GRANFALLOON – Single Review: “Working On Your Own”

Granfalloon is the music project of Manchester, England-based singer-songwriter, producer and guitarist Richard Lomax. Using acoustic guitars, synthesizers and unusual instruments such as vintage Omnichords and drum loops, he creates his own unique and pleasing style of music that’s a hybrid of lo-fi alternative folk, experimental and electronica. His warm, soothing vocals are wonderful, reminding me at times of U2 front man Bono. We’ve followed each other on Twitter for several years, but I’ve been remiss by never having featured him on this blog. I’m now remedying that sorry situation on the occasion of the release of his new single “Working On Your Own“.

According to bio info provided on his website, Lomax became a musician later than most, and when he did, in 2003, it felt, in his words “like opening a door from a world of black and white to a universe bathed in a spectrum of mesmerising colour.” He took an avant-garde music course, and after honing his skills fronting surf rock bands and the psychedelic folk-pop collective Johnny5thWheel&thecowards, he relocated to Manchester in 2013. Granfalloon was born in 2017 after an operation temporarily left him with limited mobility. While in recovery, he recorded his debut album Down There For Dancing. He performed most of the music using his acoustic guitar, Omnichord and lo-fi drum machines, although he was assisted by a few musicians on added guitar, bass and percussion on some tracks. It’s a lovely work, and I strongly encourage my readers to check it out on one of the music platforms listed at the end of this post.

He released his beautiful second album RGB in 2019, this time with assistance from a greater number of musicians to help him produce larger, more fully-realized soundscapes. He also began touring the UK and Europe as a full band, as well as performing at Bluedot Festival. RGB‘s singles garnered airplay on BBC Introducing and BBC 6 Music.

He’s now set to release this third album Positive Songs in August, featuring 11 tracks produced for The Positive Song Project, which was launched by Lomax and his friend Lobelia Lawson during the first lockdown of 2020. He invited songwriters to create new music, challenging themselves to focus on positive aspects and feelings. Lomax elaborates: “The idea formed from a conversation I was having with Lobelia Lawson, the co-founder of PSP, about how a lot of inspiration for our songs comes from a place of introspection or melancholia, anger or pain. We thought we would challenge ourselves & other musicians to focus on positive songwriting. Maybe it began as a way of managing anxiety or as a refusal to let the cancellation of gigs completely take music away but it soon become this weird positive energy… this propulsive force which grew into something very special.” Thus far, the project has resulted in the creation of over 300 tracks by artists from around the world.

“Working On Your Own” is the second single from Positive Songs, following the first single “Who You Are”, which was released in June. Lomax states the song “had such a strange journey, starting off as an intensely personal one about the loneliness of shift work, and then when Lockdown started it became perversely relatable.” For the recording of the track, Lomax played guitar and sang vocals, Daz Woodcock played bass, synths and sang backing vocals, Thirds played guitar, piano and sang backing vocals, Richard Jupp played drums, Andy Lyth played percussion and Maya McCourt played cello.

The song has a mellow, easy listening vibe, with touches of folk and jazz that make for a calm, yet compelling groove. Each of the instruments are allowed to shine, from the gentle acoustic guitar notes, subtle bassline and jazzy drums to the charming baby piano keys, cool percussion and lovely cello. Lomax’s smooth vocals are sublime, with a sophisticated air that’s still accessible and comforting as he earnestly sings about our human need for connection, and the loneliness of working the late shift where there’s no one to talk to or engage with. Woodcock’s and Thirds’ backing harmonies are really nice too.

Shift workers of the world unite
And bathe yourself in Picadilly's multicolored lights
When the human touch that means so much
Is a phantom limb on social crutches
Keep a little kind in your heart

When you're working on your own
On the edge, on the edges of civilization
Saturday night is the loneliest night of the week

If you download the song on Bandcamp, you’ll also receive an exclusive free bonus download of Granfalloon’s cover of the Zombies’ song “Care Of Cell 44”. 

Catch Granfalloon at one of these upcoming shows:

Aug 27 – The Yard Manchester, Manchester, UK

Aug 29 – EBGBS. Liverpool, UK

Aug 30 – Bolton Food & Drink Festival, Bolton, UK

Follow Granfalloon:  FacebookTwitterInstagram

Stream his music:  SpotifyApple MusicSoundcloud

Purchase:  Bandcamp 

THUNDER FOX – Single Review: “Sunday”

Thunder Fox is a wickedly funny and intensely creative band of guys hailing from Sydney, Australia who artfully blend generous helpings of funk, soul, blues rock, hip hop, jazz and pop into their delectable music stew. While their often bawdy lyrics and playful antics would seem to indicate a juvenile zaniness – not to mention the fact they all still look like teenagers – their music has a stylish and jazzy sophistication, thanks to their great songwriting and musicianship, including having both a saxophone and trumpet player in their lineup.

They’ve been making and releasing music since 2015, but I first learned about them in 2019 when they reached out to me about their hilarious single “Been Busy”, one of the tracks on their devilishly entertaining debut album Love at First Sniff. I became an instant fan and loved the album so much I wrote a review. Since the release of that album, the band experienced a few lineup changes, and now consists of the very talented Sam Dawes (Lead Vocals/Guitar), Travers Keirle (Smooth Sax/Vocals/Rhymes), Jesse Tachibana (Trumpet/Vocals/Synths), Max Vallentine (Drums), and Casey Allan (Bass).

Thunder Fox has been working on a new album, and have dropped three singles thus far – “Communicate” and “Smokin’ on Loosies” (which I also reviewed) in 2020 – and their latest “Sunday” on March 4th. It’s a sweet song of love and devotion to someone who makes you happy to be alive. Lead vocalist and songwriter Sam Dawes explained: “I was inspired to write the song on one of those sunny Sunday mornings when you wake up next to someone you love and the birds seem to sing even sweeter than ever before. It’s about having the whole day to spend with the one you love, doing whatever you want.” The song features many of the band’s signature music touches we’ve come to love – a deliciously sultry vibe, funky laid-back grooves, and bold flourishes of jazzy brass, all coming together to create a warm, sexy backdrop for Sam’s silky and seductive vocals that hover between a come-hither croon and saucy falsetto. I love the song and I love this band!

