British singer/songwriter, multi-instrumentalist and producer Philip Morgan Lewis is one of the more creative and adventurous artists I know of. The London East Ender isn’t afraid to explore a wide range of genres and influences for the creation of his own eclectic sound. Drawing from alternative rock, blues, garage rock, folk, R&B and EDM, he crafts exciting blues-soaked rock that nicely complements his distinctive raspy vocal style. He’s one of those artists you immediately recognize upon hearing his songs.
He’s released a fair amount of music over the past decade, beginning with his 2013 EP Karma Comedown. He then released a number of singles, and in late 2017 dropped his brilliant album Grief Harbour, which I reviewed. In 2019, he took a stylistic departure from his usual comfort zone and released a fun album House Works, featuring eight House/EDM tracks. He then followed a few months later with a fantastic bluesy single “Blowtorched Dreams”. Now Philip is back with a great new single “Rock That City“, released on July 13th via label Tx2 Records.
Written and recorded during the COVID-19 lockdown, the song is an ode to many of the social things we’ve all been missing these past several months. Philip says it’s “all about release and freedom”, and the lyrics speak to breaking loose and having a fun night on the town: “Gonna rock that city where life’s so crazy / And I go make it right / Gonna rock that city tonight.” A talented multi-instrumentalist, he plays all the instruments himself, and does a fine job here delivering some bluesy rock’n’roll. With it’s strong, driving beat, buzzing bassline and grungy guitars, the song reminds me a bit of the great Black Keys song “Fever”. His unusual raspy vocals register in the higher octaves, resulting in a unique style and sound unlike any other singer I’ve heard.
The accompanying video was artfully filmed in black and white on the streets of London during the lockdown. A number of famous sites featured in the video that are normally filled with tourists were totally devoid of people. Philip is shown making his way through buildings, parking garages or the streets, completely alone.
Formed just a year ago in the summer of 2019, Liverpool indie band Sienne has in short order been making a name for themselves on the local music scene. In February, they officially released their debut single “Where is Home?”, which was premiered at the Liverpool vs Manchester United match, then followed up in April with “Coming Alive”. Now they return with “Side By Side“, which drops today. I think it’s their best song yet, and I’ve chosen it as my New Song of the Week. All three songs will be included on the band’s forthcoming debut EP, due out later this year.
The band is comprised of front man and lead singer Calan Nickle, James Rookyard, Richard Taylor andCharlie Skeggs. Nickle and Rookyard were previously with the band Hanover, who called it quits last summer. Their dynamic style of alternative rock is influenced by some of their favorite bands like The Stone Roses, Manic Street Preachers, Blossoms and Noel Gallagher’s High Flying Birds.
The track begins with a tentative chiming guitar riff, accompanied by Nickle’s plaintive vocals singing of his fears and negative emotions. The music then expands with a mix of fuzz-coated and shimmery jangly guitars, gentle bass and punchy drums, giving the song a dramatic and beautiful anthemic feel. The lyrics touch on the anger that keeps him down: “Two kids caught in a bar fight for the whole world there to see, put that frown away for another day, just wait. And so when all is said and done, you’ll be the lonely one.” But he eventually realizes that, with help, he’ll be alright: “And I know where to go when I’m hoping I’m still on your mind. If you would be so kind, to walk with me side by side.”
Nickle elaborates on his inspiration for “Side By Side”: “I wrote this song just under a year ago after finding clarity from a low point in my life, I found myself asking why I was writing constantly about the negatives. I had a little moment where I began to see things clearer and this song was written as a message to myself to let go of all the rubbish going on in my head and that I should embrace the new things happening. I wanted the song itself to match the lyrics in how it starts as a no holds barred cry for help, and the understanding comes as the song progresses. For me the song itself is a long, long road from being in a bad place to finding clarity and I think it came to life once we’d finished it in the studio, it’s a very personal song and one that defines what we are as a band, it came from nothing, a darker place and ventured forward into the unknown.”
“Side By Side” is a solid track, and a good indication of more quality music to come from this very promising band.
