HOMELESS RADIO – Single Review: “Fed To The Teeth”

Cover art by Kostiantyn Borshch

Hailing from the war-torn nation of Ukraine are indie rock band Homeless Radio, a resilient group of musicians consisting of Andrii Yampolskyi (vocals/guitar), Fedir Orlov (guitar), Stepan Tkachuk (bass) and Ivan Orlov (drums). Guitarist Ihor Pankieiev is also technically still a member, though he’s been away, fighting in the terrible ongoing conflict with their Russian invaders.

Formed in the city of Kharkiv in 2016, the band incorporates garage rock, alternative rock, skate punk, grunge and pop influences to create music that runs the gamut from pleasantly melodic to relentlessly intense. I first learned about them at the beginning of 2024, at which time I reviewed their terrific hard-hitting single “Submarine“ (which ranks #34 on my list of 100 Best Indie Songs of 2024). Six months later, I reviewed their follow-up single “Sleep Not”. Now they return with “Fed To The Teeth“, their first new single of 2025.

Fedir, Ivan & Andrii taking it to the streets

About the song, Homeless Radio states: “‘Fed To The Teeth’ blends melancholic alternative rock with a fierce skate punk climax, channeling frustration, rejection, and raw emotion into one cathartic release. The track captures a personal transformation from isolation and doubt to indifference and power.” Band vocalist Andrii gave me some background as to what inspired him to write the song while still in his teens: “The song was originally written in 2014, during the war in Donbas which was active at that time. It’s probably the first Homeless Radio song I’ve ever written. At that time, I was finishing high school. We had really shameless and cruel propaganda during those days, so sometimes my classmates were talking real garbage, pushing pro-russian narratives and anti-LGBT agenda. Although it’s possible to find something like this even in modern Ukraine nowadays, at that time, it was almost a trend. I couldn’t agree with it and had numerous arguments that led me to write a song about societal rejection and prejudice. The times have changed significantly. Is it a pro-LGBT or anti-russian propaganda song? I guess so, although it was written during the time when both of these topics were quite different. It’s not a political song, but it was inspired by these political topics.”

The song has somewhat of a retro late 1990s/early 2000s post-grunge feel, starting off with a melancholy fuzzy guitar riff accompanied by a galloping drumbeat, then transitioning into a rather complex melody of relatively quiet verses alternating with louder choruses featuring raging gnarly guitars and pummeling drums. The guys are skilled musicians, as Andrii and Fedir’s dynamic guitar work is truly electrifying, and Stepan’s sturdy bassline powers the song forward while Ivan’s aggressive drumming elevates the song to stratospheric heights. Each time I listen to the song, I discover wonderful little nuances and sounds, like the squealing horn-like guitar notes at the beginning of the line “You will tell and may get only things you’ve never felt“. As always, Andrii’s colorful, highly-emotive vocals bring all the passion necessary to drive the song’s powerful message home.

Invite me to a party, I'll feel like an outsider
You did this out of duty, 'Thanks for coming, you're a cutie'
'Hey, what's wrong? Why so sad?' - 'I'm okay, just hear the voice in my head -
Humiliation, torment session, 'Please stop now! This is my station!'


Why you running? Why you struggling?
You don't know why I am coming!
You're talking 'bout unknown
Never felt this, all in all


Just cursing and hating - oh no, I'm watching and waiting
You will tell and may get only things you've never felt
Prosecution and charges, behind them always darkness
The clamor of denial, in the name of the void and its empire.


Why you running? Why you struggling?
You don't know why I am really coming!
You're talking 'bout unknown
Never felt this, all in all


Oh, I hear the sound
Oh, it is so loud
You're always talking 'bout stuff you've never known
You're not a pro in this field, that much is shown
Oh, I can't stand to be like you, and by the way
To talk about anything, you must know it anyway

“Fed To The Teeth” is another impressive release by this talented foursome. And as I stated in my previous review, it’s admirable that Homeless Radio have managed to stay together as a band and make new music, despite the fact their country has been waging a valiant defense again their Russian invaders for more than three years. I hope they can remain safe and able to continue doing what they love.

