A few months ago, I featured the multi-talented – and wonderfully charming – British singer/songwriter/filmmaker Romeo Crow on this blog (see the article here). Now, Romeo’s back with a great new song and video “For the Weekend.” The song’s about being frustrated and bored with a dull, mindless job that’s always making you look forward to the weekends – in other words, living for the weekend. Romeo sings: “The only voice that matters here is the one that you can hear inside your head. If you wait for the weekend to get back all your living, you’ll find that it’s gone in a flash. Don’t wait for a lifetime to get back what you’re missing, you’ve got to pull your lifeline back.”
The delightful video, which Romeo wrote, produced, filmed and stars in, begins with him sitting at his desk at work when he receives a phone call from someone requesting a file. He goes to a dingy basement storeroom to get it, whereupon he discovers various musical instruments. Hesitating at first, he decides to take the plunge and act out his fantasies – his various rock star alter-egos play drums, guitar and sing – until reality returns and he turns off the light and closes the storeroom door.
Musically, “For the Weekend” is an exuberant song featuring Romeo’s infectious, off-kilter vocals and phenomenal guitar-playing skills. I’d love to hear him play “All Along the Watchtower” some time – hint, hint, Romeo!
Support Romeo by helping to promote this video by clicking here. Follow him on Twitter and Facebook, as well as his website.
British Indie pop/rock foursome Puppet Theory is the latest band to emerge from the vibrant Manchester music scene. They bring a fresh approach to their music, fusing old-school Brit-pop/rock with punk and alternative influences. On September 21, they dropped their debut EP Buttons – a collection of four infectious, high-energy songs guaranteed to put you in a good mood and make you dance around like – well, a puppet on a string!
I first learned of Puppet Theory when they followed me on Twitter a few days ago and, given their fun, upbeat music and sense of humor, I’m already a big fan. On their website, they state “Puppet Theory have the perfect blend of UK influences, consisting of 2 Mancunians, a Scouser and a Southerner whose energy, edginess and musical expertise work together to create an unforgettable set.” For those of us non-Brits, a ‘Mancunian’ is a person from Manchester and a ‘Scouser’ is from Liverpool. In their Facebook bio, they identify themselves as follows: Johnny – Little strings and sings; Chris – Little strings and sings; Niall – Big strings; Paul – Hits things. How endearing is that?
Puppet Theory began life when Johnny and Paul started jamming together, feeling an instant connection. Knowing they needed a strong vocalist/lyricist who could serve as band front man, they held auditions and enlisted Chris after he impressed them with his songwriting ideas. Finally, after auditioning four other bassists, they were blown away by Niall’s playing and signed him on the spot, completing the band line-up. They’re thrilled to now have their first EP out so music junkies like me can enjoy their music.
The first track, “Young & Youthful,” immediately hooks you with an irresistibly catchy melody, though the poignant lyrics speak to anxiety over transitioning from youth to adulthood. The song bursts open with shredded guitars and pounding drums, led by a buzzing bassline. Another guitar riff is introduced, intertwining with the shredded guitars, and Chris plaintively sings: “When did we get old? Someone should have told me that I don’t know what it is all about. Give me some time to figure it out. I’ll get there.”
Pulsating guitars, strong bass and Paul’s assertive drums – accentuated by lots of crashing cymbals – highlight the catchy title track “Buttons.” The strong third track “Room to Breathe” has a distinct Foo Fighters vibe, most noticeable in the excellent main guitar riff. The final track “Do You Know” treats us to more awesome blistering guitars and dynamic percussion that appear to be a hallmark of Puppet Theory’s sound. The song seems to end at 4:30, then starts up again with a dramatic guitar solo that’s a sped up version of the main song riff for another 30 seconds. Interestingly, the band is the third that I’ve reviewed over the past month or so to utilize this stop and start up again technique in a song.
All in all, Buttons is a strong debut for Puppet Theory, who I think have a promising future, given not only their talent, but their strong chemistry and charisma. Show them support by checking out their Website, following them on Facebook and Twitter, and subscribe to their YouTube channel. Stream Buttons on Spotify or purchase on iTunes.