There’s a lot of musical talent in Wales, and I’ve written about several artists and bands from that fair British Isles nation: David Oakes, Dying Habit, Revolution Rabbit Deluxe, GG Fearn, Dunkie, Head Noise and, most recently, Kidsmoke. Another Welsh act I’m especially fond of is The Puss Puss Band, who I’ve featured a few times on this blog over the past four years. Based in Cardiff, they started out as a duo consisting of multi-instrumentalists Asa Galeozzie and Lee Pugh (the band is named for Asa’s cat Puss Puss). Both are accomplished musicians who’ve worked with numerous artists and bands in the UK and Welsh music industry for nearly 15 years as writers & session musicians. Asa plays guitar, bass, percussion, piano and melodica, while Lee plays lead guitar, bass and piano, as well as sings lead vocals. Their relaxed music style is a pleasing mix of jazz and folk-infused indie pop that just makes you feel good.
In April 2017, with help from seasoned musician and producer John ‘Rabbit’ Bundrick (who’s best known for his work with The Who, as well as on the soundtracks for the films The Rocky Horror Picture Show and Almost Famous), the guys released their beautiful debut album Echoes Across the Cruel Sea. (I reviewed that album along with an interview with Lee, which you can read here.) On July 3rd, they dropped their second album Life Cycles, featuring ten wonderful tracks addressing the subjects of life, love, loss and the passage of time. Once again, the recordings were all written, arranged, performed and engineered by Asa, Lee and Rabbit. Post-production, mixing and mastering was done by Richard Digby Smith at TQ1 Studios. The Puss Puss Band has now expanded to include six members, including Asa, Lee, Steven Stanley, Joel Rees, Luke Moore, and Nigel Hodge. Only Nigel is featured on the new album, as he played flute and alto sax on the track “Losing The Rain”.
The opening track “We Should Be” is a bittersweet song about missing someone you’d had a love affair with who now seems to have lost her feelings for you, and wishing she was back in love with you so you could be together. Gently strummed guitars, crisp percussion and delicate synths create a warm backdrop for Lee’s soothing, breathy vocals that convey a sense of sad resignation as he sings the poignant lyrics “The way you see the world is just the same. It’s just the way you feel about me that’s changed. But we should be…. We should be in love.”
The delightful video shows a man in a cat suit (played by Lee) standing in downtown Cardiff, holding a large flip chart printed with words that are directed at his love interest. In various scenes, he’s shown chasing pigeons, riding the merry-go-round, and sitting on the bench offering some of his food to a man who politely turns him down, then proceeding to eat it out of the bowl. By and by, he walks past a busking musician (played by Asa) and throws a few pieces of dry cat food into his guitar case. At the end, the busker sees him sitting forlornly on the ground next to the merry-go-round, offers his hand, and they walk off together down the street holding hands.
Many tracks have a gentle folk-rock vibe, such as “About Time“, which touches on how a relationship built on love and respect endures over time: “It’s about time. It’s about all we got left. It’s about the way you walk. And the way that you still care about me.” The song has a mellow vibe and catchy melody, with a lovely mix of jangly and chiming guitars accompanied by snappy drums, and some nice keyboards and organ. I love Lee’s breathy vocals that hover in a sweet spot between raw and comforting, with an almost seductive quality. Another is “Holding Its Own“, a pretty but poignant song about the daily struggles of keeping one’s sanity in this crazy world: “Hopeful yet empty, Following rules. Blind to the life of a mind. Just holding its own.” The instrumentals are sublime, with what sounds like a mellotron being the highlight for me. The guitars, bass, keyboards and organ are all pretty terrific as well.
The Puss Puss Band channel their rock side on “Thank You“, thanks to a harder-driving beat, heavier electric guitars and more aggressive percussion. The lyrics seem to acknowledge a friend who saved the singer through tough love, brutal honesty and perseverance: “But thank you so much for saving me from me. Thank you so much. For friends who never sleep.” One of my favorite tracks is “Pretty Games“, as I love the horns, funky guitars and mellow instrumentals that give it a cool, jazzy vibe. The lyrics speak to the games we play at one time or another, unable to be honest to ourselves or others about how we feel, which keeps us treading water so to speak. I like how they give a nod to their previous album Echoes Across the Cruel Sea: “It’s all a pretty game. Another year and still the same. But I still hear echoes of that sea. Parts we play. Wasted days. Still the same. Pretty games.”
“On The Common” is an exquisite song, with beautiful acoustic and delicate chiming electric guitar notes, accompanied by the gentlest of synths, all creating a glittery, ethereal backdrop for Lee’s soft vocals. “Losing the Rain” is another favorite, with its sophisticated, jazzy feel thanks to Nigel’s wonderful flute and saxophone. The lyrics seem to be about trying to make a relationship work despite the many obstacles: “I’m losing the rain. These broken thoughts that roll around inside my brain. Maybe I’m too blind to see? I wasn’t meant for you and you were never meant for me.”
