ISOLDA – Single Review: “Night Time”

Isolda is a London-based singer-songwriter and musician who recently dropped her debut single “Night Time” on November 13. It’s a captivating track, and an impressive debut for this promising young artist, who began writing songs as a child. Classically trained on the violin and piano, she spent her formative years playing in orchestras, then later performing her songs at the piano in and around London. Inspired by those classical influences, as well as her interest in EDM, synth pop, psychedelic pop and trip hop, she began experimenting with electronic and acoustic elements to create her own unique sound, even learning to produce her own music in her north London home.

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With the assistance of Dave De Rose on drums and Ami Kirby on violin, Isolda recorded her first EP Night Time, from which the title track is the lead single. The EP was mixed by noted sound engineer Shuta Shinoda at Hackney Road Studio, and is scheduled for release in early 2020. About “Night Time”, Isolda explains “The song is a hypnotic electronic beat-driven piece, written on sleepless nights and dreamlike states of realisation as time pulls us further away from the persons we loved and the places we have been. [It’s] a contemplation on the identity lost, and the resulting wakeful alertness that persists when the psyche has been disturbed from such reflection during a dark night of the soul, inspired by the inability to sleep when the past haunts someone as they press on towards an unknown future.”

“Night Time” has a rather unusual opening, starting off with a muffled synth chorus that quickly fades out as if the power source has been cut. After a second of silence, a delicate synth riff begins, then the music swells into an enchanting, ethereal soundscape of lush atmospheric synths. Isolda skillfully chooses from a bold palette of sparkling orchestral and percussive sounds to create a dreamy backdrop for her spellbinding, breathy vocals. She gently croons “And on this long road, no turning back. No, there is no, no, no going back. I was in a lifetime, away. It wasn’t my time to find a way. / It’s the night time, but I can’t get back to sleep.”

The fascinating video shows footage of traveling through city streets at night, interspersed with surreal images of Isolda in different settings that one could imagine her experiencing in a dream. Have a look and listen:

Connect with Isolda:  Facebook / Twitter / Instagram
Stream “Night Time” on Spotify 
Purchase:  iTunes  

New Song of the Week – ART BLOCK: “The Basement”

Art Block

Art Block is an alternative folk singer-songwriter and multi-instrumentalist from East London, England. He’s been making beautiful music for several years, beginning with his 2015 debut L.A.-inspired single “Los Feliz”. He’s released multiple singles and EPs in the years since, most recently his Pete Maher-produced Acoustic Sessions earlier this year. Today he drops his latest single “The Basement“, a haunting track I’ve chosen as my New Song of the Week. The song was written and performed by Art Block and produced by Ian Barter (Amy Winehouse, Izzy Bizu, Paloma Faith).

The song opens with a softly strummed guitar accompanying Art Block’s tender vocals that are just above a whisper as he croons “When the ocean opens up light, I don’t see the fire. Tell me what I know. Bright light in the sunlight breaks away my fear. What I see is you.” The music then expands with lush atmospheric synths and gentle percussion, his vocals becoming more earnest and heartfelt as he pleads for help and comfort to ease his heartbreak, the ‘basement’ symbolizing how far down he’s fallen emotionally: “Someone left my heart. Someone left my heart in the basement. Come on take it out. Come on take it out of the basement.

The music continues to build as the song progresses, Art Block’s captivating vocals growing more impassioned, before calming back down in the bridge as he sings with a rather sad sense of resignation: “Tell me what you see when you find a little glow in your mind. Tell me what you see. Oh, I’m not the same man I’m supposed to be.” It’s a beautiful, emotionally moving song.

Follow Art Block:  Twitter / Instagram
Stream his music:  Spotify / Soundcloud / Apple Music
Purchase:  Bandcamp / Google Play

BRAIN APE Release Trippy New Video for “Stop Sulking”

Brain Ape is a talented, wildly imaginative, and highly entertaining London-based rock band who skillfully fuse punk, stoner rock, grunge, noise rock and shoegaze to create their unique sound they call “Scratch Rock.” Originally formed at the beginning of 2012, the trio now consists of Minky Très-vain on guitar & vocals, Sol Alex Albret on bass, and Jamie Steenbergen on drums. In August 2017, they released their second album Auslander, which was released through Schlimbum Records, an independent record label started by Très-vain and Dydy Haynes. (The label was rebranded as Scratch Rock Records this past August.) It’s an ambitious work, containing 12 brilliant tracks and running nearly 55 minutes in length. I reviewed the album in January 2018, which you can read here.