The sweet video, which was produced by band member Jesse Tachibana, who also directed it along with Lewis Clark, stars Sam as a man walking the streets and alleys of Sydney, gradually removing articles of clothing as he sings. A young woman, played by Natalia Hutchen, starts to follow him, eventually picking up and putting on his discarded white shirt, at which point she walks alongside him as he offers her one of his earbuds.

Follow Thunder Fox:  Facebook / Twitter / Instagram
Stream their music: Spotify / Soundcloud / YouTube / Deezer
Purchase:  Bandcamp / Amazon / iTunes

New Song of the Week – THUNDER FOX: “Smokin’ on Loosies”

Thunder Fox is a wickedly funny and intensely creative group of guys hailing from Sydney, Australia who skillfully blend generous helpings of funk, blues rock, soul, hip hop, jazz and pop into their delectable music stew. In their own words, they serve “gooey hot horntastic shreddage, the best sauce for your ears ‘n eyes, causing sonic copulation worldwide“, which pretty much describes their devilishly entertaining sound. While their sometimes bawdy lyrics and playful antics would seem to indicate a juvenile zaniness, their music has a stylish and jazzy sophistication that reveals what skilled songwriters and musicians these guys really are.

They’ve been making music since around 2015, but I first learned about Thunder Fox when they reached out to me exactly one year ago today with their hilarious single “Been Busy”. They released their album Love at First Sniff a week later on Halloween and I loved it so much I wrote a review. The title was certainly apropos, as it was ‘love at first sniff’ for me! Since the release of that album, the band has undergone some changes in lineup, and now consists of Sam Dawes (Lead Vocals/Guitar), Travers Keirle (Smooth Sax/Vocals/Rhymes), Jesse Tachibana (Trumpet/Vocals/Synths), Max Vallentine (Drums), and newest member Casey Allan (Bass).

They followed up this past August with their single “Communicate”, and now return with yet another brilliant single “Smokin’ on Loosies“, which I’ve chosen as my New Song of the Week. The track was self-produced by Thunder Fox, mixed by long time mixing partner Daniel Willington, (Battlesnake, Good Lekker, Florian) and mastered by Steve Smart (Ocean Alley, Midnight Oil, Alex the Astronaut) at Studios 301 in Sydney. With their signature soulful and bluesy funk-infused grooves, the band delivers a powerful condemnation of greed and misinformation.  

Lead vocalist Sam Dawes elaborates on the song’s meaning and intent: “‘Smokin’ on Loosies’ represents a shared disgust at western society’s unaddressed flaws that are leading to widening class division, planetary destruction and a failure to address the ongoing systemic persecution of marginalised groups within our communities. Mostly, the song is about being able to see clear as day what is causing these issues – be it the greedy elite, susceptible conspiracists or casual, misinformed hatred – and feeling powerless against it because it just keeps happening, all the time. It’s not exactly a happy song – it’s not supposed to be – but it’s full of honest grit and angry words that help me deal with some of the more fucked up problems that our world faces on a day-to-day basis.”

Over Casey’s deliciously funky bass line, the band layers a colorful mix of grimy guitars, tinkling piano keys, and crisp percussion, highlighted by Jesse’s soulful trumpet blasts that really make this a great song. I love Sam’s silky vocals that go from sultry croon one moment to cheeky falsetto the next as he sings “Money, power, keeping us blind / Everybody steppin’ in line / I think about it all the time / The cash cow that you worship got a shriveled-up teat / Pass the wealth through generations, but forgot to pass the heart.” The song seems to end at around 2:50, then starts back up with a terrific 30-second-long bluesy guitar solo that fades out with distorted reverb. I love it!

Follow Thunder Fox:  Facebook / Twitter / Instagram
Stream their music: Spotify / Soundcloud / YouTube / Deezer
Purchase:  Bandcamp / Amazon / iTunes

New Song of the Week – ATTALIE: “Homeless”

Singer/songwriter Attalie has one of the most amazing and distinctive vocal styles of any artist I’ve come across. Using her colorfully expressive and soulful voice almost like a musical instrument, she produces exquisite vocal sounds and textures with incredible depth and emotional range. In December 2018, she released her marvelous debut EP Polluted, featuring three excellent songs drawing from soul, jazz, Latin and African music influences, then followed up in April 2019 with a wonderful medley of the three tracks, “Polluted: The Medley“, which I reviewed.

Now Attalie returns with a mesmerizing new single “Homeless“, the lead single from her forthcoming second EP Sigh, due out November 5. The track was co-produced by Attalie and Tshepang Ramoba, and mixed by Kudzie Mutizira. Together, they’ve created a bewitching musical arrangement with soulful piano, guitar and percussion, and highlighted by well-placed flourishes of jazzy trumpet. It’s an utterly captivating backdrop for Attalie’s rich and deeply emotive vocals. 

About the song’s meaning, Attalie explains: “‘Homeless’ represents the loss of direction one faces when confronted with an unexpected turn of events. This can disrupt the comfortability associated with one’s space, further accentuating lack of direction.” Her smoky vocals beautifully capture this agonizing sense of loss and aimlessness, practically ripping at our heartstrings as she painfully laments:

It doesn’t feel like home anymore
It just doesn’t feel like home anymore

A stranger at home, have I become?
A stranger at home, am I?
Homeless, have I become, hey?
Homeless? Am I?
Disconnected, I feel so, disconnected

Have I become? Homeless

Connect with Attalie on TwitterInstagram
Stream “Homeless” on Spotify / SoundcloudGoogle Play
Purchase on Bandcamp / Amazon

A BLUE FLAME – Album Review: “The Secret Breeze”

British singer/songwriter and musician Richard Stone – who goes by the artistic name A Blue Flame – tells compelling stories about life, love, heartache and loss through poetic, thoughtful lyrics and sublime melodies. His music reflects an eclectic range of influences from doo-wop and old-school pop to easy listening ballads, folk, jazz and rock, delivered with sophisticated and utterly pleasing instrumentals and his smooth, clear vocals. The passage of time and the challenge of keeping the faith – both in God and oneself – are recurring themes in his songs, and while a lot of his lyrics are sad or bittersweet, they’re also lovely to listen to and rarely depressing, offering glimmers of optimism and hope. Stone also has a wry sense of humor that shines through on some of his songs.