I’m beginning to think that some of the best rock music these days is coming out of New Zealand, as here I am writing about yet another great band from that island nation at the other side of the world (I’m in Southern California). My latest subject is The Zoup, an alternative rock band from Auckland, and their sparkling debut album Symbiotic. As explained in the album notes, Symbiotic is “a sonic journey representing five years of musical exploration and experimentation which truly represents the collective essence of the band.”
The Zoup is comprised of Jaydn de Graaf (lead vocals, guitar), Dominic Mauger (lead guitar, keyboards), Tom Chou (bass) and Dave Johnston (drums, backing vocals). The band’s sound is characterized by complex, multi-textured guitars over strong, rhythmic basslines and aggressive percussion, accompanied by deGraaf’s amazing vocals that swoop and soar with abandon. The guys have been making music together for over eight years, and recorded their first self-titled EP in 2009. They continued writing songs and experimenting with their sound, and recorded several tracks in two sessions named for the locations where they took place – the Piha in 2011 and Kaipara in 2012. Three of those tracks have been remastered and are now included on Symbiotic.
The 10-track album was engineered and produced by band member/drummer Dave Johnston (who also plays drums for the band Villainy), and what a winner it is! It opens strong with the hyperkinetic title track “Symbiotic.” Rapid-fire drums set the pace, with assertive guitars overlying buzzing basslines. The song hums along, seeming to end at 3:05, then with a touch of feedback, it revs back up to a dramatic finish. I may be totally off-base, but the lyrics seem to address the band’s connection with their past, and their desire to move on into new territory, which this album represents. “Strange how the smallest sounds always seem to trigger the memories I thought that I had lost in time.”
Next up is “Shao Ten” – a standout track with such awesome guitar work, it had the hair on the back of my neck standing straight up. Distorted guitars play off frantic, jangly guitar riffs and wobbly bass, perfectly complementing de Graaf’s powerful soaring vocals. The captivating “Scheming” is one of my favorites, with blistering guitars and aggressive drums, accentuated by an abundance of crashing cymbals. The backing vocals rise and fall in a beautiful chorus, accompanied by distorted guitar.
The melodic “The Cuts and the Crime” is another strong track, and has been released as their latest single. The song speaks to the inner conflict between giving in to one’s darker desires – to “dance with the fire” – and the need to walk a straight line and behave like a good person: “In my mind/The better side of never is what keeps me in line. In my mind/I’m never gonna get it from the cuts and the crime.” Musically, the song opens with a powerful drumbeat that propels the song forward. Complex, multi-layered stop and start guitar riffs float nicely over a powerful bassline and, as always, deGraaf’s vocals are mesmerizing.
Keeping the energy flowing, “Monuments” is a hard-driving gem with swirling guitars, heavy bass and hammering drums. deGraaf’s urgent vocals weave effortlessly through the music. The pace slows a bit with the sultry but still intense “Talking to Myself.” The killer guitars are shredded, plucked and distorted all over the place, accompanied by crashing cymbals and goosebump-inducing harmonic vocals. This song has some of the best lyrics: “Even dishonest men tell honest lies. To reset those feelings which hold special meanings will take some time. Trusting this world it takes such arrogance. Talking to myself is not OK.”
“Ethos” was first recorded at the Piha Sessions in 2011, and is such a good song the band decided to rework and include it on Symbiotic. On this and the following track “Colours,” we’re treated to more mind-bending guitar riffs and Johnston’s wicked drums, along with deGraaf’s beguiling vocals. I’m now certain that I’m addicted to this band’s music.
Another older song from the Kaipara Sessions included on this album is the gorgeous ballad “We Should Have Listened.” Acoustic guitars have a starring role, giving this amazing track more of a folk-rock vibe than The Zoup’s other songs. The lyrics are compelling: “Time the oppressor waits for no man at all. Save those lucky few who hold it dearest to them. We should have listened, but now it’s gone. We didn’t listen to what they had to say. We had our chance to change. We had our chance, we threw it all away.” Although the track has been remastered for the album, this video from the session in 2012 features the band recording the song, along with footage of them that provides a glimpse of their friendly, unassuming personalities.