Homeless Radio Socials:  Facebook / X (Twitter) / Instagram / TikTok

Find their music on Spotify / Apple MusicBandcampSoundcloud / YouTube

BRIAN LAMBERT – Single Review: “Take This Heart”

Brian Lambert, an affable, talented and thoughtful singer-songwriter from Denton, Texas who describes himself as a “Friendly Neighborhood Rock and Roller”, is one of the most prolific musicians I know of. When Covid put a halt to playing live, he challenged himself to writing, recording and producing a new song every week for a year, an ambitious feat he went on to accomplish in 2021. Since then, he’s continued his prodigious output, writing and recording numerous songs both as a solo artist and in collaboration with a host of other musicians, including his frequent musical partner Marc Schuster (with whom he also has a side band called The Star Crumbles), Quizboy, Jr Moz Collective, Scoopski, Harmoni Kelly and As Particles Collide, to name some that come to mind.

Photo by Olivia Rodriguez

His lively, eclectic sound runs the gamut from rock’n’roll, indie folk and garage rock to grunge, punk and synthpop. In addition to a dizzying array of singles, he’s also released a terrific album Wild in September 2023 and EP Everything’s a Business in June 2024. I’ve featured him many times on this blog (you can read some of my reviews by clicking on the ‘Related’ links at the end of this post), and today I’m pleased to present his latest single “Take This Heart“, which he released on January 3rd. Inspired by the 90’s music of some of his favorite bands like Soul Asylum, the Goo Goo Dolls and Better Than Ezra, the song is a smoldering, foot-stomping banger. Brian wrote the music and lyrics, produced the track and played all instruments.

The song starts off with a snappy drum riff that’s quickly joined by rumbling bass, then a gnarly guitar enters and we’re off to the races. To my ears, the song almost has a bit of a 60s garage rock feel, but with a contemporary treatment. I love the chugging guitar riff and the insistent drumbeat that continues throughout the song, nicely complementing that grimy bass line in keeping the sultry groove moving forward. Brian dazzles us with all sorts of guitar gymnastics, highlighted by a blistering guitar solo in the bridge.

He’s also a fine singer, with a highly emotive vocal style that works perfectly on this song as he passionately sings of his fervor for a woman he loves: “Hey alright, the moonlight. I just wanna hold you in the middle of the night. Baby, do you want me? Baby, I want you./ Got this feeling inside I can no longer hide anymore./ Baby take this heart of mine.” I think it’s one of his best songs yet!

Connect with Brian:  Facebook / Twitter/X / InstagramThreads

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

HOMELESS RADIO – Single Review: “SleepNot”

Cover art by Kostiantyn Borshch

This past January, I introduced my readers to Ukrainian indie rock band Homeless Radio when I reviewed their terrific hard-hitting single “Submarine“. To summarize, the band formed in the city of Kharkiv in 2016, and includes Andrii Yampolskyi (vocals/guitar), Fedir Orlov (guitar), Stepan Tkachuk (bass) and Ivan Orlov (drums). Guitarist Ihor Pankieiev is also technically still a member, though he’s currently away, fighting in the terrible war against their Russian invaders. Drawing from a dynamic mix of garage rock, alternative rock, skate punk, grunge and pop influences, their music ranges from pleasantly melodic to relentlessly intense.

Andrii, Stepan, Ivan & Fedir

Now the guys are back with a blistering new single “SleepNot“, delivering more of the raw, unbridled energy we loved with “Submarine”. Released on July 2nd via Arizona-based indie label Sunset Alliance, the track was mixed & mastered by Nikolas Quemtri at NRQ’s Studio. The appropriately-titled “SleepNot” features hard-driving instrumentals and emphatic lyrics that beautifully express the singer’s aim of keeping up with the frantic pace of modern life and enjoying all it has to offer. And yet, while on the one hand he laments “Sometimes I wish that I could never fall asleep, yeah. I’m not enough for a day!“, he then concedes that he just wants to sleep when his alarm clock abruptly wakes him. It’s a conundrum I’m sure most young people have experienced. I remember staying out late partying many nights in my college days, then having to wake early to finish a paper.  

Starting off with a deliciously dirty bass riff nicely executed by Stepan, the song blasts open with a volley of Ivan’s smashing drumbeats and Andrii and Fedir’s dual grungy and fuzz-soaked guitars. As Stepan’s dexterous bassline and Ivan’s pummeling drums continue driving the rhythm forward, Andrii and Fedir lay waste to the airwaves with scorching guitar riffs. I really like Andrii’s passionate heavily-accented vocals, which soar to spine-tingling fiery wails in the bombastic choruses. “SleepNot” is an electrifying rock banger, and another marvelous single by this talented foursome.