A Blue Flame2

I first featured Leicester-based A Blue Flame on this blog back in October 2016, when I reviewed his beautiful debut album What We’ve Become is All That Now Remains. In January 2018, I reviewed his equally superb follow-up album When Your Whole World Turns to Dust, which he released in September 2017. (You can read those reviews by clicking on the “Related” links at the bottom of this page.) Now he’s about to drop his third album The Secret Breeze, set for release on August 17th, and which I’m previewing today.

Stone writes all his songs, sings vocals and plays guitar, and arranges them with assistance from Adam Ellis, who co-produces and also plays guitar. Other session musicians adding their skills to the album included Damon Claridge on drums, Tony Robinson on horns, Glenn Hughes on piano and Hammond organ, Tom Bull on upright bass and Jo Preston on flute. Though some of the songs were written prior to the outbreak of the pandemic, others reflect these trying times, as he explains: “One of the album themes (as ever) is loss, as I suppose that’s what I feel so keenly. I think the brightness of the 1960’s casts a long shadow to mix metaphors somehow. All that hope and positive change seems like it almost never happened.”

The Secret Breeze features 12 tracks, all of them very good to excellent, but I’ll touch on the ones that resonate with me. The opening track and first single released in advance of the album is “With Love from a Friend“, a bewitching song that beautifully showcases A Blue Flame’s superb songwriting and arrangement skills. The delicately strummed acoustic and chiming electric guitars, sparkling piano keys and jazzy upright bass notes are exquisite, and when combined with the languid tempo and lovely vocals, the song has a dreamy, atmospheric quality. The lyrics seem to be about an inability or fear to fully act on one’s true feelings: “I’m writing a letter that I’ll never send. From the edge of my memory, time without end. And I’ll write at the bottom, ‘with love from a friend’.” It’s a gorgeous song, and instantly one of my favorites on the album.

It’s Raining All Over the World” speaks to the sorry state of current events the world over, what with a global pandemic, rising authoritarianism and social unrest causing anxiety just about everywhere. A Blue Flame fervently laments “What have we done my friends? Looks like the end. Now it’s raining all over the world.” Despite the rather depressing lyrics, the music is great, especially the infectious doo wop melody, terrific guitar work and vibrant piano keys.

Another favorite of mine is “Too Fast“, both for its wonderful instrumentals and relatable lyrics. The song starts off with a gentle acoustic guitar, then a marching drumbeat ensues along with Spanish-style guitar notes as A Blue Flame sings of the rapid passage of time (something that freaks me out on an almost daily basis anymore): “We were too young to know what we were doing. Its just how it is. It’s how we all live…way too fast.” Eventually, the music expands to a carnival-like vibe, with exuberant flutes, horns, and more of those lively marching drumbeats that contrast with the pessimistic and timely lyrics: “The world’s a great big mess. It’s mad. And we can’t catch the truth as it rushes by. So, so, so, so sad.”

The bittersweet “The Moon Obscured the Sun” sounds like a song Harry Chapin and Burt Bacharach could have written together. The lyrics speak to a love that might have been, except that the two never had the courage to act on their feelings: “I remember you from a lifetime long ago. We were frightened into silence, by the things we didn’t know. We couldn’t find the words to say a love we should have spoken yesterday.”

Tiny Little Thing” is a poignant anthem about not allowing others to bring you down with their negative thoughts and hurtful words, causing you to curl up into a ‘tiny little thing’ a kinder and gentler metaphor for the fetal position: “These could be the good old days, if you decide to make them so. Don’t turn yourself into a tiny little thing. It doesn’t matter what you’ve done, who hurt you, or who you hurt. Don’t turn yourself into a tiny little thing.” I like the jangly guitars and crisp percussion, but the highlights for me are Hughes’ wonderful piano and organ work. And it goes without saying that I love A Blue Flame’s highly emotive vocals.

The standout track for me is the dark and sultry “Your Mother Said Everything Was Beautiful“. It’s a brilliant song, with an edgier vibe than many A Blue Flame’s songs, and I love it. The lush instrumentals are absolutely fantastic, especially the gnarly surf guitars, Hughes’ mournful organ and Robinson’s blaring wah wah trumpet that brings chills. The lyrics seem to speak to the conundrum of how people with the most wealth and power are often the most unhappy in life: “Your mother said everything was beautiful. Everyone had everything. They saw themselves as queens and kings. They had the keys to the secret breeze. They owned the wind in the trees. So please now tell me why, did all the people cry?

Album closer “If Tomorrow Ever Comes” is an interesting and dramatic song about contemplating the end of the world. It has a complex melody and powerful, varied instrumentation that make for a fascinating listen. It starts off like a folk tune, with sounds of waves crashing onto a beach, accompanied by a gently strummed acoustic guitar and reverb-heavy electric guitar chords. An organ soon enters as Stone croons “If tomorrow ever comes, I’ll be waiting there for you. You can take my hand and say ‘we did all that we could do’.” The music continues to build with jangly and distorted guitars, bass, heavier percussion, tambourine and glittery synths, while his vocals become more impassioned: “And if our sorrow ever leaves. We’ll dance into the sky. Looking down upon the earth, we’ll hold each other tight./ But we’re stuck inside a clock, wishing it would stop./ And you can’t tell what is real, when you’re turning on a wheel./ For if the world should end. We’ll not be there my friend./ If tomorrow never comes.” The music rises to a powerful crescendo, then fades as the song ends with the same crashing waves we heard at the beginning. It’s a fine finish to an outstanding and thoroughly satisfying album.

