strongly about, expressing her vulnerability and anger towards the world we’re living in, and her desire to make it a better place. She states, “Each song has its own identity and story it wants to tell.” She’s just released a brilliant video for “Saviour“, one of the tracks off the EP.

It’s a gorgeous, compelling anthem about female empowerment, that women don’t need a man to ‘save’ them. Musically, the song features sweeping cinematic instrumentation, including lush orchestral strings, piano and glittery synths, backed with soaring vocal choruses. Grey’s beautiful vocals are amazing, exhibiting a broad range that goes from soulful croon to impassioned cries. The track also includes lovely guest vocals from singer Emma Cole.

And you can’t be my saviour
I don’t care what they say
All the rules you’ll have to break
You watch me fall apart
And you can’t come and save us
All the times you failed to try
I won’t be a trophy wife
And you can’t be god

The stunning video is an ode to Fellini, Marie Antoinette and the dark and dreamy black and white films of the 1960s. Says Grey, “This video is a stylized version of relationships I felt weak in, and this song was the inspiration to regain strength.” The story was written by Grey, Josh Allen and Sean Berger, filmed by Colin “Stinky” Trenbeath, choreographed by Kevin Stea, styled by Alexandra Mandelkorn, and directed by Sean Berger. Besides Grey, the other women dancers include Kelly Powers, Leslie Duner, Alexa Russo, Megan Campbell and Charlotte Smith. The Lover Boy was played by Conner Floyd.

The video depicts people at what appears to be a reception after the wedding of a couple portrayed by Grey and Floyd. Grey sings of her love, but also her refusal to bow down or be a trophy wife to him, as she and the other women dance and cavort about. There are some tense moments, but with a fresh understanding, they come together in peace and love at the end.

Connect with Fiona:  Facebook / Twitter / Instagram
Purchase on Fiona Grey Music Shop / Apple Music

BEN PRIORY & CHARLIE PEREIRA – Single Review: “Here We Go”

Herewego (2)

Aside from the thrill of seeing one of my posts go viral (which almost never happens), my biggest joy about having a music blog is writing about music I really love. And boy, am I in love with the stunning debut single “Here We Go” by two young artists from Portsmouth, England: Ben Priory and Charlie Pereira. What’s especially astonishing about the quality of the song and vocals is that they’re both only 17 years old!

Ben and Charlie started making music together at the age of 12, when they’d have drum battles in Ben’s bedroom. Ben wrote the music for “Here We Go” last September (2018), then recorded all the instruments, including synths, piano, bass and drums. Charlie wrote the lyrics, and recorded the vocals over two sessions, the first in December 2018, and the second in February 2019. Ben produced and mixed the song, then sent the track to Peter Maher (U2, The 1975, Snow Patrol, Katy Perry) for mastering.

The song is perfection from start to finish. It opens with night sounds of crickets and waves crashing on a distant beach, setting a rather pensive mood. Then a somber piano riff, accompanied by finger snaps and bass, enter the mix as Charlie softly sings with an air of sadness in his voice of the hurt and disappointment someone’s caused him:

So I’ve been sitting here for the longest time
And it’s just not fine with me
But what you’ve done
And how you thing it’s all fun
But it just can’t run
You made that sacrifice
And I had to pay the price
For you to do what you do but it makes me blue
And you don’t even have a clue

Suddenly, the tone shifts in the chorus to a joyful, upbeat vibe with the addition of lush, shimmery synths, guitar and a bouncy bass drum beat. Charlie’s vocals are now more ardent and hopeful as he sings of the pleasures of making music, providing an escape from the sadness he was feeling earlier, and perhaps giving the relationship another go:

So here we go now
Hearing our soft sound
Hear the bass drum pound
But we don’t know til we will hit the ground
But hear the bass line flow
It’s faster yeah, never slow
Let’s do the show
Here we go, here we go, here we go

Yeah let’s take it back
Listen to the sweet guitar
It’s not a competition you’re my superstar
Just go for a drive
Let’s get away
We can take my car

Ben and Charlie have created a beautiful song that’s the perfect summer tune. I’m quite impressed by the quality and maturity of their sound, especially given their youth, and hope to hear more music from these guys very soon!