Brain Ape 3

Brain Ape has just released “Stop Sulking”. the third and final single from Auslander, along with a trippy new video. The video, which is alternately disturbing, amusing and heartwarming, was filmed by frequent band photographer Nuri Moseinco, and produced by Alex, Minky and Dom Bolton. The dark song has a strong Nirvana vibe, with sharp, clipped verses, fuzz-soaked gnarly guitars and deep bass. I had a little chat with Minky about the track and video.

EclecticMusicLover:  First off, I really like your video for “Stop Sulking.” What made you & the band decide to make a video for that particular “Auslander” track?

Minky:  Glad you liked the video. For us, it’s a very defining end to our ‘Auslander’ experience. That record came out a couple of years ago now, and we’re very ready to move on from it. It’s been a terrific journey, and the band has turned into something much larger than we could ever have imagined. It’s still on an incredibly small scale, and I can’t stress that enough, but when we were recording the album we were in a band that nobody cared about, making music that was too harsh for most listeners, and due to a succession of drummers that didn’t work out we found ourselves playing live a lot less often than we would have liked. But ‘Auslander’ changed that. We’re now on the road more often than not, taking our music to places we’ve never been to before. We always took our little project as seriously as possible and have been dedicated to the music that we put out, so it’s nice for people to take our band seriously now too.

This video marks the end of that transition for us. It was important for us to do, for us. The reason we chose ‘Stop Sulking’ is because when we sat back having just completed ‘Auslander’ there was some debate as to what the first single should be off the record. ‘Give Me My P45’ won out as the lead single, but its only contender was ‘Stop Sulking’. So now with hindsight and the context of what the album means to us several years on, it felt only right to chose ‘Sulking’ as the finale.

EML:  The song seems to describe a depressed, petulant person who’s unhappy with his situation, feeling like he’s losing his mind or sense of self, that he has no control over what’s happening to him – am I close? I like how you’re shown wearing a straight jacket to convey these feelings described in the lyrics.

Minky:  It’s always interesting to me when I hear how people are interpreting our work. I’m a product of our genre in that I prefer to keep my own personal meaning to myself when it comes to lyrics, and I find it far more interesting to hear from other people about how our words have affected them. That’s the beauty in art: there is no right or wrong answer. As far as your interpretation? I’d say it’s not a terribly inaccurate description of where I was when we were making the record. The album ended up becoming a ‘coming of age’ story, but as we’ve lived with it for several years it’s come to mean something completely different to the band. Our lyrics tend to be ambiguous enough that they can lend themselves to different perspectives, even if those perspectives are coming from the same person years apart. My own interpretation can change from hour to hour, depending on my mood and environment. I’m a fairly rash person, and my mood can 180 at the flip of a coin.

For the video, we collaborated with the great Nuri Moseinco. He’s an amazing videographer and photographer, and our walks of life have been different enough that our views on the track were very varied when we sat down to brainstorm ideas for the video. I can’t remember who exactly came up with the idea for the straight jacket, but it plays off the rest of the footage. I’ll leave the meaning up to the viewer, as I think that’s important. No one wants to know how the magic trick is done once they’ve found out. They’d rather re-experience the wonder of not knowing. But once you know, it’s too late to go back. Ignorance is bliss, and art is ignorance.

EML:  The interplay between you and Sol & Jaime in the scenes where the three of you are together is interesting. Sometimes you’re all playing your instruments, and other times you’re sitting around looking serious or you are horsing around with Sol. Was there any conscious intent in the filming of those scenes?

Minky:  Everything we’ve ever done has always been very deliberate. In our view, if something’s worth doing at all then it’s worth doing right. The world needn’t be filled with people like us who take our art too seriously, as there’s always room for comedy, satire, and absurdity. For the most part, in fact, it’s very necessary to have those things. We’d all go mad, otherwise. But for whatever reason, Brain Ape has always been a serious deal to us. I don’t think we take ourselves too seriously, mind you. But we’d rather not make a mockery of a product that took years, blood, sweat, tears, and a lot of sacrifices to make. So when it comes to those scenes; yes, there was intent. My intent was probably different to Sol’s, and his probably different to Jamie’s. But every detail was thought out. The choice of camera, for example, was a deliberate artistic choice. It held a lot of meaning for us. We wouldn’t half-arse anything. The only thing I didn’t mean to do was dye my hair green before shooting the straight-jacket scenes. That was almost a complete fiasco.

Here’s the video, so enjoy!