The guys deliver more stellar guitar work on “Junkie“, a song about trying and failing to save someone from addiction and the realization some people just can’t be saved. A standout track is the marvelous Pink Floyd-esque “Time and Tide“. The song starts off slowly, with only gentle acoustic guitars, but gradually builds into a dramatic rock song with electric guitars, piano, sweeping synths and heavy percussion. The lyrics were inspired by the passing of Asa’s uncle, with whom he was close; his uncle took him to gigs and got him into music when he was young. “For all the glitter and gold. We all grow old. As the lights fade down. We still hold for applause. And the show moves on. But the feeling… Lingers on and on.”
They close out the album with “Missed“, a beautiful and very poignant song that nicely encapsulates the album’s overall theme of the cycles of life – how relationships and friendships come and go over time. The piano melody was written a while back by Rabbit, and the lyrics later written by Lee to address the loss of a loved one: “I’m losing you tonight. But I’m here by your side. There’s no more need to fight. / But time shows no kind of nostalgia for goodbyes.” Musically, the song is different from all the other songs, as it features only a haunting piano and Lee’s raw, yet comforting vocals.
Life Cycles is a really lovely album and a pleasurable listen from start to finish, without a single weak or throwaway track. The song arrangements and production values are flawless, and the guys’ musicianship is outstanding on every level. I love this band!
There are a lot of really talented indie bands around today making great music, and I enjoy giving at least some of them a bit of press to hopefully introduce them to a wider audience. One of my favorites is Texas alt-rock band Roadkeeper, who since forming in 2018 have consistently put out a string of exceptional singles. I featured them twice on this blog last year (you can read my reviews under ‘Related’ at the bottom of this article), and especially loved their single “Old Man’s War”, a stunning track about anxiety and worry over things, both real and imagined. It spent 18 weeks on my Weekly Top 30, and ended up at #51 on my Top 100 Songs of 2019 list. They’ve just released their sixth and latest single “Downs“, a beautiful song that I’ve chosen as my New Song of the Week.
Based in the eastern Texas city of Tyler, Roadkeeper consists of songwriter/producer John Hetherington (vocals, synths, rhythm guitar), Trevor Tull (lead guitar), Nick Cogdill (drums) and Daniel Griffith (bass), all long-time friends. Roadkeeper is completely independent and self-produced, doing their recording, producing and mixing in John’s studio – dubbed ‘Yacht Country’ – and releasing their songs on their own label Equal Temperament. Blending dreamy shoegaze and dramatic psychedelic rock with complex melodic structures, they craft lush soundscapes that are a perfect backdrop for their intelligent and topically relevant lyrics that give us something to think about.
With that in mind, the band states that “Downs” “is a personal contemplation of impostor syndrome and not finding one’s place within the cultural and sociopolitical zeitgeist.” The lyrics speak to feeling disconnected with one’s surroundings and the people we interact with: “I feel so disconnected from the qualities of people. My sense of self is out of style. I dread to leave my house and the comfort of this down. I just wanna stick around. I just need a better life.”
Musically, Roadkeeper starts with a simple two-chord progression and layer a lush palette of glittery analog synths and beautifully-strummed acoustic guitars to create a dreamy soundscape. The track opens with an enchanting minute-long introduction of atmospheric synths, then a toe-tapping beat kicks in, along with the aforementioned acoustic guitars and a sublime piano riff that are really gorgeous. John has a smooth and pleasing vocal style that’s well-suited to the band’s sound, and his slightly echoed vocals are especially wonderful here. “Downs” is a superb song, and one of Roadkeeper’s best yet.
Soricah is a singer, songwriter, guitarist and producer whose music is influenced by her rich international and multi-cultural heritage. Being of Irish/Mauritian ancestry and having spent various times of her childhood and adulthood living in Ireland, Africa, Mauritius and London, her exposure to a wide range of music and people give her music a unique sound that’s a blending of genres and styles. Formerly a member of the band Rebekah Met Sarah, Soricah has also performed as a solo artist in London and Ireland. She has supported musical acts such as The Palma Violets and renowned cellist Jo Quail, and has been a frequent collaborator with members of The Artist Community of Studio 180, and the East London artistic warehouse scene. She’s also been featured on a number of projects with different artists, and her collaborations have been aired on Freakfm, BBC Radio One and a variety of Irish and International radio stations.