The final track “Young and Unaware” is the third on Symbiotic to come from the previous sessions. It’s a great song, with thunderous shredded guitars, heavy bass and pounding drums giving it the most hard-rock sound of all the tracks on the album.
The Zoup (their name doesn’t really mean anything, according to Johnston, who said they actually saw the word on an old T-shirt belonging to their guitarist Dominic, and thought a name beginning with the last letter of the alphabet was strong) is definitely a band to follow and Symbiotic is an album worth owning. Show them support by following on Facebook and Twitter, and subscribe to their YouTube channel. Stream their music on Soundcloud or Spotify, and purchase on Bandcamp or itunes.
There’s a special place in my heart for earnest, hard-working musicians who dedicate themselves so passionately to making great music that strongly connects with their fans. Such is the case with the young Kansas City band Lost In The City. They play an incredibly dynamic style of Alternative Rock that’s hard to categorize, as it can also be described as Post-Punk, Punk Rock or Punk/Pop. But no matter what label it’s given, the band’s guitar-heavy sound is influenced by some of their (and my) personal favorites, including Fall Out Boy, blink-182, Anberlin, Jimmy Eat World, Foo Fighters and Dance Gavin Dance. In fact, band front man and lead vocalist Shane Radford at times sounds disarmingly similar to Fall Out Boy’s Patrick Stump, yet their music is thoroughly unique.
In addition to Radford, who also plays rhythm guitar & synthesizers, the other band members include Danny Davis (bass/synthesizers), Dustin Proctor (guitar) and Kyle Constant (drums). All are musicians who’ve previously been active in the Kansas City music scene for the past decade. They joined forces to form Lost In The City, and their collective experience gave them a distinct advantage over other newly-formed bands. Once they quickly found their groove, they began playing local shows, writing and recording a full album, and embarking on a nationwide tour. Despite line-up changes, working full-time jobs, going to school, and competing for stage time in a crowded music scene, the band has persevered without skipping a beat.
Lost In The City dropped their debut album Genesis in June 2016, and what a spectacular debut it is! Ten songs that shower your ears with thunderous chords, blistering guitar riffs, power drums and mesmerizing, passion-filled vocals. Lyrically, the songs address the familiar subjects of love, relationships and break-ups, but also the travails of touring, anxiety and depression.
We’re introduced to the album by the first track “Too Young For a Comeback (Too Old to Start Over).” The shredded guitars in this hyperkinetic track are monumental, rising and falling with the throbbing bass line. Halfway through the second track – “The Midwest Isn’t Gold, But It’s Full of Color” – it’s clear these guys kill it with their guitars! The intense, high-energy arrangement of this song make it one of my favorites on the album. The lyrics speak to conflicted dreams of leaving the Midwest for a more exciting existence: “California is calling my name again/Maybe someday I’ll answer it/But for now I’ve got to make do and better myself/My heart is falling for the Midwest/I need some time/I’m looking for a reason to stay.”
The brilliant “It’s Okay To Not Be Okay”is about depression, a subject rarely sung about: “I’ve got a cloud full of sorrows leading me around/This head full of doubt is pulling me down/There’s a battlefield of red, a battlefield of gray/I’m making a stand, inside my head.” The ominous opening guitar riff portends a deeply emotional theme, and Radford’s fervent vocals, sung to furious guitars, make for a tremendously powerful song. The track was released as a single in 2015, nearly a year before the album was completed. The compelling video produced for the song shows the band performing in the graffiti-covered ruins of an abandoned building, interspersed with footage of a woman fleeing her mental demons. (The drummer in the video is Ryan Meador, who subsequently left the band and was replaced by Kyle Constant.)
Another standout track is “Our Time,” with hammering drums, guitars that alternate between chiming and scorching, and Radford’s heartfelt vocals. The powerful lyrics address the fleeting aspect of life – that each of us has our moment in the sun, but it won’t last forever. “Our souls are burning bright and we’re lighting up the sky/Homesick feelings, there’s no point to lie/Someday we’ll build a legacy, someday we’ll all die.”