It’s admirable that Homeless Radio have still managed to keep making music, despite the fact their country has been waging a valiant defense again their Russian invaders for more than two years. I hope they will remain safe and able to continue doing what they love.

(Alarm clock rings, I just wanna sleep)
(Alarm clock rings, I just wanna sleep)

Every day when I open my eyes
I see a plan for a while:
I need to join a party,
get drunk in the nearby town
I want this, you can be sure
And today I've got one aim
I'm trying to finish my business
I worry about my brain

Sometimes I wish that I could never fall asleep, yeah
I'm not enough for a day! Yeah!


Every time when I see you
My country blows up
I wanna be somewhere near you
But my business is still undone
To be smart you must catch up with the rhythm
It's speed can make you insane
See, honey, I'm still in the middle
In this competitive game


Sometimes I wish that I could never fall asleep, yeah
I'm not enough for a day! Yeah!

Alarm clock rings, I just wanna sleep
Alarm clock rings, I just wanna sleep

Homeless Radio Socials:  Facebook / X (Twitter) / Instagram / TikTok

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

HALFLOVES – Single Review: “Just Wanna Sleep”

Photo and cover art by Alisabeth Von Presley

Last September, I introduced my esteemed readers to the marvelous Iowa indie rock band Halfloves when I reviewed their single “Bass Drum”, a pleasing but bittersweet song touching on the painful remembrance of good times spent together in love and regret over past mistakes and what could have been. Now the talented Iowa City-based five-piece returns with “Just Wanna Sleep“, a delightfully infectious song about a decidedly darker subject, namely wanting to escape feelings of anxiety and depression. 

From what I can tell from a search through their Facebook account, Halfloves was formed around 2015 from what had formerly been the band The Olympics, of whom some of the current lineup were members, and consists of Jeff (lead vocals & guitar), Nate (guitar & bass), Trevor (keys), Lucas (bass & guitar), and Zach (drums). In addition to being talented musicians, the guys are incredibly funny and personable, with an endearing sense of playfulness, as evidenced by these wonderful photos by Alisabeth Von Presley. They appear to genuinely like each other and enjoy being in a band together, and I’ve grown quite fond of them as well.

“Just Wanna Sleep” was written by band keyboardist Trevor Polk as a sort of therapy to address what he described as “yet another bout of serious depression and exhausting burnout“. Recalling the sunshine-drenched joy he experienced while biking through the Iowa hills, listening to 60s rock & roll on his earbuds and singing along to Chuck Berry, Buddy Holly and Little Richard, he felt “inspired by the raucously joyful performances and raw simplicity in the production of that pioneering decade.”

When I asked the band about the unusual single artwork, consisting of Trevor in partial makeup and a sleeveless black dress, lying on a floor with a person’s high-heeled shoe (emblazoned with the band’s name) pressing on his face, Trevor graciously provided an honest soul-baring explanation for it all. His response is so eloquent I’ll just quote the entire thing:

To be honest, the origin of image just sorta came to me, like a vision, without much intellectualization. That said, after the fact, I have connected the ideas of my unconscious represented in the symbols of this photo. The makeup & cross dressing refers to the lyric in the bridge: ‘why does life feel like a drag?’ It’s a double entendre. The obvious meaning being the literal interpretation — why does life feel difficult & unhappy right now? The second plays on the idea of ‘drag’ as the performance of exaggerated femininity. This idea is packed with connections to me. Firstly, it’s the idea of feeling the pressure to, in the midst of hopeless depression, put on a glammy, happy performance. ‘The show must go on.’ It’s the mask we wear in public to hide our sadness, for fear of bringing others down.

Secondly, it relates to the inner conflict that comes from being an artist with the dream of making a career out of my musical/creative expression, but having a full-time day job that seems to suck me into itself deeper & deeper the further I go in life. Being immersed in what I viewed as shallow, transactional corporate culture (I work in tech), despite longing for more depth in relationships & meaning that aligns with my deepest values, I felt thrusted into dressing up as something I’m not. Adjacent to that, but almost opposite in how the symbol of drag applies, it represents the insecurity I felt of carrying, as Jung calls it, my anima, my femininity, my Yin, in addition to my animus, my masculinity, my Yang. Tech corporate culture has a lot of confident bravado, and to be a man who cries & has big feelings felt scary & weak (though it’s not).