Connect with Ben:  Facebook / Instagram
Purchase “Here We Go” on iTunes

SARAH MAY – Single Review: “The Journey”

Sarah May2

Sarah May has one of the most striking voices of any female artist around today. Based in London, England, she’s a seasoned singer/songwriter and music producer who’s been writing and recording songs since she was a teen. With a smooth, captivating vocal style, Sarah in her own words “musically vents the woes of being a female in the modern world.” Her poetic lyrics are honest and pure, and never overly symbolic or impenetrable, which makes her songs highly relatable. And when she delivers those lyrics with lovely music and sublime vocals, listening to her songs is an incredibly pleasurable experience.

Since the release of her gorgeous single “Nothing to You” in December 2018, Sarah’s been on a roll, dropping a new single every month or so. I featured that song as well as her bold follow-up single “Because I Turned You Down” on this blog (you can check out those reviews by clicking on the “Related” links at the bottom of this page). She subsequently released the singles “Oops” and “Fly”, and now returns with her fifth single “The Journey“, a bittersweet song about meeting someone and feeling an instant attraction and connection with them, but life circumstances will likely prevent the formation of a romantic relationship. I know from personal experience the dual emotions of euphoria and heartache that occur under these situations.

The song, which was written and produced by Sarah and mixed and mastered by James Preston, is beautiful, with glittery atmospheric synths, subtle bass and soft percussion. The tinkling keys, xylophone, and mesmerizing organ synths are exquisite, creating a dreamy soundscape for Sarah’s enchanting ethereal vocals. It’s her fifth consecutive winning single, keeping her perfect score in delivering stellar tunes fully intact. Well done, Sarah!

Hey you come over here with those sad eyes
Let me get to know you
Tell me what’s on your mind
And I’ll tell you too

And maybe we’re perfect for each other

Time stops when you’re in the room
And its just me and you
I’ve never felt my soul so understood
You get me and I get you

And maybe we’re perfect for each other

Meeting you was so magical
I don’t understand how something so beautiful
Could be so painful
Can we find our way home
I don’t know

In you I found what I didn’t know
I was looking for
But the journey carries on I’ve got to go
And you’re still unsure

But maybe we were perfect for each other

Meeting you was so magical
I don’t understand
How something so beautiful
Could be so painful
Can we find our way home
I don’t know

Connect with Sarah May: Facebook / Twitter / Instagram
Stream her music on Spotify / Soundcloud 
Purchase on iTunes / Google Play

KAROLINA ROSE – EP Review: “INVICTA”

KarolinaRose8

Falling in love with a song or artist the moment you first hear their music is among life’s greatest pleasures – certainly for me anyway. And that is precisely what I felt when I listened to the new EP INVICTA by Karolina Rose. Inspired by the music of artists such as Kate Bush, Debbie Harry, Florence Welch, The Cranberries, David Bowie and Madonna, the Brooklyn, New York-based singer/songwriter writes songs about her own experiences and presents them with beautiful commanding vocals.

Born and raised in Philadelphia to Polish parents, Karolina graduated from the prestigious Wharton Business School and had a successful career on Wall Street, which she ultimately left to pursue her dream of making it as a full-time musician. (I can identify with her life-changing decision to leave behind a successful career for which she spent years of study, as I left my job as a city planner to own and operate a bed & breakfast inn.) She began writing songs on her acoustic guitar, and performing them in clubs in and around New York City, gradually building a loyal following. Realizing she needed to take her music to the next level, she teamed up with Grammy Award wining producer/engineer/mixer Andros Rodriguez (Madonna, Shakira, Florence + the Machine) for her debut EP INVICTA, which dropped on February 1st.