“Too Far Gone” is a kick-ass hard-driving track with incredible soaring choruses and distorted guitars, while the smoldering rock ballad “Wildfire”features beguiling circular plucky guitars overlying heavy bass. Shredded guitars rule on the catchy, melodic “Bottles” and pulse-pounding “Novels For the New Moon.” The power-ballad “Eyes” is yet another standout track, with changing tempo and chord progressions that create tension. At 3:45, the song appears to end, then abruptly begins again with a reprise of the chorus “I’m building up a way to pay for my mistakes/Don’t forget the stars in your eyes.”
The epic final track, “Monsters Are(n’t) Real,” feels almost like a mini rock opera, clocking in at over seven minutes. The song opens with carnival-like sounds, possibly from a haunted house attraction, and distorted guitars keeping time, then erupts with pummeling bass and fast-paced swirling guitars. The poignant lyrics address the anxieties of growing up and regrets from adult realities and disappointments. The song closes with the chorus “I’m sorry I grew up/I’m sorry I failed.” Some pretty heavy stuff there.
“Genesis” is aptly named, as this album marks the beginnings of a band with great promise. Support Lost in the City by following them on Facebook and Twitter. Stream the album on Spotify or purchase on Amazon, itunes or Bandcamp.
The charismatic new band COUNCIL plays a dynamic style of alternative pop/rock that’s radio-friendly, yet still edgy. Hailing from rural upstate New York, the band consists of three handsome brothers – Patrick, Doug and Andy Reeves. Patrick (bass and lead vocals) and Doug (drums) are twins, and Andy (guitar) is a year younger. The guys are farmers by day, but spend their evenings working on their passion for making music. They’ve recently gained both local and national attention for their high-energy performances, including numerous successful shows in New York City, and opening for bands like The All American Rejects and The Kooks. The guys hope to someday be the headliner band.
They’ve just finished their debut EP, Rust To Gold, under the guidance and assistance of Grammy nominated producer Justin Gray (who’s worked with Mariah Carey & John Legend), 10-time Grammy nominated mixer Mark Needham (Imagine Dragons, The Killers) and mastering legend Howie Weinberg (U2, Nirvana). The result is a well-crafted EP with a polished sound, and Needham’s influence is strongly evident, as COUNCIL’s songs have a noticeable Imagine Dragons vibe.
Rust to Gold features three anthemic songs, characterized by strong percussion, sweeping orchestration and soaring harmonic choruses. While they all have catchy melodies, their lyrics are quite compelling – sometimes intensely so. The title track “Rust to Gold” is a gorgeous rock song about finding your own truth in the world and holding on to what’s important.
“There is something you should know, I’d die before I’d let you go. I work my fingers to the bone to follow the light of this. All the things that we’ve been told, we will never let them go. All the dreams from rust to gold, we will never let them beat us.“
The powerful “All For You” is an emotional expression of regret and sorrow over the pain caused to a loved one, while pledging undying love and devotion. The lyrics are poetic and deep:
“I was doomed from the start, and I held my regrets. I was covered in dark and I wore it like death. Still I got a heart that pounds in this chest. And my closet is full for days. But when your strength is gone, and the lights go grey, I’ll sing your favorite song. I’ll be your hit parade. With every breath I’ve blown I’ve failed a million ways. And everything I own I tore to pieces.“
The track calls to mind Imagine Dragon’s massive hit “Demons.” Here’s a short video of a live performance.
“Rise Above It All” is a beautiful, extremely moving declaration of strength and determination to overcome life’s hardships and challenges.
“For every time I’ve fallen down. For every wall that keeps us bound. For everyone we’ve beaten to the ground, and watched them fade away. For every wrong I couldn’t right. For every sleepless night I hoped and dreamed. For every one, everywhere, every cross I couldn’t bear to watch you leave. But I will not break when all hope is lost. I will be brave and rise above it all.“
All in all, a great debut EP for three talented guys with a bright future in music.