As for the heel, this also plays on two paradoxical ideas presented in the lyric ‘woke up with a boot on my face.’ The first is straightforward: being under the heel of the boot of ‘The Man.’ Simultaneously, the pressure I put on myself to realize my dream, plunging me into the mire of want, not accepting the reality I face with gratitude, knowing the obstacle is the path, is like the heel of the wild creative draggy performer on my head. Both opposite pressures manifesting in chronic migraines from a severe cognitive dissonance. Lastly, the cried-out makeup is emphasizing the depressive sadness.”

Like all their music, “Just Wanna Sleep” was produced by Brandon Darner, engineered by Micah Natera, and mastered by Doug Van Sloun at Focus Mastering. The song has a more garage rock vibe than many of their songs, and opens with a gentle little guitar riff that’s soon joined by Zach’s assertive tapping drumbeats. The music continues to build with the addition of a thumping bassline, grungy guitars and heavier drums, all of which quickly explode into a spine-tingling barrage of shredded guitars and crashing cymbals in the choruses. I don’t know whether Lucas or Nate is playing bass on this track, but it’s really outstanding. The song is terrific, and I love it more with each listen.

Jeff normally handles lead vocals on all Halfloves songs, but in this case, he felt Trevor should be the one to sing it. He does a fine job with his quirky and charming vocals that go from raspy to falsetto with ease. He almost sounds a bit like Aerosmith’s Steven Tyler in the choruses.

Woke up this morning with a boot on my face,
Can’t get myself up off of this comfy place,
Cause I’m going through a difficult time,
Don’t wanna talk to people or tell them I’m fine,
I’d rather pull the covers up over my face,
Sink into bed till the middle of the day,
I’m not feeling well, I’m feeling quite weak
How many times I gotta tell you (that) I just wanna..


Sleep, I just wanna sleep
Oh-oh-oh, just wanna sleep

Dreamin’ of a future where I don’t have to work,
Where I have all the time, and my face has a smirk,
Cause I stayed in my room till a quarter past noon,
And I did nothing, and that was cool


I just wanna sleep
Oh-oh-oh just wanna sleep
I-I-I just wanna sleep

Why does life feel like a drag?
Why can’t I get past the thoughts in my head?
I think I might lay down again and fall asleep


Woke up this morning with a boot on my face,
Can’t get myself up

I just wanna sleep
Oh-oh-oh just wanna sleep
I-I-I just wanna sleep
Ooh, I just wanna sleep

Why does life feel like a drag?
Why can’t I get past the thoughts in my head?
I think I might lay down again and fall asleep

The hilarious and touching video was shot and edited by Nate Cooper, and shows Trevor singing the song wearing a sleeveless black dress and runny makeup, interspersed with scenes of a high heel, worn by friend of the band Max Holtz, pressing on his face.

Halfloves Socials:  Facebook / Twitter (X) / InstagramTikTok

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

THE KID AND I – Single Review: “Good Times Go (Live at the Temple of Art and Music)”

Hailing from London, England is The Kid and I, an alternative indie rock band originally formed as a solo act in 2020 by singer-songwriter and multi-instrumentalist Jacob Powell, but later expanded to include Minky Très-vain (guitar, backing vocals), Daniel Malek (bass) and Elvis Quagliotto (drums). Très-vain is also front man of scratch rock band Brain Ape (who I’ve featured several times on this blog over the past six years), of which Powell was once a member. Influenced by an eclectic mix of acts ranging from Biffy Clyro, Foo Fighters and Blink-182 to Tyler, the Creator, Sam Fender and Phoebe Bridgers, The Kid and I serve up a fresh blend of energetic rock and indie vibes, infused with heartfelt lyrics reflecting the struggles of modern life.

Starting off with the single “White Feather” in November 2020, they’ve now released a total of 10 songs, the latest of which is “Good Times Go”, a song Powell says is “an exploration of toxic masculinity, taking accountability for oneself and wondering what went wrong along the way.” The song is their first single to be released since signing with London-based independent label Scratch Rock Records on February 24. The song is a hard-driving garage rock banger, delivered by a full-frontal assault of super-gnarly guitars, powerful thumping bass and explosive drums. I love that aggressive stomping beat and those reverb-soaked wailing riffs, and both Powell’s fervent soaring vocals and the guys’ spirited backing harmonies are glorious. I think it’s their best song yet.