She currently splits her time between Kent, England and Dublin, Ireland, and recently dropped her debut EP Let the Fire Burn Free, featuring four tracks written and sung by her. She also played acoustic guitars on the tracks, and co-produced the EP with Daniel Doherty, who played electric guitar, bass and drums. Gary Molloy played cello and piano, and the songs were mastered by renowned British mastering engineer Pete Maher. The artwork was designed by Valerie Pezeron.
The first track “Waiting” is a beautiful song, with a sultry melody that conjures up images of a beach bathed by warm tropical breezes. Both musically and vocally, the song has a definite Lana Del Ray vibe. A distinctive element is Gary Molloy’s gorgeous fluttering cello, which gives the track a haunting, dreamlike sound. Soricah’s strummed acoustic guitar and smooth, sensuous vocals are complemented by Daniel Doherty’s sultry bass line and crisp percussion. The lyrics speak of intense passion and longing for someone, which Soricah seductively croons “Come a little closer. Feel my body move. My heart is beating faster, waiting for you. / You take me away into the stars is where I’ll stay. Waiting for you, waiting for you.”
“Back to Him” is an interesting song, and a perfect example of how Soricah skillfully blends a mix of cultural elements into her music. The song has a delightful, exotic-sounding Latin or gypsy folk melody. The colorful and spirited acoustic and electric guitars are fantastic, and I love Daniel’s distinctive bass line and assertive drumbeats. The lyrics are also interesting, spoken to a lover – either a man or woman – who appears to be confused and conflicted about their sexuality: “You change your faces every day. One minute you’re in love, then you’re running away. Back to him.”
On the title track “Let the Fire Burn Free“, Gary’s vibrant cello takes a starring role, giving the song a lush classical feel, though the lively guitars, bass and drums keep it in folk-rock territory. The song seems to be about freeing oneself from the judgments of others that diminish your own sense of self-worth: “How could you blame yourself, when it was good it was the best. And how could you be such a mess, when you tried to be honest? And how could you cause so much stress, with the family there’s no contest.”
“Juliette” is a lovely song of affirmation and self-worth, with lyrics assuring a woman that she doesn’t need a man to make her whole: “And Juliette, you don’t need no Romeo. You’d be better off alone.” The beautiful tinkling piano keys and soaring cello are the musical highlights here, and Soricah’s warm vocals are sublime as always.
Let the Fire Burn Free is a wonderful little EP with four excellent tracks, each having a distinctively different sound. Through a rich mix of stylistic elements and lush instrumentation, Soricah and her fellow musicians have crafted a highly satisfying work.
Fireglow is a rock and roll band based in Sydney, Australia. Through their fun, upbeat style of 60s and 70s-inspired music and lively on-stage performances, they’ve built quite a local following since forming in the spring of 2018. Making the music are Chris (guitar/vocals), Sean (guitar/vocals), Bruno (bass), Catherine (keyboards) and Frankie (drums). Starting with the release of their first single “Back of Her Blue Eyes” in June 2019, they’ve been on a creative tear, dropping three more singles over the next six months. This past April (2020), they released their debut EP Fireglow II, featuring four new tracks. One of those tracks is “Won’t Forget You“, which they released as a single on June 12, along with a video.
Even though it was released at the beginning of winter season in Australia, “Won’t Forget You” has a sunny vibe that makes it the perfect song for summer. Opening with the lines “She was fresh out of school, and she blew my mind like a virgin stone blowing down the sands of time / Summer sun wasn’t kind, it blistered our skin”, it’s a lighthearted song about the ups and downs of a summer romance. Over a toe-tapping groove courtesy of Bruno’s warm bass line and Frankie’s snappy drums, Chris and Sean layer a colorful mix of rhythm and jangly electric guitars, while Catherine’s ukelele and swirling organ riff adds a nice touch to the proceedings. Chris and Sean’s vocal harmonies are really wonderful too. It’s an incredibly pleasing tune that seems to channel the music of 60s bands like The Lovin’ Spoonful and The Turtles, as well late 70s Tom Petty.
The sweet video shows the band’s playful nature as they perform the song and frolic outdoors in the woods or by the seashore, waves crashing at their feet. It’s clear they like to deliver a little fun with their music.