I turn my Artist Spotlight back to New Zealand for a look at the outstanding alternative rock band DarkWater. They formed in 2009 as a four-person band, but are now three, with founding members Nathan Waipouri (lead guitar and vocals) and Merran Dixon (bass and backing vocals), and Ross Kilgour (drums) who joined the band in 2012.
DarkWater released their first EP in 2010, first full album in 2012, and another EP in 2014, all to critical acclaim. Their latest album – You’re only as addicted as you’re willing to be – dropped in May 2016, and it’s a stunning collection of kick-ass rock songs, many with a psychedelic vibe and featuring complex arrangements, multi-textured heavy guitar riffs, powerful drums and crashing cymbals. Waipouri’s raw vocals call to mind Ian Anderson of Jethro Tull and – to my ears, at least – DarkWater’s music seems influenced by Jefferson Airplane, Jethro Tull and Cream, albeit updated to today’s rock sensibilities.
The album opens strong with the superb “The Old Town of Visoki,” a sonic-boom of a track with furious guitars, accompanied by Waipouri’s raw, snarling vocals and Kilgour’s hammering drums. “A Little Time” and “Numbered” keep the energy flowing with dazzling guitar riffs, strong percussion, and more of Waipouri’s urgent vocals.
The standout track “Animal Mind” serves up more killer, multi-layered riffs, thumping bass, pulse-pounding drums, crashing cymbals, and Waipouri’s impassioned vocals – backed by Dixon’s own beguiling vocals – singing some pretty compelling lyrics:
“I sometimes sit here and wonder why I’m alive, those thoughts from a whisper, that voice from inside. No seas of confusion that set us aside, from words of the wounded sad lullaby. Hard times, no pride.”
The late-60’s psychedelic rock vibe is strongly evident in “Paradox,” “Melee,” “A Murder of Crows,” and “Caution in a Jar,” with slightly distorted but melodic guitars, and intertwining harmonic vocals. Here’s a video of a live performance of “Caution in a Jar” at the indie underground club Lovelands last May.
“Only You” is another awesome track. It starts out with a nimble guitar riff and gentle drumbeat, then gradually builds to a bombastic climax of pummeling guitar riffs, more of Kilgour’s formidable drums, and powerful soaring vocals. This is my favorite song on the album.
Another of my favorites is the highly melodic “Harmonic Tinker Toys,” featuring more of DarkWater’s amazing signature guitar riffs. Holy hell, Waipouri and Dixon sure do coax some magnificent sounds from their guitars!
The remaining tracks “Astray,” “Cleverywhere,” and “Right Here” are all very good, with more of those impressive guitars, so there’s not a single forgettable or throwaway song on the album.
Peter Noreika is an accomplished singer-songwriter from New York state who started out as a guitarist for several heavy metal/thrash bands, but eventually put his music career on a back burner in order to make a living and start a family. One day his then 4-year-old son told Peter he wished his dad was a songwriter so he could stay home and play with him, instead of going off to work in an office. It was that life-altering incident that shook him back into doing what he loved – writing songs and playing music. Remembering that being in a band was challenging and wrought with obstacles, he made the decision to go it alone. With his background in heavy metal, but sensibilities now leaning more toward acoustic rock and folk, Peter spent his spare time writing lyrics and music, and practicing hours on end. Finally, in 2015, he recorded his highly acclaimed debut EP METACOUSTiFOLK.
Now Peter has released his follow-up sophomore effort, a great four-track EP titled Throw the Switch to Begin, which dropped on August 19. Our ears are once again treated to Peter’s nimble acoustic guitar and emotionally raw vocals, accompanied by Joe Garetti on drums.
The first track “Ride” declares the powerful need to escape a troubled existence by setting out on the open road:
“I can’t stand the way I feel. Trapped inside this cage again. I don’t wanna see the day begin. Driving much too slow, I’m moving with the flow. I’m not going to stay here trapped inside. I got to get on out and ride.”
The song starts out with a slow, driving drumbeat and a rather mournful guitar riff, then, halfway through, the tempo speeds up, beautifully conveying the feeling of sudden freedom. It’s my favorite track off the EP.
