SURRIJA – Single Review: “Nothing Love”

Surrija is the music project of singer-songwriter Jane Lui, a hyper-talented woman with a most beguiling singing voice. Born and raised in Hong Kong, she moved to Southern California with her family when she was 12 and is now based in Los Angeles. She began studying classical piano at the age of five, and that traditional training, combined with her love for the music of artists like Tori Amos, Kate Bush and Björk, helped shape her unique sound and music style. Recording under her given name, Lui produced three studio albums between 2004 and 2010, along with numerous singles and covers, which you can find on her SpotifySoundcloud, and YouTube pages. Despite her success, however, things just didn’t feel right to her. Lui states that she “felt a bit constrained by my YouTube personality, and stopped writing music to get a grip on who I actually was. I had to shed my clinical approach and befriend my slightly feral tendencies.”

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It was with this new approach that Lui decided to rebrand herself as Surrija. In 2016 she spent time in Barcelona, Spain, where she was initially inspired by Picasso’s artistic output during his own years spent living there. But eventually, she became fascinated instead with his famous lovers and muses who he kept in the shadows, often preventing them from realizing their own potential. Wanting to tell their story, she began researching about some of them and writing songs for what would become her self-titled album Surrija under her new music project. The album is set to be released on April 3, and the first single in advance of the album is “Nothing Love“, which dropped on January 10.

“Nothing Love” actually predates her time spent in Barcelona, as it was written in 2013. Lui explained the song’s evolution on her Facebook page: “I only wrote two songs in 2013. This is one of them, written in a half-empty apartment that I was moving out of. The walls were so thin in that building that I didn’t play the piano much at all. Back then, songs came on like the flu – I’d feel a scratch of a lyric or line, then it just takes a sneeze and I’ll want to quarantine myself to sweat through the fever. I sneezed that day and spent many days after as the loud obnoxious musician neighbor. I looked at the chicken scratch afterwards and thought ‘Mm. There’s something here.’ Since then I’ve tested this song at shows, we’ve destroyed, reworked, subtracted, multiplied, and overhauled it into what you [now] hear. This is the last song from that time of my life and I think we succeeded in bringing it forward with flying colors.” I think so too!

The song is a captivating musical feast for the ears. Starting with a foundation of skittering dubstep beats, Surrija and her team of musicians layer a rich and colorful kaleidoscope of sounds and textures to create a dramatic, ever-changing soundscape that thrills and surprises at every turn. The array of instruments and synths used are impressive: Surrija plays the Moog synthesizer, electric organ, piano and mellotron, Matt Chamberlain plays drums, mixed percussion and modular synths, Maxwell Gualtieri plays electric guitar, Sophocles Papavasilopoulos plays piano and clarinet, and Christine Tavolacci plays the enchanting flute that’s one of the song’s highlights for me.

Surrija has a gorgeous singing voice, which she uses almost like another instrument to seduce us one moment, then startle us with a feral urgency the next. I found myself entranced by the interplay between the lush instrumentals and her vocals. She told the webzine Clout: “‘Nothing Love’ is about the kind of heartbreak that hurts so much it feels absurd”, and her passionate vocals most definitely convey that kind of emotional intensity. The wonderful backing vocals were provided by Albert Chiang, Sophocles Papavasilopoulos, Callaghan Papavasilopoulos and Mano Koolhaas.

Listen to this exquisite song and hear for yourself:

Connect with Surrija:  FacebookTwitterInstagram
Stream/purchase her music:  SpotifySoundcloudGoogle Playcdbaby

New Song of the Week – DEBRIS DISCS: “Animals”

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I recently wrote about two different musicians who use an interesting moniker for their music projects, and now have a third to introduce to my readers. Debris Discs is the solo project of British singer-songwriter James Eary, former front man of Manchester, England alternative dream pop band Coves & Caves. They released a well-received and critically acclaimed album Spinnerets in 2014, and played numerous shows, including a BBC live session, but eventually went on indefinite hiatus as the band members went off on their separate ways. James packed up his synthesizer and settled down into family life up in the hills of the High Peak in Derbyshire, but soon realized he couldn’t shake the music-making bug. So, in between day jobs, married life and helping to raise babies, he got back to writing songs and recording music.