Agent Johnny Red is an electronic musician, singer-songwriter and composer based in Portland, Maine. He’s been fairly prolific in his music output over the past five years or so, recording and releasing several singles, EPs and compilations, most of which are available on his Bandcamp page. At the end of May, he dropped his first official album Run Against the Sequence, a concept work inspired by his own personal life experiences.
He explained that the album “is about how humans get stuck in recurring behavior patterns or programs that are based upon past events. This is an album about Agent Johnny Red running against the sequence or patterns that were ultimately controlling his life. Addiction to bad relationships, food and drugs are all part of the sequence.” He added that the word ‘Against’ stands for how difficult it is to overcome these bad habits: “Kind of like an Alfred Hitchcock movie, no matter what you do you can’t escape it. But the character in this story does eventually escape at the end.”
The album opens with sounds of a man speaking the words “I won’t deny that there’s some strange, evolutionary process going on, but mankind won’t be destroyed. The fact that you and I are already here today is evidence of that“, and thus begins the first track “Just keep Repeating“. Agent Johnny Red uses an array of dark, yet beautiful swirling synths set to a pulsating EDM beat to create a mysterious atmosphere that conveys a feeling of being in a kind of twilight zone. Eventually, the man’s voice returns to say “Another day is done all over again.” “Figure out this Mess” has an equally ominous vibe, with harsh swooping and pulsating industrial synths forming a psychedelic backdrop for Johnny Red’s droning moody vocals.
On “Lightning in a Black Hole“, Johnny Red seems to be speaking to someone who can save him from himself and his troubles: “Tell me what you want me to be. I’ll tell you I’m all that I can ever be. / I just want to go out for a drive. Just to see the sky. I know it’s crazy, but we’ll be fine if we forget about time.” I really like the lush combination of synth sounds and textures he uses in this and other tracks, and how well his music pairs with his vulnerable, rather melancholy vocals.
The album features a number of terrific instrumental tracks, including “Videodrome“, with its fascinating mix of synthwave, sci-fi, EDM and dubstep elements; the uptempo and otherworldly “Destination of Red“; the mesmerizing, psychedelic and spacey “Save Some Space“; the techno-heavy “Survival is Changes“; and one of my favorites “Don’t Destroy the Water“, a wonderful futuristic fantasia of swirling sci-fi synths and haunting female chorale-like vocal drones, set to captivating dubstep beats.
The title track “Run Against the Sequence” encapsulates everything the album is about, which is the struggle to reach a point of mental clarity and emotional freedom from bad habits and addictions that have kept you enslaved: “Every step that I take will get me closer to awake. Every love that you find will get you closer to rewind. I know that time’s confusing. What if it’s an illusion?” Musically, the song has a haunting piano-driven melody, with a colorful mix of wobbly and stabbing synths, accompanied by hand claps.
“Hack Time (You Work Harder)” has an eerie, almost goth-like vibe, with throbbing industrial synths set to a hypnotic rhythmic beat. The tinkling piano keys add a nice textural contrast, keeping the track from sounding too dark. Johnny Red’s electronically-altered echoed vocals sound pained as he laments of wanting to feel better and be free of his demons and addictions that offer only temporary relief from the pain: “Break free from the things in your brain. / You fell asleep at the wheel. You’re happy when you can feel. You’re happy when you heal. / I just wanna move around the sequence. I just wanna hack time.” It’s another one of my favorite tracks on the album.
“Save the Light” is the point of escape, when Johnny finds the truth in the pain of not succumbing to addiction. His vocals are auto-tuned, giving them an even more haunting feel as he sings of being trapped by his addiction, and wanting to break free. ‘Seven seas’ are a metaphor for his freedom: “Back when you thought you could be everything, you saw something great in the seven seas. You ran benediction through your head but addiction had you dead. But you were here and you were sure that if you come back to the seven seas. Come back and let me be. I believe this is a dream come true.” He realizes he needs to be strong, keeping freedom from addiction at the forefront of his goals: “Think the way that you can feel. Fight the urge to make the deal. All these scars that will not heal are just dreams, they are not real.”