“You’re the One” addresses the enduring strength of real love: “Another day in paradise. It all looks better when you are near. We watch the years go by us. My mind hides the mirror’s lines. The only one who knows me. The only one I wanna know.”
The third track “Win or Lose” is a catchy, fast-paced song with some pretty cool guitar riffs.
“Said it before and I say it again. It’s never to late to get up and begin. Talk the talk and walk the mile. I don’t care about what’s in style. It’s up to you, to win or lose. Now you can choose to win or lose.”
Peter shows a more whimsical side with “Rocketship,” a fun romp of a tune told from a child’s perspective. The clever, entertaining video for the song shows Peter’s son in his “rocketship” made of a decorated cardboard box and brightly-colored mailing tubes, and wearing a helmet as he gazes up to the skies. “Hop right in, throw the switch to begin, in my rocketship.”
Note: Subsequent to my writing this review, Paul removed the album from all streaming services, rending my review meaningless and obsolete.
British singer-songwriter and multi-instumentalist Paul Iwan has been playing in bands since he was 14 years old. He’s toured the UK with various bands over the years, and played international festivals in Germany, France and the U.S. In 2008 he was mentored and championed by Ray Davies (of The Kinks) and continues to collaborate with other artists and friends across the UK. After years of writing songs and perfecting his craft, he has finally created and self-produced his first album, and it’s a thing of beauty and a real tour-de-force!
Set to be released in September 2016, Reveal is – in Paul’s words – “a collection of songs exploring themes of truth, honesty, regret and rebirth. Evoking early Simple Minds, it channels the avant-garde artistry of Melt era Peter Gabriel via the soaring melodies of Vince Clarke to create a deeply personal yet uplifting body of work.”
Paul’s highly melodic music is primarily synthesized, with lush orchestration featuring multiple instruments. The opening track, “I Come Alive” is an exuberant celebration set to gorgeous sweeping orchestration, throbbing bass and nimble guitar riffs. Paul’s high-pitched vocals soar along with the arrangement. The second track – and the first album cut to be released as a single – is the beguiling electro-pop gem “Dream Stealing.” Once again, we’re treated to lush big synth orchestration and dazzling guitar riffs. Take a listen:
Another great track is the lovely but bittersweet “Red and Gold.” Set to a rather catchy, funk-infused beat, the song addresses the pain of a lost love. “I turn my face towards the sun, and it’s red and gold. And I slowly walk towards the shore, as the sea inhales. Yet there’s one thing I know, you will always be here. When I’m alone and crippled with fear, reaching out to nothing, thinking you’re hear with me.”
“My Heart Bursts Into Flames” and “Poles Apart,” are two of the more radio-friendly pop/rock-oriented tracks on the album, with gnashing guitars and assertive drums. Paul turns things down a notch with “My Scars,” where his dramatic piano takes center stage. “The Sun In January” is a lovely, upbeat ballad about love and commitment, with some pretty neat jangly guitar. Paul dials it back up with the joyously uptempo “Midnight Angel,” where his vocals soar once again to great heights. “How Far the Apple Falls,” is another fine song about regret over a failed relationship.
One of my favorites is the alt-rock instrumental “Something Came In With This Storm,” which has a bit of a Pink Floyd vibe, with a formidable, extended guitar riff. The album closes with the beautiful, hopeful “Reborn,” which features great rock guitar riffs toward the end. It’s quite evident that Paul poured his heart and soul into this extraordinary debut album.
Support Paul by following him on Twitter and Facebook, and stream his music on Soundcloud. Reveal may be pre-ordered on Bandcamp and, after September 16, purchased on itunes or Amazon.
When I first heard the epic new single “Say My Name” from the UK alternative/electronic rock band (IAM)WARFACE, I was hit by an atomic blast of music greatness. The kind that instantly blows you away, leaving you speechless and covered with goosebumps. I LOVE THIS SONG!