A live version of the song, recorded at a performance at London’s Temple of Art and Music, dials up the song’s already impressive energy levels to even greater heights, those stomping beats, furious guitars and Powell’s impassioned, almost feral vocals nearly breaking the speakers. It’s rock’n’roll the way it’s meant to be played – heavy, loud and in your face! The video nicely captures the guys’ unbridled passion and deft musicianship, though I wish it had been filmed in wide screen.

Here’s the video of original version of the song, which I find quite charming:

Connect with The Kid and I:  FacebookInstagramX (Twitter)

Find their music on SpotifyApple MusicSoundcloudYouTube

SNAP INFRACTION – Single Review: “Keeping Score”

Hailing from Philadelphia is Snap Infraction, a three-piece musical powerhouse comprised of Steve Karsch on vocals, guitar & percussion, Dave Kerr on bass and Tony Iannuzzi on drums. According to their bio, they “distill decades of rock n roll history into a modern sonic journey, crafting songs overflowing with hooks and dynamic instrumentation, echoing The Cars, Joe Jackson, early Fleetwood Mac and The Beatles, crafting a familiar, yet uniquely distinctive sound.” After listening to their considerable music catalog, I say that sounds about right!

From what I can tell, they’ve been around as a band for more than 15 years, and in 2009 released their first single “Try To See It My Way”, a pretty good rocker strongly influenced by the early Beatles sound. After a long hiatus, they released a five-track EP Chin Music in May 2017, then another three years would pass until their follow-up EP Stiff Arm, in May 2020. They were quite active in 2021, releasing several double singles throughout that year, followed by a very nice cover of the Beach Boys Christmas classic “Little Saint Nick” in December 2022, and their own original Christmas song “Christmas In The Islands” in December 2023. Now they return with “Keeping Score“, the lead single from their forthcoming full-length album Eephus, scheduled for release on May 3rd.

Written by Karsch, “Keeping Score” was recorded and engineered by Matt Weber at Gradwell House Studios, mixed by Mike Ian at Eyeball Studios (gotta love the names people come up with for their studios), and mastered by Tom Volpicelli at The Mastering House. The song was inspired by a conversation between Karsch and band drummer Ianuzzi, who yearned for a song channeling The Cars’ iconic sound. Karsch quickly got to work writing the song, placing special emphasis on drums to showcase Ianuzzi’s considerable prowess on his drumkit.

The result is a lively garage rock banger, opening with Ianuzzi’s impressive drumming front and center as he bangs out an aggressive thumping beat that gets our toes tapping and head bopping. He’s soon joined by Kerr’s wonderful buzzing bassline and Karsch’s earnest vocals that sound slightly reminiscent of Ric Ocasek here. As the song progresses, Ianuzzi injects flourishes of crashing cymbals with every chorus and sub-chorus, accompanied by Karsch’s spirited guitars that surprise at every turn while Kerr’s muscular bassline keeps the rhythm on solid footing.

The lyrics describe a man who recognizes his self-destructive ways and knows he needs to change, but just can’t seem to muster the fortitude to do what he must in order to become a better person: “I need to stop myself from becoming who I am./ I can’t help myself, you know I can’t believe my eyes./ What do they say about me? He lies, he cheats to get everything he needs, and maybe more. What will they say about me? I don’t need to know ’cause I’m not keeping score anymore.

“Keeping Score” is terrific, and I think it’s one of Snap Infraction’s best songs yet. It’s a testament to their strong songwriting and musicianship, and a promising sign of what we can expect with their upcoming album.

Follow Snap Infraction:  FacebookX (Twitter)Instagram

Find their music on BandcampSpotifyApple MusicAmazon MusicYouTube

HOMELESS RADIO – Single Review: “Submarine”

The power of music as a means of persevering through the hardships and challenges that life can throw in our paths is undeniable, and to prove my point I present Ukrainian indie rock band Homeless Radio, and their new single “Submarine“. Despite the fact their country has been waging a valiant defense again their Russian invaders for nearly two years, the band have still managed to keep making music, including recording and releasing a few new songs.

Formed in the city of Kharkiv in 2016, Homeless Radio is comprised of Andrii Yampolskyi (vocals/guitar), Fedir Orlov (guitar), Stepan Tkachuk (bass), Ihor Pankieiev (guitar) and Ivan Orlov (drums), though Ihor is currently away, fighting in the war. (Their original bassist Ivan Trikoza left the band due to the war, and was replaced by Stepan Tkachuk.) Drawing from a mix of garage rock, alternative rock, and pop influences, their music ranges from pleasantly melodic to hard-driving and edgy.