Yet he continues to struggle with self-doubt and guilt over pain he’s caused others: “No I don’t want to go back home. I want to stay on this earth. I wanna stay on this earth but you keep killing it. I am telling you I don’t want to see them die. I don’t want to see them cry just so I can feel alive.” He ultimately comes to the realization that he wants to live a life free from addiction: “And if I save the light, then the dark might take me tonight. And on the seven seas everything might be alright.” Johnny Red uses complex and lush industrial and psychedelic synths and some lovely guitar notes to create a somber, yet hopeful mood. It’s a magnificent and moving track.
The album closes on a more upbeat and positive note with “A Puzzled Picture“. The track has a lighthearted vibe, thanks to a lively mix of skittering spacey synths. The man’s spoken voice we heard on the opening track returns to offer a few lines of wisdom, though I’m unable to make out exactly what he’s saying.
Not being a musician, nor very knowledgeable about music theory, technique or mechanics, it’s often hard for me to fully articulate what I hear when listening to electronic music. That said, I have nevertheless written about quite a lot of it, and can confidently state that Run Against the Sequence is in the top tier of electronic music albums I’ve reviewed. Agent Johnny Red is a highly creative, talented and imaginative composer, as well as thoughtful songwriter, and should be very proud of his latest work. This is an album that requires a couple of close listens to fully appreciate all of it’s many nuances, but you will be rewarded for your effort.
I first learned about Sydney, Australia-based indie rock band Beating Hearts Club two months ago when they reached out to me about their gorgeous single “Black & White Love“. Comprising the band are Duncan Welsh (vocals/rhythm guitar), Ciaran Loughran (lead guitar/backing vocals), Peter Holt (drums) and Lukas Thurner (bass). Even though they’ve released only two songs, I was impressed by their beautiful sound, intelligent songwriting and outstanding musicianship, and became an instant fan. “Black & White Love” is a stunning love ballad (you can read my review here) that’s currently enjoying a long residency on my Weekly Top 30.
Now Beating Hearts Club return with their third single “Round the Bend“, which along with “Heroin” and “Black & White Love”, will be included on their forthcoming debut album, due out later this year. With its rousing melody and catchy, toe-tapping beat, the song has more of a folk-rock feel than their two previous songs. The fuzz-coated jangly guitars are terrific, and I really like the subtle organ work that gives the track a bit of a folk vibe. Thurner’s solid bass line and Holt’s pounding drumbeats keep the driving rhythm, ensuring that the song stays firmly in rock territory, and the guitar solo in the bridge is so good. As always, Welsh’s vibrant vocals are wonderful as he plaintively sings the lyrics that seem to me to be about difficulties with commitment “Chase me round the bend. Thought I’d never see the end.”
“Round the Bend” is a great song, keeping Beating Hearts Club’s perfect score for delivering superb singles fully intact. I love every one of their singles, and look forward to hearing more from this exceptional band.
One of the joys of having a music blog is being able to give independent and unsigned artists some free press and hopefully expose them and their music to a wider audience. An artist I’m particularly fond of is Chicago-based singer-songwriter and composer Brett Grant, who goes by the artistic moniker brett.grant.5. Drawing from a wide range of musical sources and genres, ranging from 1920’s jazz and classical to video game music and experimental progressive rock, his sound is edgy, unorthodox and fascinating. And his brutally-honest and personal lyrics explore some of the darker sides of life, society, and mental health.
Brett’s been making music for many years, both as a solo artist and as a member of several bands. He plays guitars & synths and sings vocals for A Million Rich Daughters, and previously pounded drums in Sleep For Dinner and TOOFUNCHILD. In addition to his work with the aforementioned bands, as well as earning a B.A. Degree in Music last year, he’s released two solo EPs – digital dirge in 2016 anddisqui.etude in 2019 (read my review here). Now he returns with “Burning Fire“, his first new single in a year.
The song is a repudiation of the religious dogma that keeps people enslaved on so many different levels – mentally, socially, culturally and physically. Brett explained that the song “is about rejecting concepts we’ve been force-fed, and trying to unveil the truth through all the lies. The ‘burning fire’ [refers to] the self-righteous light that the hyper-religious shine upon the world, casting dark shadows that create monsters.” As someone who was raised Catholic but am now Atheist, the lyrics strongly resonate with me. I’m always suspect when people invoke god and religion to legitimize their oppression of others, or to further their hateful racist, homophobic or exclusionary agendas.