Connect with A Blue Flame:  Facebook / Twitter / Instagram
Stream his music:  Spotify / Soundcloud / Apple Music
Purchase:  Google Play 

HAN BLOOM – Album Review: “Higher State of Mind”

Han Bloom Higher State of Mind

Han Bloom is a classically trained pianist, composer and singer-songwriter based in London, England. Strongly influenced by modern jazz, progressive rock and experimental music, she uses her classical training to musically explore themes of interest to her such as society, politics, culture, ideology, conformism and big brother, among others. In her bio, she states that she “always strives to be as original and free thinking as possible. Creativity is the answer.” Sounds like a winning combination to me.

With that in mind, Han recently released her ambitious debut album Higher State of Mind, which dropped on May 1st. She wrote all music and lyrics, played piano and all other keyboards, programmed all instruments (other than the drums that were played on some tracks by Eddie Van Dorgen), sang all vocals, and produced, mixed and mastered the entire album herself (with the exception of one track “Free Me Now”, which was produced by Harry Powell). With 13 tracks and running an hour in length, there’s a lot to listen to, but I’ll touch on the songs that really clicked with me.

The album opens with “Bach Got Funked Up“, a fascinating instrumental track that fuses contemporary classical, modern jazz and experimental elements. Employing an array of ominous wobbly and spacey synths and jazzy piano chords, Han creates a trippy and mysterious soundscape that whets our appetite for what’s to come. Next up is “Burn“, a bewitching track that starts off quietly, with distant sounds of storms accompanied by the most delicate of keyboard synths. As her low-key, quirky vocals enter, the tempo changes to a toe-tapping beat, with jazzy piano, organ, cool synths and gentle percussion. I like the whispy little ‘whoosh’ snare sounds she uses to convey a feeling of water being softly poured onto a smouldering fire.

Blasphemy” resonates strongly with me, as I like Han’s biting lyrics touching on the hypocrisy that so often exists in religion and democracy: “Don’t tell me with your shit decree, excuse my Christianity. Don’t tell me about blasphemy, when you don’t know how to live in peace. Don’t tell me with your shit decree, about democracy, cause you don’t know nothing about me. But it don’t matter, so I won’t shatter, But they don’t listen, so I keep on living in sin, gladly.” I really like the song’s cool, jazzy grooves, and the deep synth bass,  moody piano keys and tapping percussive beats that make it a great listen.

One of my favorite tracks is “Finer Things“, both for it’s great tongue-in-cheek lyrics and mellow, jazzy vibe. Han’s conversational-style vocals and nimble piano work give the song a fun, casual quality that makes it sound like a live recording of a performance you’d hear in an intimate little nightclub. In fact, I think her music style is well-suited for that format, and it would be fun to see her perform live. About the song, she says “‘The Finer Things’ is a disposable comedic tribute to Frank Zappa that utilises the ridiculousness and profound impact of ‘influencers’ and ‘influence culture’, and the subsequent snowflake generation that it resonates with.”

I love the lines decrying influence culture and the fact she’s doesn’t quite measure up to their shallow definition of success: “Hello, my name is Hannah Bloom, and this song is about the death of influence culture…hopefully. I wanna shop at Liberty, but they welcome me bitterly, ’cause I ain’t got no money. I’m sorry, ’cause in my disposable song, don’t get me wrong. I like the finer things and I sure do love the joy that it brings. I love Pucci, Emilio Pucci…so much better than Gucci. So tutti frutti, but instead I’m wearing Tom Sweeney, which is for men.” Exasperated, she later asks “Can somebody please explain to me what an influencer is? “Cause in my mind it just makes sense that they’re professional beggars. And a lot of people would say the same thing about musicians. And they do say the same things. But we actually do stuff, and we’re just undervalued, whereas influencers are like super valued in society. And it’s like please stop making our generation stupid and meaningless.” I couldn’t agree more!

On “Free Me Now“, Han uses a greater electronic approach and somewhat darker tone to address the subject of addiction. In her notes about the track, she states that she developed the song’s framework off a Korg Tribe drum pattern machine she’d been experimenting with. She then layered delicate piano and organ keyboards to create an enchanting soundscape for her airy vocals. About the song’s meaning, she explains: “Lyrically it depicts a prior relationship with addiction that I needed to express in a raw and free form; hence the experimental instrumentation found in this track.” Her blunt lyrics get straight to the point: “I have an obsession. Addiction, yeah. My mind is imprisoned. Loneliness is not your friend. Free me now. You gotta let me out. Free me now. I don’t wanna be a burnout.

On the moody “These Games” – which Han says was inspired by the George Orwell classic 1984 – she rejects the expectations and ethical wrongs of social conditioning practiced by Western societies, pressuring us to conform to a specific set of social norms, and leaving us often feeling like our lives are unfulfilled. Han croons “So she goes to work for the man. Hiding his sweet lies, pulling the wool over their eyes. She says ‘I don’t know why I do it. And I don’t know how I do it. But I need to survive’. / So he says he stayed at work late today. Hiding his bitter lies. Wasting his own time, and he knows he’s not right to do it. But he just can’t say no ’cause money’s his goal. / And I see it happening every single day. And I don’t know why they play these games with themselves.” The song has a languid, piano-driven melody, with delicate synths, subtle organ notes, and Eddie Van Dongen’s gentle percussion.

My absolute favorite track is album closer “Light and Love (Coda)“, a stunning eight-minute-long instrumental that really showcases Han’s impressive compositional and piano-paying talents. She weaves a rich tapestry of ambient and glittery atmospheric synths, then adds vibrant piano keys to create a breathtaking contemporary classical piece that can easily hold its own among the works by many of today’s classical composers. I would love to see her put out an entire album of this kind of instrumental music.