Andrii, Stepan, Ivan & Fedir

From 2017-2019, the band played lots of shows in and around Kharkiv, and in 2018 released two demos “I Don’t Care” and “Cackler” on Soundcloud. Here’s a video of them performing the songs on the streets of Kharkiv in happier times:

In early 2021, Homeless Radio joined the Arizona-based indie label Sunset Alliance, through which they released their debut EP The Truth that May, featuring “I Don’t Care” and three new tracks. Russia invaded Ukraine in February 2022, whereupon the band members became separated across the country for many months. Lead vocalist Andrii found himself living in the occupied town of Izyum for three months without any electricity, gas, water or standard comfort. In a show of support, the band released their beautiful single “About You” on May 3, 2022.

Now, after a long hiatus, the band is back with an exhilarating new single “Submarine”, which they wrote in 2015 but decided to record now. The song was inspired by British comedian, actor, writer and director Richard Ayoade’s 2010 coming-of-age comedy-drama film Submarine, which was itself adapted from the 2008 novel of the same name by Welsh novelist, poet and journalist Joe Dunthorne. (The film’s soundtrack features six original songs written and performed by Arctic Monkeys frontman Alex Turner.) The band calls their single “a lively blend of humor, sarcasm, and unbridled optimism — a musical homage that captures the essence of teenage rebellion, the zest of youth, and the look at those “glory days” through the lens of adulthood.”

Released on January 9th, the single is dedicated to band member Ihor Pankieiev, who joined the Ukrainian army to fight for the resistance. Andrii told me “Ihor remains in the band, but due to participating in the battlefield, he didn’t take a part in the recording of [‘Submarine’]. However, he’s in constant contact with us, and some of his ideas were put on the record. He said he would record his guitar even from the army if he had a chance.”

The song opens with an aggressive jagged guitar lick, then explodes with a barrage of grinding bass, thunderous drums and furious guitars that don’t let up for a second throughout its 2:30-minute run time. Here and there, Andrii and Fedir inject blistering guitar solos that send the proceedings catapulting into the sonic stratosphere, Andrii’s spirited vocals rising and falling with the intensity of the music. The song is a certifiable rock banger, and I love it.

He was born in Swansea, south of Wales
Tried to be gentle and kind of these things
Oh, Ollie, you are so right
Please put yourself in the first side

She’s just an average woman
All things you gonna do, well
Will be kicked through the prism of her lips
And dropped by her hips

Yeah you not Cease, but you’re not worth
You’ve got to do a lot of things with high course
At the same time with strong confidence
In your 38’s it will have no sense

She’s just an average woman
All things you gonna do, well
Will be kicked through the prism of her lips
And dropped by her hips

So, all things you have you will lose
Faith in yourself and the tone of boose
Will lead you to the Victory
And you will meet her near, by the sea

She’s just an average woman
All things you gonna do, well
Will be kicked through the prism of her lips
And dropped by her hips

Follow Homeless Radio:  FacebookX (Twitter)InstagramTikTok

Find their music on SpotifyApple MusicSoundcloudYouTube

BRIAN LAMBERT – Single Review: “I Don’t Believe In You”

One of the most prolific singer-songwriters around today is Brian Lambert, a thoughtful, engaging and funny guy based in Denton, Texas. He’s been writing and recording music for many years, and says he’s “reinvented himself more times than he can count.” He even tried his hand at country music for a while, but came to the realization that it just wasn’t for him. When Covid put a halt to playing gigs, Brian switched gears and began writing indie rock songs inspired by some of his favorite acts like Spoon, Gang of Youths, Soul Asylum and the Replacements.

In early 2021, he challenged himself to writing, recording and producing a new song every week for a year, an ambitious feat he went on to accomplish! Since then, he’s continued his prodigious output, writing and recording songs both as a solo artist and in collaboration with a host of other musicians he’s met on Twitter, including Marc Schuster, a singer-songwriter, musician and all-around renaissance man from the Philadelphia area, with whom he teamed up with to create a separate music act The Star Crumbles, who released a fantastic debut album The Ghost of Dancing Slow last September. (I previously reviewed that album, as well as two of Brian’s singles, “Kids” and “It’s Good”.)