Musically, Brett uses a complex and dramatic mix of harsh, psychedelic and spooky industrial synths, along with a hypnotic drumbeat to create a dark, ominous soundscape befitting the scathing lyrics. His vocals are equally menacing as he practically snarls his verses, yet there are moments of haunting beauty too, especially in the bridge where he plaintively implores “the world ends with you / the world ends with me / the world ends with us / at least we’ll all be free.”
Like many electronic songs with experimental and progressive rock elements , I found that “Burning Fire” gets better with each listen, as I discovered more nuances in both its melodic structure and the array of instruments and sounds used in the song. Brett will be donating all proceeds from purchases of the song to Black Lives Matter Chicago.
in underlying tunnels in my head disqualifying thoughts all painted red creatures undying I can’t regulate identifying efforts to castrate
your burning fire’s been oscillating the shadows discharged are starting to take hold your burning fire is suffocating nightmarish monsters eroding self-control
emulsifying actions and my thoughts i’m patronizing the stations of the cross the underlying message won’t come clean but I’ve been spying actions so obscene yeah I’ve been trying to fight this dissonance by qualifying the sacrifice I’ve spent the mystifying stories I’ve been told unsatisfying, removing my blindfold
your burning fire’s been oscillating the shadows discharged are starting to take hold your burning fire is suffocating nightmarish monsters eroding self-control
the world ends with you the world ends with me the world ends with us at least we’ll all be free the world ends with you the world ends with me the world ends with us at least we’ll all be free the world ends with you the world ends with me
your burning fire’s been oscillating the shadows discharged are starting to take hold your burning fire is suffocating nightmarish monsters eroding self-control
Since the release of his debut single “Dragonfly” in 2017, Manchester, England-based singer-songwriter HAZY has watched his star rise on the British music scene. Born in Hong Kong and raised in Chalfont St Giles, he’s loved music since he was a young child, and taught himself to play piano by ear. He followed “Dragonfly” with his gorgeous dream pop single “Silverplate” in 2018, receiving play on BBC Radio Stoke, and in 2019, he launched his debut EP Crystal Disguise to a packed crowd at the iconic Manchester nightclub Gullivers. This past April, he released his single “Arcade”, which has received airplay on numerous radio stations throughout the UK and on KB Radio Canada. Now he returns with a brand new single “Swimming Closer” which I’ve chosen as my New Song of the Week.
He wrote and recorded the song at home in his bedroom during the COVID-19 lockdown, as a reaction to the cabin fever he was feeling. He explains “I wrote the track when I was feeling pretty down about the whole lockdown situation, and since then life has been unbelievably strange. Whilst the song is light and energetic to the unsuspecting listener, there is a deeper connection to the struggle that we have all endured during the lockdown. The song helped me feel more optimistic. I hope it makes you feel the same way too.”
The track was co-produced by Andy Gannon, who has worked with such artists as Robbie Williams, Rudimental and Clean Bandit, and hearkens back to the beautiful and melodic sounds of “Silverplate”. With its catchy melody and infectious toe-tapping beat, the song has a sunny vibe that makes it a great track for summer, despite its rather poignant lyrics. The colorful swirling synths that continue throughout the song are terrific, and I especially love the piano and guitar notes in the choruses. HAZY’s vocals are great too, with just a hint of reverb effect that works really well on this song. He beautifully expresses both a sense of frustration and vulnerability in the verses, and a hopeful optimism in the choruses. It’s a wonderful song that stayed stuck in my mind long after hearing it, and that’s a good thing!
Think I’m losing my mind If I’m never gonna get this chance at life I lie awake at night I’ll figure out if it was real or right
Oh yeah, I’m swimming closer than I’ve ever swam before I’m scared of swimming closer than I anticipated
Hey, through the radio most of you will never know The problem of losing your faith We’re all a statistic, but let’s stay optimistic So I don’t have to cry to sleep
Oh yeah, I’m swimming closer than I’ve ever swam before I’m scared of swimming closer than I anticipated
I’m all messed up today I’ve got to find a way so I don’t fall asleep in the streets Didn’t get the memo so I didn’t say hello And now I’m feeling less complete
Oh yeah, I’m swimming closer than I’ve ever swam before I’m scared of swimming closer than I anticipated
Think I’m losing my mind If I’m never gonna get the chance at life I lie awake at night I’ll figure out if it was real or right I’m swimming closer than I’ve ever swam before
Oh yeah, I’m swimming closer than I’ve ever swam before I’m scared of swimming closer than I anticipated
ECLECTIC MUSIC LOVER 