I’ll be honest that it took a couple of plays for this album to grow on me, as the melodies are more experimental and free-form than typical pop, folk or rock music, requiring a more careful listen to fully appreciate its many nuances. I love when artists fuse multiple elements and genres into their music, and I applaud her courage to experiment with her sound and create a style uniquely her own. If you like music that strays from the conventional, with more contemporary, experimental and progressive jazz, pop and rock vibes, delivered by some really superb piano work, then you will enjoy Higher State of Mind.

Follow Han:  FacebookTwitterInstagram
Stream her music:  SpotifyApple MusicSoundcloud
Purchase:  BandcampGoogle Play

CORMAC O CAOIMH – Single Review: “I’m in Need”

A few weeks ago, I featured Cork, Ireland-based collaborative music project SomeRiseSomeFall when I reviewed their beautiful song “The Rain Came Down on Everything”. After reading that review, fellow Corkonian (I love that word) musician and singer-songwriter Cormac O Caoimh reached out to me about his new single “I’m in Need“, and I’m glad he did because I really like his music! He’s a skillful wordsmith and guitarist, writing sublime indie folk/pop songs overflowing with thoughtful, intelligent lyrics about the universal subjects of life, love, hope and loss, and delivered with subtle hooks, fine instrumentals and his pleasing vocals that sounds a bit like Paul Simon at times. His catchy melodies seem to effortlessly draw us in, then stay with us long after the songs end. I found myself humming “I’m in Need” long after hearing it. As Mojo Magazine so eloquently put it: “each song superglues to the memory“.

Cormac O Caoimh

Cormac has released a substantial amount of music over the past 15 years or so, including four studio albums, the most recent of which was his marvelous 2017 release Shiny Silvery Things. (I strongly encourage my readers to check out his music, which you can find on most music platforms, some of which I’ve listed at the end of this post.) Now he’s putting the finishing touches on his forthcoming fifth album Swim Crawl Walk Run, due for release on May 15. “I’m in Need” is the album’s lead single, which Cormac released on February 21st. The single and album were produced by his friend and fellow musician Martin Leahy, a talented multi-instrumentalist who’s collaborated with Cormac on previous records, and also played drums, bass, keyboards and more on the new album. The lovely backing vocals on “I’m in Need” and other tracks on the album are by Aoife Regan.

Cormac gave me the opportunity to have an advance listen to Swim Crawl Walk Run, and it’s a stunning work. It’s obvious he poured his heart and soul into it, as he explained in his message to me: “It is the first album I actually enjoyed making. I have been playing live with Martin Leahy for over 8 years but this is my first time making an album with him. It was a joy. I loved the whole process. It was relaxed, exciting, calm, manic. Everything. And the end product is something I could not be prouder of. The songs morphed and moved and grew during the process and the end result is an album I’m not sure I can top. It is full of singles. I want to release them all and I can’t wait for the first one to get out there.”

About the song, Cormac states: “During the writing of ‘I’m in need’ I did have the simplicity and directness of The Beatles ‘Help!’ as an influence. ‘Help me’ as a lyric is so fragile and honest and sad…but the song isn’t. The song is catchy and poppy. It works on two levels. I wanted the same for ‘I’m in need’. I wanted it to have meaning but more so a groove and be catchy. The feeling of the song also evolves. What starts as vulnerable ends up as a celebration of our humanity. We are all in need at times. Our feelings can be shaped by our thoughts. Musically the chorus gets more emphatic and joyful as the song progresses musically demonstrating the power of positivity.”

“I’m in Need” has a mellow and catchy acoustic-guitar driven melody, but a deeper listen also reveals a slight jazzy quality to Cormac’s guitar work that’s quite marvelous. His guitar notes beautifully meld together with the gentle percussion and keyboards, resulting in a harmonious and captivating soundscape. His calm, smooth vocals are exquisite, and like the music, blend in perfect harmony with Aoife Regan’s backing vocals. I like the spacey little sound effects inserted into the middle of the song that perk up our ears.  It’s a lovely and wonderful song.

Catch Cormac at one of these upcoming shows, all in Ireland:

Apr 27 – Mick Murphy’s, Ballymore Eustace
May 02 – The Glens Centre, Manorhamilton
May 15 – Album launch @ The Kino, Cork
May 29 – The Dc Music Club, Dublin
Jun 12 – The Weir Folk Club, Midleton

To learn more about Cormac, check out his Website
Connect with him on  FacebookTwitter
Stream his music on SpotifySoundcloudApple Music
Purchase/pre-order on BandcampWebsiteGoogle Play

THUNDER FOX – Album Review: “Love at First Sniff”

Thunder Fox album art

Thunder Fox is a wickedly funny and talented group of guys from Sydney, Australia who’ve just put out a devilishly entertaining new album Love at First Sniff. It’s the most fun I’ve had listening to a record in a very long while, and the title is apropos, as it was definitely ‘love at first sniff’ for me! As EclecticMusicLover, I always enjoy when artists and bands mix things up genre-wise, and this band does it better than almost anyone, tossing in generous helpings of funk, blues rock, soul, hip hop, jazz and pop into their delectable music stew. In their own words, they serve “gooey hot horntastic shreddage, the best sauce for your ears ‘n eyes, causing sonic copulation worldwide.” Indeed they do! Their music is fun and bawdy, yet with a sexy sophistication that makes it incredibly appealing. It’s like Sly & the Family Stone, James Brown, Earth, Wind & Fire, Prince, Nick Jonas and Anderson .Paak all joined forces in one gigantic, over-the-top jam session!