His first single under the project Debris Discs is “Animals“, which I’ve selected as my New Song of the Week. The song was inspired by the real-life experience of working in the murky world of financial services from someone very close to James’ heart. He explains “It suggests that if things get to be too much, there’s always another, more soul-nourishing path to choose for a better life – one that might not always be the most obvious. This song should resonate with listeners in the current climate of corporate greed and horrible humans. As the chorus suggests, maybe it’s time to work with animals.”

For Debris Discs, James draws upon an eclectic mix of influences from some of his favorite acts like The Delgados, The Beach Boys, OMD, Giorgio Moroder, The Pet Shop Boys and G Funk.  Using swirling analogue synths and snappy drum machines, funky guitar notes, and a sprinkling of children’s toys he found lying around the house, James adds his pleasing vocal harmonies to create an upbeat, light-hearted tune that’s both inspiring and a delightful listen.

They’ve been working their way in
To get under your skin
Suck at your soul
Always practicing mind games
Won’t give up til they take you far too low
If these people make your blood run cold
Then it’s time to work with animals

You’ll get love that’s unconditional
And it’s OK to be fallible
Homo sapiens aren’t practical
So it’s time to work with animals

Connect with Debris Discs: Twitter
Stream his music:  Spotify / Soundcloud / Apple Music
Purchase:  Bandcamp / Google Play

IAMWARFACE – Album Review: “Year of the Dragon”

I’ve stated it before, and will say it again – British electro-rock band IAMWARFACE can do no wrong when it comes to making music. From the moment I first heard their debut single “Say My Name” in 2016 – which I likened to being hit by an atomic blast – I’ve been a huge fan. Their aggressive name is a fitting metaphor for their bombastic, groove-based sound, and in the three years since their debut, they’ve continued to deliver one incredible song after another. Three of their four singles: “Say My Name”, “Closer” and “Fear the Future” (all of which I’ve reviewed) have reached #1 on my Weekly Top 30 chart, with “Closer” finishing in the top 10 of my Top 100 Songs of 2018. Now, they’re set to finally unleash their first album Year of the Dragon, which drops September 6th. The album contains their first four singles, as well as six new tracks and four remixes.

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Photo by Caitlin Stokes

Based in London and Brighton, England, IAMWARFACE consists of founder and frontman Matt Warneford (songwriting, vocals), Lou Matthews (guitars), Tom Howe (DJ synth), Mike Smith (bass) and Adam Stanley (drums). Influenced by some of their favorite bands and artists such as Depeche Mode, Gary Numan, Kasabian, Muse, Big Black Delta, Nero, Queens of the Stone Age, Tears For Fears, MGMT and the Yeah Yeah Yeahs, IAMWARFACE creates music that’s aggressive, melodically complex and always exciting.

The opening track on Year of the DragonSay My Name” certainly embodies those qualities, with an explosive barrage of gnarly guitars, screaming synths and thunderous percussion, driven by a deep, buzzing bassline. Warneford’s fierce, mind-blowing vocals are almost frightening as he wails and shrieks the lyrics. This incredible song still gives me chills three years later!

Next up is the gloriously bombastic kiss-off song “You Don’t Love Me Anymore“, which was their second single. Once again, they live up to their name by delivering a furious onslaught of jangly guitars, heavy bass and smashing drumbeats. It’s loud, in-your-face, and melodically beautiful, and the hard-driving guitar work is fantastic. Warneford’s impassioned vocals are positively chilling as he wails “Whoa oh oh, you were right, you don’t love me anymore!” The cool video shows the band performing the song wearing fluorescent body paint.

To Die For” is one of the new tracks, and I love it! The song immediately hooks us in with an assault of crashing drumbeats and a deep, wobbly bassline, then a mesmerizing spacey synth riff kicks in, creating a mysterious soundscape for Warneford’s marvelous vocals. The music intensifies with tortured guitars and piercing synths in the chorus as he laments “Seems like I’m alive for, something I could die for.

Fear the Future” was their most recent single, released this past February, and one of their best songs. The biting lyrics speak to the banal music and entertainment, bullshit and fear-mongering being fed to the masses in a pernicious attempt to dumb-down and divide us. Musically, the song features the band’s signature aggressive instrumentation and massive, driving rhythms, making for a incredibly powerful and exhilarating song that slams us against the wall. The disturbing video brilliantly brings the dark lyrics to life.