Another pair of artists he’s worked with are Jr Moz Collective, the music project of singer-songwriter and multi-instrumentalist Mike Mosley, and Paul Prater, another renaissance man who, in addition to being a musician, is also a magician, entertainer, mind reader, attorney and author. Earlier this year, Jr Moz Collective, Paul Prater and Brian collaborated on a song “I Don’t Believe In You“, which was released in April. Mike Mosley wrote the music and lyrics, played guitar, bass and synths and sang lead vocals, Paul played drums, and Brian played lead synths and sang backing vocals.

Brian loved the song so much – which he says brought him to tears – he decided to re-record it with him singing lead vocals, also re-dubbing his lead synth part. The result is a more impactful and dramatic track, in large part due to Brian’s emphatic vocals filled with unbridled passion. He calls it a “fiery garage rock anthem that pairs well with the heat of summer and discontent, perfectly capturing the dissatisfaction with the status quo. Earnest like Isbell, dirty guitars of QOTSA, quirkiness of Beck and swagger of Bowie.” After hearing the song, I have to concede that’s a pretty accurate description!

Opening with a strong thumping drumbeat, the song is soon joined by a gnarly guitar riff, deep bass groove and retro 80s-sounding synths as Brian begins to sing the biting lyrics. The edgy and colorful instrumentals create a powerful, almost cinematic backdrop for his raw, emotionally-charged vocals delivered with a forceful passion that leave me covered in goosebumps. It’s possibly Brian’s most dramatic single yet.

The lyrics call out those who spout religious dogma, lies and hate, urging us to question what we hear or read, and fight back against those wanting to poison and divide us: “Do you believe anything you hear if it comes from the mouth of hate? Do you believe anything they say if it allows you to feel that way? / And I don’t believe in you, you ought to know that I never did / And I’m not gonna sit back and keep my thoughts to my self/ There’s nothing stopping me from stopping you.”

The beautiful lyric video was made with AI-created images, generated from the original watercolor painting by Brian’s father William Edward Lambert that was used for the single cover art.

Those purchasing the track on Bandcamp get a bonus song “Follow Me In”, which was written by fellow musician David Ray Thomas.

Connect with Brian:  Facebook / Twitter / Instagram

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

BEALBY POINT – Single Review: “America”

One of my favorite indie bands I’ve gotten to know over the past few years is Vancouver, British Columbia-based four-piece Bealby Point. Named after a local beachside vacation spot, they’re comprised of four childhood friends, Jack Armstrong (lead vocals), Clayton Dewar (lead guitar), Jordan Studer (bass), and Zack Yeager (drums). I love their buoyant, high-energy alternative/garage rock they cheekily call “music to fold laundry to“, which has earned them favorable comparisons to such bands as The Strokes. Their description of themselves as “approachable guys making cool music” is genuine, based on the mutual respect, camaraderie, and joy of spending time together that’s so evident in all their photos and little acoustic performance sessions they frequently post on TikTok and Instagram.

Beginning with the release of their debut single “I’m So Bummed Out Right Now” in February 2021 (which I featured in an installment of Fresh New Tracks, and has been streamed over half a million times on Spotify) the engaging four-piece continued dropping a series of excellent singles, including the brilliant “Talk To Me”, which I also reviewed and earned a spot on my Top 100 Songs of 2021 list. They released an EP Fridays in July 2022, and on May 10th, dropped their latest single “America“, a song they say is about falling in love, then falling out of love in tragedy. When I asked the band why they used “America” as the title and the subject of a romantic relationship, drummer Zack told me “The idea to personify America as a girl is tied to the idea of the American dream, [with] living a happy successful life basically culminated into a relationship. All of your hopes and dreams, ambitions and expectations, crushed by falling out of love.”

Like all their music, “America” was recorded and produced by Matt Di Pomponio, however, the song is a bit of a departure from their previous work, with a more serious, introspective vibe. I love how it opens with a gentle fuzz-coated riff, then launches right into the anthemic chorus. As always, the guys’ instrumentation and musicianship are outstanding, with Jack and Clay’s vibrant guitars accompanied by Jordan’s sturdy bassline and Zack’s spirited drums. I really like Jack’s warm, plaintive vocals as he sings of the joys of a new love in the opening chorus: “America, she loves me. I thought it couldn’t be I get down on my knees and scream America. Her shoulder rests on mine, I’ll be here for a lifetime“, then turn emotionally-wrought in the final chorus as he laments about how their love now lies in ruins: “America, I’m a human being. The faults that lie in fate that I don’t want to make. Fuck sakes America. Her shoulder rests on mine. Now let me drift away and wallow desperately again.”