The exhilarating track begins with a snarling guitar riff, then explodes into an inferno of speaker-blowing drums, big synth chords, bombastic bass and thunderous shredded guitars. Band front man Matt Warneford practically shrieks the opening lyrics, backing himself up with distorted, soaring choruses. He then alternates those high-pitched vocals with smoother but urgent, impassioned phrasing.
The song is four and a half minutes long, yet seems over in an instant – always a sign of an incredible song. Take a listen, and turn the volume all the way up!
(IAM)WARFACE started out as a solo act by Matt Warface, who wrote and performed all the music, but he realized he needed a back-up band to perform live. Those band members are Louis Matthews (who plays a guitar/bass hybrid), Matt Whitehead (backing track coordinator and keyboards) and Alex Whibley (drums and percussion). The band name is a metaphor for their style of bombastic high-energy music, and their influences include Muse, Big Black Delta, Nero, Queens of the Stone Age, Tears For Fears, Yeah Yeah Yeahs, Black Keys and MGMT.
Follow (IAM)WARFACE on Twitter, like them on Facebook, and subscribe to their YouTube channel. Their awesome music is available for purchase on itunes or streaming on Soundcloud or Spotify.
There are some singer/songwriters whose music stays with you long after hearing it, drawing you back for another listen. Chris Watkins and his band Drunk Poets make that kind of music, reminiscent of Bob Dylan, Shawn Mullins and Lou Reed – simple, pure and honest, but always with a compelling story. His smooth low-key vocals are incredibly soothing to the ear, yet at the same time quite powerful. Following up on their superb 2015 album London Can Take It, Watkins/Drunk Poets dropped their latest album Lights All Askew in July 2016, and it’s another work of musical art. Drunk poetry indeed!
Hailing from Alaska, which he still calls home, Watkins formed his original version of the Drunk Poets band when he was just 16 years old. He has continued performing and recording under the band name Drunk Poets – with various members – throughout the years and up to the present. (Currently, Drunk Poets consists of Watkins, Eric Cobb and Watkins’ niece, who provides the lovely backing vocals.) They play a beguiling style of alternative folk-rock that’s primarily acoustic, with awesome guitar and harmonizing vocals.
The beautiful title track “Lights All Askew” is a rather somber ballad with a mesmerizing, repetitive guitar riff and gently crashing cymbals. In his smoldering voice, Watkins sings:
“Bright red and blue, lights all askew in the twilight. The snow on the sidewalk like wool from the December sky. The rumbles of headlights that shimmer in spite of the cold. Black witches burning in purity fires of old. And the darkness is waiting for thee.”
Watkins told me the song was inspired by the Northern Lights, which he has the pleasure of experiencing in his home state.
My favorite track on the album is “Dark Old Houses,” a captivating song that seems – to me at least – to be about loss and the passage of time.
“Yesterday I saw a flock of geese over the rooftops. With snow on the wing and an auburn sun overhead. Like businessmen in shoddy suits at a funeral. Running for public office in the rain. Carpenters under the gun. Wrestle hammers from the wall. Shingles shiver in the gust. When the winter comes to call, on dark old houses.”
Musically, the song features a pleasing guitar riff with an undercurrent of gentle violin. I literally had this on repeat a half dozen times while composing this review.
Another personal favorite is the anti-war song “Munich.” I love the lyrics “I never made it to the revolution. The taste of teargas took its toll.” and the chorus “Tell me when the heathens reach the wall; I need some information.”
The other songs on the album – “Lasses and Ladies,” “Cheerleader in Love,” “Looking Glass Life,” “Soldiers and Dogs,” “Ivory Towers,” “Broken Gate” and “Souls Midnight” – are all exceptional.
On a side note, in an interview with heathmusicblogger, Chris stated his very first album purchase was Meet the Beatles, which also happens to be my own very first album purchase. That, plus the fact that he’s a nice guy who’s extremely supportive to his fans and followers, makes him a legend in my book!
Support Chris & Drunk Poets by following him on Twitter, liking him on Facebook, and subscribing to his YouTube channel. His music is available for streaming on Soundcloud or Spotify, or purchase on itunes or Amazon.
ECLECTIC MUSIC LOVER 