Now we get to what I consider to be their greatest song, the monumental and gorgeous “Closer“. Wow, this song is a masterpiece! It opens with a mysterious throbbing synth chord that slowly builds into a stunning and dramatic soundscape that envelops us as Warneford laments of an obsessive and destructive relationship. The song then erupts into a maelstrom of tortured wailing synths, grimy guitars, buzz-saw bass, and explosive percussion, punctuated by almost violently crashing cymbals that emphasize the feelings of desolation expressed in the bitter lyrics. But then, Warneford fervently sings that their love affair that now lies in tatters might still be salvageable: “Feel I’m walking on shattered glass. This romance just has to end, to reset, erase, begin again. And I’ll move, move closer. Yes I’ll move closer to you.” The spooky, strangely beautiful video shows a woman in a shabby gossamer dress dancing in a filthy abandoned warehouse as Warneford sings the song.

From this point on, all the tracks are new to us, and all of them superb. The rousing “Get So High” seems to channel a bit of MGMT with its trippy and melodic synth-driven grooves and chugging riffs of gnarly guitars. “Atomic White Gold” brings a pulsating mix of chiming and reverb-drenched fuzzy guitars, swirling synths and blasting drumbeats, wrapped in a dark, captivating melody. Smith’s deep, throbbing bass is a highlight here, giving the track incredible depth. Warneford’s vocals soar as he sings “Atomic white gold. Just like the real thing.” The extended wailing guitar run in the outro is awesome, sounding like a cross between an air-raid siren and incoming bombs.

Bleed Out” starts off with heavy, distorted reverb, then a driving punk rock beat kicks in, compelling us to take to the dance floor. Matthew’s furious riffs and Stanley’s pummeling drumbeats are so fucking good! I really love songs with this kind of hard-driving beat. At the three-minute mark, the tempo slows as Howe’s throbbing industrial synths take over, giving the song a dark, intense vibe that sounds like something Depeche Mode and Nine Inch Nails could have cooked up together. The track ends with the same heavy, distorted reverb it began with.

IAMWARFACE continue delivering the goods with the hard-hitting “Red Queen“. With a nod to Queens of the Stone Age, the chugging riffs of grimy guitars and massive driving rhythms really get our blood pumping. Matthews is an amazing guitarist, and his work here is nothing short of phenomenal. Warneford laments about his low status in the eyes and heart of the woman he desires: “You are the red queen. I am the lone dog. I would do anything to win back your heart. You are something, I am nothing to you.

Trigons” is a long (7:13 minutes) mostly instrumental track that really showcases this band’s impressive musicianship. Each member is allowed to shine, as the guitars, bass, synths and percussion are distinct, yet meld together beautifully to create a mesmerizing psychedelic fantasia. Warneford’s soaring vocals are sparse, entering only in the latter part of the track, but are powerfully compelling as always.

The Paris Alexander remix of “Closer” is particularly stunning, giving a the song a different, somewhat lighter feel through a captivating dance beat and dreamy, ethereal synths. Alexander is a music producer and composer, and has collaborated with Antipole, a Norwegian post punk band I’ve previously written about on this blog.

Year of the Dragon is a phenomenal album that feels almost like a greatest hits compilation, as every single track is outstanding. I loved IAMWARFACE before, and love them even more after hearing this album. Year of the Dragon drops September 6th, but you can pre-order it here.

Track Listing:
1. SAY MY NAME
2. YOU DON’T LOVE ME ANYMORE
3. TO DIE FOR
4. FEAR THE FUTURE
5. CLOSER
6. GET SO HIGH
7. ATOMIC WHITE GOLD
8. BLEED OUT
9. RED QUEEN
10. TRIGONS
11. SAY MY NAME (PAUL PARSONS REMIX)
12. CLOSER (PARIS ALEXANDER REMIX)
13. YOU DON’T LOVE ME ANYMORE (CROSSFLOW REMIX)
14. CLOSER (CONTROL FREAK REMIX)

Catch IAMWARFACE at one of these upcoming shows:

30 August 2019 – Bournemouth, UK (with The Kut, HAWXX, Black Tree Vultures)
7 September 2019- Twickenham, UK (with How To Live, Nick Swettenham)
26 September 2019- London, UK (with The Insect, Graves)
17 November 2019 – Brighton, UK (with Legpuppy, Androids In The Mist)

Connect with IAMWARFACE:  Website / Facebook / Twitter / Instagram
Stream their music:  Spotify / Soundcloud / Apple Music
Purchase on Bandcamp / iTunes / Google Play

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.”

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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”

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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”

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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”

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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.”

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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