Catch Brain Ape at one of their upcoming shows in the UK, beginning tonight:

NOV 14 – IVW Launch w/ Brain Ape, Manalishi, Junky Love, Indigo, 7 PM, Dublin Castle, Camden, London
NOV 15 – w/Gutterflower, Manalishi, & The Kecks, 8 PM, The Pipeline, Brighton
NOV 16 – A Northern Underground Liverpool, 2 PM, The Jacaranda Club, Liverpool
NOV 17 – A Northern Underground Manchester, Aatma, Manchester
NOV 26 – RAMS Presents II: Brain Ape, 7 PM, The Cavern Club, 83 Queen Street, Exeter

Connect with Brain Ape:  Facebook / Twitter / Instagram
Stream their music on Spotify / Soundcloud / Apple Music
Purchase on Bandcamp / iTunes

New Song of the Week – HANNAH CLIVE: “Where Will You Run?”

Hannah Clive Where will U run

Hannah Clive is a lovely and engaging singer/songwriter based in London, England who writes from her heart and soul. Influenced by such legendary ladies of song as Adele, Carole King, Kate Bush and Janis Ian, Hannah pens observational, often personal songs that cross many genres, including indie rock, folk, pop, alt-country, blues and jazz. Two years have passed since she released her stunning single “Remember to Breathe” (which I reviewed), and she now returns to grace our ears with a brand new single “Where Will You Run?” Inspired by the outspoken and courageous young Swedish activist Greta Thunberg, the song is a heartfelt clarion call for action to address the existential global threat of climate change. It’s an important message, which is why I’ve chosen it as my New Song of the Week.

The song was written by Hannah and her frequent collaborator Brian Tench (Kate Bush, Hounds of Love, Bee Gees), who also produced the track, along with assistance from his son Jake. The song has a haunting melody that beautifully evokes the seriousness of the subject. Brian employs a rich mix of dark, swirling keyboards and pulsating percussive synths to create an arresting soundscape for Hannah’s enthralling vocals. She has a marvelous singing voice, going from whispered purrs to impassioned pleas with ease, to great emotional effect. It’s a beautiful and deeply moving song.

Our planet teeters on the edge
But money talks with no regrets
Plastic tide washes high
Frost is melting despite Greta’s cry

But the change is not fast enough
Do you need to watch it all burn up?
Before you ditch that coffee cup, where will you run?
When the seas rise, fish will die
When all is lost is that when you’ll cry?
We all wanna live ‘n’ thrive, where will you run?

Hannah also produced an excellent promotional video for the song that’ worth watching:

Connect with Hannah:  Website / Facebook / Twitter / Instagram
Stream her music on Spotify / Apple Music / Soundcloud
Purchase on  BandcampiTunes / Google Play / Amazon

EMPTY FRIEND – Single Review: “Falter”

Empty Friend Falter

Many of the artists and bands I’ve written about recently seem to be from the UK, but there’s just so damn much great talent there that I can’t help but showcase some of it! My latest find is London-based rock band Empty Friend. Formed in 2015, their name was inspired by a song from one their favorite bands, L.A. alt-rock group Failure. Influenced by acts like the aforementioned Failure, as well as Queens of the Stone Age, Soundgarden, Alice in Chains and Incubus, Empty Friend fuses elements of hard rock, grunge, stoner and even a touch of metal to create music that’s heavy and loud, yet melodic and riveting. The current lineup consists of songwriter/vocalist David Kirk, guitarist Ryan O’Hare, drummer Karl Morgan, and bassist Daverage Norman.

They released their debut EP Saltwater in 2018, a fine work featuring five tracks steeped in grunge/stoner grooves. Two of the tracks, “Hanging On” and the title track “Saltwater” are especially good, and I encourage my readers to check them out on one of the music platforms listed below. Now Empty Friend return with a fantastic new single “Falter“, which dropped October 26th. The song is a hard-hitting protest song of sorts, with dramatic instrumentals and vocals that match the fiery intensity of the powerful lyrics.