Thunder Fox

Making all this saucy music mayhem are Sam “Sewad” Dawes (Lead Vocals/Guitar), Sam “Gnars” Frank (Lead Guitar/Vocals), Connor “Ronnoc” McCool (Bass), Max “Mecks” Vallentine (Drums), Travers “Full Travers” Keirle (Smooth Sax/Vocals/Rhymes) and Jesse “Jizze” Tachibana (Trumpet/Vocals/Synths). They’ve been prolific in their music output, releasing quite a lot of it over the past five years. From what I can tell, the first music they released was their very respectable six-track EP Cosmic Pudding in early 2015. They followed up with a few singles and dropped their second EP Mother Machine in December 2016, a great collection of songs including the brilliant “Vanilla Chinchilla”. More singles followed in 2018 and 2019, culminating in the release of their first full-length album Love at First Sniff on Halloween, which I have the distinct pleasure of reviewing today.

About the album, the band states: “The record muses on subject matter with a discernible sense of growth and progression while stretching across a canyon of mixed emotion surrounding love, existentialism and everything in between.” Lead singer Sam Dawes adds: “In our fast-paced, modernity-obsessed society, it has become apparent that some cornerstones of humanity, such as love, can alter on their surface yet remain unshaken at their core. ‘Love At First Sniff’ (and ‘Been Busy’ from it) is an elegy to and an observation of human connection and love in a world shaped by excess.”

Thunder Fox 2

Excess is the byword here, and more is most definitely better! The album opens with the title track “Love at First Sniff“, a rather sultry-sounding intro piece with ominously spoken lyrics and sparse, almost spooky instrumentals. The track ends with sounds of someone sniffing, our first clue that this isn’t going to be just any old conventional record. Thunder Fox then launches headlong into “WTF is This“, and we’re off on a phantasmagorical sonic adventure. Tachibana’s exuberant blaring trumpet is the highlight here, driving the track forward while a stop-start guitar riff provides the melodic substructure. Dawes’ colorful, silky vocals are an absolute delight to my ears as he croons “Be careful what you put in your mouth though. But that’s not just style, now is it sweetie pie? Oh yeah, I said it, and you didn’t think I would. But you did it, and you lied, and I didn’t think you could. /What the fuck is this? You got some nerve! But when you block my ears with those legs, it’s the warmest sound, yes I’ve ever heard.

As the song progresses, Dawes breaks into some brief high-speed rapping, then halfway through, the tempo changes to a languid, sultry groove. Horns and sax still blaring, our ears are now bathed by intricate funky guitars, wobbly bass and psychedelic synths as Dawes’ vocals turn seductive. It’s like the song has two completely different parts, with so much going on musically that I find it difficult to fully articulate all that I’m hearing. It’s really a phenomenal song, and I’m already blown away by this band’s astonishing musicianship.

Next up is “Been Busy” the second single from the album, and my first introduction to Thunder Fox. The song is a catchy as fuck earworm, with an upbeat, head-bopping tempo and more of those wonderful exuberant horns. Once again, the guys employ several melodic change-ups throughout the song, keeping us in a continual state of surprise. An interesting aspect of the song is that it starts off with the chorus “Ooh, I’ve been busy, not helping my health, but helping myself.” Dawes croons about having as much sex as possible to get over his pain: “When your heart is broken, only one thing left to do. Open up your kitchen, start taking those orders baby.”

As great as the song is, the hilarious video’s even better! Thunder Fox are definitely not afraid to put themselves out there. Wearing very suggestive wrestling singlets and white crew socks, the guys dance around against a number of spacey backdrops. Eventually, they spar with, and are ultimately vanquished by, the opposing team dressed in red singlets. How can you not love these guys?

On “Hot Tub“, the guys really channel their inner James Brown and Prince, with more soulful, funked-up grooves than should be allowed in one song. Have I mentioned how much I love this band? Their guitar work is fantastic, and the bass, synths, horns, sax and percussion are all perfection, creating a dynamic, funk-drenched backdrop for Dawes’ gorgeous vocals. Their lyricism is wonderful, and here’s an example why I think that: “My brain is a trickle-down economy, temptation’s so damn bitch. Yeah, so many issues but tissues won’t fix it. There’s a cream for every itch./ My baby’s boiling, she should sit down. There’s a line she don’t need to cross. It’s me here sitting in a hot tub…

Squeedup Vol. 2” is a twisted one-minute-long answer to their 2018 single “Squeedup”, and the first of three transitional interludes featured on the album. It quickly segues into the sexy and soulful love song “Look at U“, for which the guys have produced one of the funniest videos I’ve ever seen. It stars the two Sams (Dawes & Frank) as characters hooking up on a dinner-date, with other band members making cameo appearances, These guys are crazy! Dawes’ sultry vocals remind me of Nick Jonas, and no more so than on this track.

The guys keep delivering the funky grooves with the jazz-infused “Every Single Day“, and I’m starting to run out of superlatives to describe them and their music. Once again, I’m loving Tachibana’s trumpet and Keirle’s sax, and Vallentine’s drumming is particularly awesome here. And it goes without saying that Dawes’ always impressive vocal gymnastics really shine on this track. “#fuck” is a dark instrumental interlude consisting of a reverb-heavy guitar riff, industrial synths and a pummeling drumbeat. It’s an interesting segue into the dark and sultry “I’m Your Man“. This song also has a jazzy vibe, with vibrant horns and sax, and a slowly building tempo. Dawes’ vocals sound increasingly diabolical as he warns “I’m your mutherfuckin’ man, so don’t you make no other plans.”

Baby, I’m Famous” opens with one of the guys saying “We’re running out of tape“, then another yells “Shut the fuck up and play! Bitch“, at which point McCool’s very funky bass enters the picture, and soon joined by the rest of the band jamming their respective instruments. The song has a strong Prince vibe, with some terrific guitar licks and psychedelic-tinged synths. I love Keirle’s tasty sax riff in the bridge that pays homage to the Average White Band’s classic “Pick Up the Pieces”. “360p” is the third interlude track, starting off with what sounds like someone searching for a radio station, finally settling on one where Thunder Fox is jamming hard.