“America” is yet another superb track by this talented and wonderful group of guys, and I remain a loyal fan!

Connect with Bealby Point:  Facebook / Twitter / InstagramTikTok

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

DENSE – Single Review: “Reckoning”

I’ve been following British psychedelic garage/punk band DENSE pretty much since their beginnings nearly five years ago, and it’s been gratifying to watch them grow and mature as artists. Based in Leeds, the wickedly talented trio – comprised of Charlie Fossick (Guitar/Vocals), Dylan Metcalf (Bass) and Sam Heffer (Drums) – live up to their moniker by combining thick, fuzz-coated grooves with progressive elements and fierce instrumentation to create music that’s electrifying, innovative and intense.

I’ve written about them numerous times over the past four and a half years, most recently in August 2020 when I reviewed their debut EP Abjection, which I described as “four combustible sticks of dynamite packed into 14 explosive minutes” (you can read some of my previous reviews by clicking on the links under ‘Related’ at the end of this post). Now the guys are back with a new single “Reckoning“, which they refer to as “a desperately needed release of energy“. After listening to the track, I’d say that’s almost an understatement, as it’s a furious eruption of wailing distortion and sonic mayhem.

The guys have gained a reputation for their electrifying live performances, and they’ve somehow managed to capture that energy and inject it into their songs. As MC (who goes by @LeedsGigs_ on Twitter and writes about shows in and around Leeds) commented on my review of Abjection, “Seeing them live is a visceral experience and their music demands your attention. Charlie contorting primeval sounds from both mic and guitar through his pedal board, Dylan prowling the stage with adrenaline-fueled rockstar stances, riffing on a parody of every bedroom axeman, and Sam, limbs akimbo, thrashing his drumkit into quivering submission.”

According to their press release, “‘Reckoning’ is an abstract journey through anguish, capturing the frustrations of modern day life through utilisation of melodic dissonance alongside a focus on rhythm and groove-led songwriting, conveying what the lyrics represent. The track boasts a mix from Ross Orton, who has worked with the likes of Arctic Monkeys, Drenge, God Damn, Pulled
Apart by Horses and Working Men’s Club. This was the first track we wrote together in 12 months post-lockdown, and it feels like the track absorbed and channeled a lot of our pent-up energy and frustration that the three of us individually experienced during isolation
.”

That pent-up energy and frustration is manifested in an explosive barrage of super-gnarly guitars, grinding bass and bombastic percussion. Dylan drives the chaotic rhythm forward with a deep, chest-thumping bassline while Sam smashes his drumkit like a man possessed, the two of them somehow bringing order to the madness. Charlie unleashes the full fury of his double-barreled arsenal of gritty guitars and savage vocals, thrashing the airwaves with frantic, reverb-drenched psychedelic riffs, punctuated here and there by flourishes of screaming distortion, while sending shivers up and down our spines with his signature demonic wails and screams. The song is so intense, I’m left in a quivering heap by the end. It’s good to hear that DENSE have not lost one bit of their fearsome edge in the 12 months they’ve been quiet.

The guys pull no punches with their bitter lyrics that speak to a sense of hopelessness and despair, a reckoning with the terrible state of things:

When I get inside
I never feel dry
the rain it constantly pours
and I’ll ask for more

I feel a nervous pulse
men riding on horse
been dropped in the tank
shot, point blank

residing
I’m torn
providing
I’m born
declining
I’m torn
reclining
I’m born

I’m formed
we’re scorned
No future
And no past

and it sails,
to the core
sailing down to the core, to the core, to the core

Reliving
Past lives
and I’m always
Terrified

The ends are looking frayed
Cause it tore me
Fired under
No cause

residing
I’m torn
providing
I’m born
declining
I’m torn
reclining
I’m born

Reckon now?
Reckon now?
Re, Reckoning, Reckoning

I’m formed
we’re scorned
No future
And no past

and it sails,
to the core
sailing down to the core, to the core, to the core

DENSE will be launching “Reckoning” at a show tonight at the Castle Hotel in Manchester. They’ll perform again on the 13th at Royal Park Cellars in Leeds.

Connect with DENSE:  Facebook / Twitter / Instagram
Stream their music on  Spotify / Apple MusicSoundcloud
Purchase on iTunes / Bandcamp