Speaking on the meanings behind the title and theme of INVICTA, Karolina explains: “The word ‘INVICTA’ means unconquered, and is found on the coat of arms of Warsaw (the city where my parents come from), so the title represents my strength and who I am. From quitting my job on Wall Street to having to navigate a brand new industry, there was a lot to learn on the journey towards INVICTA’s creation. Following your truth is not always the easy choice. And for that I call the record INVICTA; it is to say ‘I did it’ and I am ready to fight for what I love.”

KarolinaRose

The EP kicks off with the anthemic “Crystal Gem“, a hopeful declaration of Karolina’s determination to pursue her dream, no matter the odds. Backed by shimmering synths and a driving dance beat, she confidently sings: “No one can stop me now, from doing what I want to do. How nice it would be, to be taken care of endlessly. ” The track sounds like a song Katy Perry could have sung, only better. “Love Crazy” is a sultry affair that speaks to how we throw caution and common sense out the window when the pangs of love hit us like a ton of bricks. The track features lush swirling synths and fluttering percussion, creating a beautiful backdrop for Karolina’s fervent vocals that convey the blind passion of falling madly in love, helpless to resist its siren call: “Love, it makes you do crazy things. / Nothing else matters.”

One of my favorite tracks is “Going to Berlin“, a fantastic dance pop anthem that tells the tale of a woman who overcomes heartbreak by going off and jet-setting the world’s greatest cities. Karolina explains: “The concept first came to me when I was hanging at the Russian baths in downtown Manhattan with a good friend discussing her growth and how much she’s changed. She had left an old love behind in Europe to move to NYC and fearlessly follow her dreams. She then, of course, went to Berlin…” I love the throbbing EDM beat and Karolina’s wonderful layered vocals, and this lyric is so good: “She was lip-smacking good. Hold her tight if he could. But he lost her. Regret seeps in. She’s not coming back.”

Downhill” is a slow, moody track filled with powerful sweeping synths and mesmerizing percussion. In an interview with webzine CelebMix, Karolina states that the lyrics speak to the “simultaneous feelings of excitement and fear when pursuing something entirely new and unknown.” She passionately sings “I’m on the edge, lost and found. Can you hear the screaming sounds? We reach the skies before we go downhill.”

A standout track is the sad but beautiful “Goodnight, Mr. Moon“, inspired by Karolina’s experiences of exploring grief through dreams and nightmares. On her Facebook page she explained: “I have suffered from nightmares for many years. I often have hallucinations when I sleep. I wake up and see things in my bedroom or projected onto the walls or something within my room takes a different shape and moves. The first verse of the song takes inspiration from one of my nightmares where I woke up and it literally looked as if the moon was projecting a spotlight onto my wall and it looked like a scene was playing out. It may sound magical, but it was quite frightening. I started coming up with the visualization of someone hallucinating in the middle of the night, bringing back their loved one by talking to Mr. Moon. She communicates with her lost love in the nighttime. She processes her grief through dreams. She thinks it’s real until the end of the song when she wakes up from the dream and knows it’s really time to say goodbye.

The dreamy synths, gentle percussion and her mix of soft and soaring vocals are a perfect match for the poignant lyrics: “How do I get it all back? All the pieces of my heart? How do I get it all back? All the pieces came apart. How do I get you back?

The final track “Move With Me” was actually Karolina’s very first single, which she released two years ago, in February 2017. The song has a wonderful throwback 80s New Wave vibe that’s become so popular again recently. I love the bouncy EDM beat that aims straight for the hips, along with the glittery techno synths that remind me of songs by A-ha and New Order. Karolina’s vocals exude seduction as she implores the object of her desire to quit wasting time and get busy loving her: “Check my pulse. Am I still alive? / Do you know you took me by surprise? Fragile, young love. What will be, will be. Move a little bit faster now. Go a little bit faster now. There’s no time to waste, so baby pick up the pace and move with me.

INVICTA is an outstanding EP that beautifully showcases the impressive songwriting and vocal talents of this very lovely artist. Every track is superb, making for a thoroughly enjoyable listening experience. I want to give special thanks to fellow blogger Hasan Bayez of SheBOPS for recommending Karolina. Check out his great blog too!