The album closes with the eight and a half minute-long gem “Feels So Good“, a slow and sexy love song. It’s a beautiful track, reminiscent of some of the great soul songs of the 70s by acts like Earth, Wind and Fire and The Originals. The guys play as an incredibly tight unit, delivering soulful grooves that transport us to a state where we ‘feel so good’. The song has a dramatic extended run that reminds me of the Isaac Hayes masterpieces “Walk on By” and “By the Time I Get to Phoenix”, and of course, Dawes’ silky smooth vocals are perfection.

It’s a fitting end to a terrific album, which I cannot gush about nearly enough. I’m now a massive fan of Thunder Fox, and in a funk that I’m half a world away in Southern California, because I would love to see them perform live. Those of you fortunate enough to be living in eastern Australia can catch them at one of their upcoming shows:

Thunder Fox 2019 Tour Dates

Fri 22 Nov – The Basement, Canberra
Sat 23 Nov – Yah Yah’s, Melbourne
Sat 7 Dec – Cambridge Warehouse, Newcastle
Sun 8 Dec – North Gong Hotel, Wollongong (free entry)
Thu 12 Dec – Beach Hotel, Byron Bay (free entry)
Fri 13 Dec – Black Bear Lodge, Brisbane
Sat 14 Dec – Imperial Hotel, Sunshine Coast
Sat 21 Dec – Oxford Art Factory, Sydney

Follow Thunder Fox:  Facebook / Twitter / Instagram
Stream their music: Spotify / Soundcloud / YouTube / Deezer
Purchase:  Bandcamp / Amazon / Google Play / iTunes

DVR – Album Review: “All Good Things”

DVR All Good Things - Copy

DVR is a studio music project by singer/songwriter and multi-instrumentalist Olav Christensen. Originally from Denmark, Christensen is now based in Brooklyn, NY, and writes, records, produces and masters all his music. He’s been recording music for a number of years, sometimes as a solo act, but often collaborating with other musicians as well. His songs are very eclectic (I like that!), ranging from electronica to alternative rock to pop, and everything in between. He began releasing singles in 2015, and dropped his first full-length album California in 2016, then followed up with an EP Down in July 2018, which I reviewed, then an experimental all-instrumental album Instantiate in June 2019. Now he returns with an ambitious concept album All Good Things, in which he explores the state of the world today and imagines the possibility of a terrible outcome.  

Christensen explains: “All Good Things” is an imagined snapshot of the moment – of our collective realization – of the end of everything. We all knew it was coming at some point in the future but surely not in our lifetime or our children’s, right? It starts with our leaders failing to lead. Too busy enriching themselves, they march us all steadily towards our own inevitable annihilation. There is a moment of clarity, tangible around the world. It is a moment of precious truth when a single looming event on the horizon, threatens to end all of us. Now, when it is undeniable; we each react in our own way. Do we reflect on our lives? Do we find comfort in each other? Do we just have a party and go out dancing?”

The album opens with the instrumental “Prelude – The March Towards Inevitability“, a quirky, experimental-sounding track that sets a somewhat unsettling mood. While at times feeling discordant and chaotic, the song still has a melodic, almost contemporary classical structure that makes for an intriguing listen that’s actually rather soothing. This discordant, experimental vibe continues with the title track “All Good Things“, as DVR employs a rich mix of spacey, psychedelic synths and sounds, accompanied by a driving percussive beat and additional guitar by Bjørn Ginman. With a gentle soaring chorale sung by Rorie Kelly, Nico Z. Padden and Pauline Salotti as a backdrop, he sings: “So this is how things come to pass. All that remains is dust and gas. And all good things come to an end. Whatever you believe in, whatever you pretend. For what it’s worth, we had a good run right down to the end.”

Special Friends, Arrow of Time, Entropy” is an unusual track, actually three different songs strung together, and running ten and a half minutes long. It feels almost like a classical piece with three distinct but related movements. The first part, “Special Friends”, features more of those quirky, psychedelic synths, accompanied by Christensen’s daughter Hadley Rose’s baby-like electronically-altered vocals, which are mostly unintelligible. They’re kind of endearing, yet have an almost menacing feel when combined with the music. At around 3:30, the track changes to “Arrow of Time” with a transition to smoother, ethereal synths that give the track a dreamy, atmospheric vibe. Some lovely delicate guitar work is provided by David Rolo. At 6:50, the track abruptly shifts to “Entropy” with the entrance of a voice over by Alan Watts: “Memory, is a dynamic system. It’s a repetition of rhythms. Reality escapes all concepts. You, are just as much the dark space beyond death as you are the light interval called life.” From there the song takes a jazzy turn with some cool guitar work by Andy Pitcher and double bass by Dean Johnson. Later, Watts offers up a matter-of-fact conclusion: “Let go of the breath. You can’t hang on to yourself. This isn’t terrible. But it’s just going to be the end of you as a system of memories.”

Come Inside” has a Peter Gabriel vibe, both in terms of the song’s structure and melody and DVR’s plaintive vocals. His intricate jangly guitar work is terrific, and so is the smooth bass by guest musician Bobby McCullough. Additional female vocals by Rosie Bans provide a nice contrast to DVR’s.  One of the lovelier tracks is “Quiet Breakdown“, thanks to swirling synths, sublime guitar work and the enchanting sape, a traditional lute originating from Central Borneo played by guest musician Rayhan Sudrajat, who also played bass. DVR sings “I’ll come at you lightly, I’ll meet you halfway. I’m headed for a quiet breakdown. I think it won’t be long.”

We’ve now arrived at “Here We Are“, where we’ve made the decision to go out in style and just party.  My favorite track, it’s an upbeat dance pop song that contrasts with the rather morbid lyrics about going all-out to celebrate the end of humanity. “Here we are, at the apex of humanity. Standing tall before the fall. Falling over each other to witness the final act. The hottest show in town tonight. Everyone dresses sharp for the end of all mankind. It’s going to be out of sight.” Guest vocalist Courtney Hans sounds like a young Madonna, which is partly why I like this song so much. Additional guitar is by Justin Chamberlin, and Bobby McCullough returns on bass.

All Good Things – Reprise” is a different take on the title track. The song opens with the sound of a phone busy signal, then a mix of glittery and Polynesian synths enter, along with a voice over of Noam Chomsky talking about the existential threat of global warming and how the current U.S. administration has chosen to not only disregard that threat, but actually accelerate the problem. Once his voice over ends, we hear the lyrics now sung by guest vocalist Aradia. The music gradually swells into a rock feel, with a terrific guitar solo by TJ Dumser, and bass played by Michael Friis. The track finishes with the ominous beeps of the Early Warning System.

This is the Day” closes the album on a predictably dark note, but with a smooth, soft-rock groove that keeps things from being too maudlin. Guest musician Bjørn Ginman is back, laying down a hypnotic and haunting guitar solo that’s so good. DVR croons with a sad air of resignation “This is the end of the night. Your immaculate decay. And if you’ve ever wondered what that was like, what that would feel like, hey, this is the day. This is the end of the road. You’ve come a long way haven’t you?

All Good Things is a brilliant concept album that artfully shines a light on the precarious geopolitical situation we now face, while presenting it in an entertaining and enjoyable manner though compelling lyrics and intriguing soundscapes. I love that Christensen collaborated with such a wide range of musicians and vocalists to give his music an incredible variety of styles, textures and sounds.

Connect with DVR:  Facebook / Instagram
Stream on Spotify
Purchase on Bandcamp

ARTHUR KAY – EP Review: “Arthur Kay”

Arthur Kay

Arthur Kay is a renaissance man of sorts. The hard-working and versatile Norwegian musician has been a prominent figure in the Oslo music scene for the past decade. In addition to being frontman for galactic jazz-pop band Dr Kay and his Interstellar Tone Scientists, Kay has worked or collaborated with indie rock band The Switch, Norwegian rapper Ivan Ave, and neo-psychedelic pop-rock band Orions Belte, among others. Becoming a veritable whiz kid on synths and keyboards while still a young child, Kay had mastered Ray Manzarek’s iconic “Light My Fire” organ solo by the age of eight.

Now Kay has recorded his first solo effort, a self-titled EP Arthur Kay that’s scheduled for release on October 11 via Jansen Records. In advance of the EP release, he’s unveiled the first single “Holiday Pay“. The upbeat song is a celebration of the Norwegian institutional policy of employers being required by law to pay a certain percentage of last year’s wages as holiday pay during the Summer months. Like the title would suggest, the song has a bouncy dance beat that evokes a blissful summer day at the beach. Kay artfully employs a mix of sunny keyboard synths, an irresistible dance groove, and touches of jazz and funk to create a breezy track that just makes you feel good. Kay’s smooth vocals are pleasing as he sings about the joys of having nothing pressing on his schedule: “The rush of sweat pants, and lazy mornings every Sunday. Of waking up too early Monday, knowing where I’ll be the entire day. Holiday day, holiday pay, that’s the life that I chose, OK.”

Kay has produced two versions of the song, a 6:13 minute-long ‘single version’ featuring some terrific instrumental runs that would have made it a great disco song back in the late 70s or early 80s, and a shorter 3:42 minute-long radio edit.

The EP will feature four other tracks, the first of which is “Say It Out Loud“, an exuberant jazz-infused tune with an infectious strutting beat. If this song doesn’t get you moving, nothing will! Kay’s jazzy synths and intricate keyboard work are sublime, and quite impressive. It’s no wonder he’s in such demand by other artists wanting him to play music for their songs. The lyrics speak to his adoration for his love and how, even though he’s hurt her in the past, she’s the one that sustains him: “You are my power. You are my one. You are all the things I love under the sun.”

Next up is “Higher Ground“, a languid, ethereal track with hazy atmospherics and glittery synths that make for an enchanting listen. The bittersweet lyrics lyrics speak to coming to terms with the fact that the only way to survive is to completely avoid the one you want but cannot have: “A higher ground is all there is, and all that’s left for me to do. This blankly stare at empty space, and concentrate on simply just not calling you. Take a stand, as a peaceful man, and make my way from A to B./I’ll keep on falling. I’ll keep on getting through. And all I have to do is stay away from you. That’s everything that’s left of what was me and you.

On “My Love is an Only Child“, Kay seems to channel James Blake, with stunning piano work, delicate synths and soft, layered vocals. With a sense of sad resignation, Kay croons the poignant lyrics that seem to touch on the fragile nature of his love: “My love is an only child. No he can’t come play outside. Won’t go running around with scissors. That’s the point that you’ve been missing.” It’s a really captivating track.

Standing on Shoulders” starts off with a beautiful piano-driven melody as Kay sings about growing up with childhood fantasies and dreams of being a hero, going on adventures and saving the world: “I was mad with desire, stoking a fire, singing my songs of a savior far away. The savior was older and wiser than me. He held all the answers and sway. His feelings could be what he’d like them to be, but never did he run away. ” Suddenly, the music transitions to a lively Latin-infused beat, with exuberant synths and percussion added to the mix. Kay acknowledges that his childhood dreams were made possible by being able to stand on the shoulders of others who were there to support and nurture him: “Well, that savior was me, but now age 33, I have the hopes of my youth now following me. / I’m beginning to see that my savior was also just standing on shoulders and reaching for dreams that were living inside an adventure that’s made just for people like me.

Arthur Kay is a lovely and immensely enjoyable little EP by this talented singer-songwriter and musician. He’s a great lyricist and composer, skilled at crafting songs with thoughtful, introspective lyrics, memorable melodies and beautiful instrumentals.

Connect with Arthur on Facebook
Pre-order Arthur Kay on Bandcamp