To learn more about Karolina, check out her Website
Connect with her on Facebook / Twitter / Instagram
Stream her music on Spotify / Soundcloud / Apple Music
Purchase on iTunes / AmazonBig Cartel

SARAH MAY – Single Review: “Because I Turned You Down”

Sarah May is a seasoned singer/songwriter and music producer based in London, England who’s been writing and recording songs since she was a teen. Only a month ago, in early December 2018, she impressed us with her release of a beautiful and haunting single “Nothing to You”. The song addressed the pain of unrequited love and being obsessed with someone who has no feelings for you, and showcased Sarah’s captivating, yet understated vocal style. (You can read my review here.)  She now returns with a new single “Because I Turned You Down“, a bold track with brutally frank lyrics that speak to female empowerment, specifically with regard to the expectations some men have about dating and sex. It’s an incredibly satisfying song from both a musical and message standpoint.

Sarah wrote the music and lyrics and produced the track, with mixing and mastering done by James Preston. The music consists primarily of subtle keyboard and percussive synths set to a thumping dance beat. As the track progresses, bits of spacey and wobbly synths provide added texture to the music, but still allow Sarah’s smooth, clear vocals to shine as she defiantly sings the no-holds-barred lyrics:

Can you try to understand
I don’t hate you just cause you’re a man
I just hate the way you think
And the way you treat women
Yeah, you’re simply a dick
To you it comes as a surprise
That a girl can go out drinking with the guys
And end the night in her own bed
Without giving you head in the taxi ride

Do you think that’s how you pull a girl
Buy her a drink and throw your cliche lines at her
Just cause I’m drunk, doesn’t mean that its okay
So take your hands off me, please pull yourself away

And because I turned you down, you say that I’m a bitch
I must be a lesbian or some kind of hardcore feminist
I should feel lucky that you showed interest in me
Cause I’m ugly, I’m not worthy of your time
I’m some kind of hippie freak

Connect with Sarah May: Facebook / Twitter / Instagram
Stream/purchase her music on Spotify / Soundcloud / iTunes

SARAH MAY – Single Review: “Nothing to You”

London-based singer-songwriter Sarah May has had music in her blood nearly all her life. She began writing songs at the age of nine, and taught herself to play guitar and keyboard. She recorded her first song when she was 14, and released her first CD of original songs at 17. Since then, she’s continued to write, play and release music, also managing to earn a Bachelor’s degree in Criminology and Criminal Justice along the way. To date, she’s written over 100 songs that touch on many of life’s perplexing issues such as love and heartache, depression, addiction, politics, sexism, partying and financial hardship.

Sarah has just dropped a gorgeous and haunting new single “Nothing to You.” It’s a rather long track, clocking in at 5:22 minutes, but is so lovely and compelling I don’t want it to end. Opening with a somewhat mournful keyboard synth, the song gradually expands into a captivating soundscape of moody synths and gentle percussion as Sarah’s smooth vocals wash over our ears. Her voice is stunning and understated as she earnestly sings the lyrics addressing the pain of unrequited love, of being obsessed with someone who has no feelings for you:

Sittin’ here missing you knowing I’ve not crossed your mind
Things still remind me of you regardless of the passing time
Trying to find out what you’re doing without having to get in touch
Feeling like a stalker, Never knew I liked you this much

I wanna go wherever you are right now
Though I know it’s not a good idea
Or I could drink alone at home
Find someone else on Tinder

I want you to see me and fall in love with me
I want you to be near and sense that I am here
But dream is all I do, because I mean nothing to you

The backing choruses, which I’m guessing are Sarah’s own vocals layered over her main vocals, are sublime, giving the track a dreamy ethereal quality that beautifully emphasizes the sense of loneliness expressed in the lyrics. It’s a marvelous song.

Connect with Sarah May: Facebook / Twitter / Instagram
Stream/purchase “Nothing to You” on Spotify / Soundcloud / iTunes

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