The song opens with chugging riffs of fuzzy guitars, as Kirk’s fervent vocals command the proceedings. O’Hare’s gnarly guitars grow more intense as the song progresses, with flourishes of wailing distortion accompanied by Norman’s throbbing bass and Morgan’s tumultuous drumbeats. Now Kirk’s powerful vocals reach a crescendo as he emphatically screams the scathing lyrics calling out the ruthless, cynical leaders who prey on societal fears and divisiveness to gain and hold on to their power. Eventually, the masses will turn on these demagogues and drive them out (something I hope happens soon with assholes like Trump, Johnson, et.al.):

You rode the wave and made them love you
Stoking discontent
Whipping up the people into
Choices they regret

Now they hate you all the more
And they watch your every step
It’s one thing to forgive
And another to forget

Next you weaponised your lies
And you cracked down on dissent
You grew weaker with your pride
While the people gained their strength

Well enjoy your last sunrise
While the knives
Are being sharpened
In the shadows

Well the day’s gonna come
When you falter and run
All the people as one
Baying for blood

I’m glad that more artists are writing songs that speak to our current socio-political upheaval, and “Falter” is one of the best I’ve heard yet. It’s a brilliant track both musically and lyrically, and Empty Friend are surely a band to keep an eye on.

Catch Empty Friend at one of these upcoming shows:

Nov 23 – The Constitution, London, UK
Dec 07 – The Monarch Pub Camden, London, UK

Connect with Empty Friend:  Facebook / Twitter / Instagram
Stream their music:  Spotify / Apple Music
Purchase:  Google Play / Bandcamp

BLOOM DE WILDE – Single Review: “Rock, Plant & Animal”

I recently learned about London, England-based singer-songwriter, producer and visual artist Bloom de Wilde when she reached out to me about her new single “Rock, Plant & Animal.” I was enchanted by her fascinating avant garde sound and imaginative approach to her music, and am happy to feature her on my blog. Influenced by her favorite artists such as Radiohead, Erik Satie, Jeff Buckley, Meredith Monk, Miles Davis, Tom Waits, Björk, Billie Holiday, Chet Baker, NIna Simone, Moondog and Toxic Chicken, Bloom fuses dream, ethno and experimental art pop, folk and jazz with surrealistic yet uplifting lyrics and unconventional melodies to create exuberant, colorful soundscapes that transport us to dreamy, faraway places.

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Bloom has been writing and recording songs for several years, and some of her older tracks can be found on her Soundcloud account. In July, she released a beautiful single “Soul Siren”, and on October 7th, she dropped “Rock, Plant & Animal”, a hopeful ode to nature and our Earth. The track was written and arranged by Bloom and co-produced by her and Nick Trepka, who also did the mixing. Recording was done at the Cowshed Studio in London by Joe Leech, with assistance by Grace Banks, and mastered by Nick Watson. Bloom sang vocals, played guitar, piano and programming, and had assistance by several musicians, including Nick Trepka on bass and programming, Yuval Juba Wetzler on drums, Sam Ritchie on flugelhorn and trumpet, Jally Kebba Susso on kora (a West African long-necked harp lute), Gazel Algan on viola and violin, and Mao Yamada on double bass.

And what a captivating song it is, with the kora, horns and strings adding a dreamy, exotic lushness to the sound. The rich instrumentation and enthralling melody provide a stunning backdrop for Bloom’s bewitching vocals. Her unusual and distinctive vocal style is somewhat reminiscent of Björk, in that she uses her voice like another instrument. She’s not quite a soprano, but reaches almost childlike high notes as her voice sweetly croons and soars, creating quite an emotional impact.

About the song, Bloom explains: “I wrote this song for my children, about this living Earth I love so dearly, and all the precious life upon it. I believe everything in this world has a living essence, a soul, and all is connected. We are all One – Rock, Plant and Animal. We are all instances of the Universe, perceiving itself from infinite subjective perspectives. With everything that is happening in the world right now, I think it is clear the time has come to change our ways. To approach each day with humble gratitude, our hearts open wide, souls radiating, dancing and dreaming a new world into reality. A harmonious, life-sustaining world, where we look after each other, our animal brothers and sisters, and our Earth mother that nurtures us.”

There lives a humble sound
That renders love and peace
It ripples on the water
And rustles in the trees

We’ll make that sound a yes
We’ll make that sound a yes, yes, yes

Of our beloved earth
As puzzle poem beings
Rock, Plant and Animal all dream
We’ll bravely open doors
Our shadows softy cooing
My darling, you’ve done the wait, now sing
Your true song

And make that sound a yes
And make that sound a yes, yes, yes

The enchanting video was produced by Bloom and Kai Nobuko, and stars Bloom dancing about a forest clearing, wearing a colorful floral headpiece designed by Jimmy Boer. As she dances, bright flowers, butterflies and birds issue from her fingertips. It’s all so wonderfully magical.

Connect with Bloom:  Facebook / Twitter / Instagram
Stream her music:  Spotify / Soundcloud / Apple Music
Purchase:  Bandcamp / Google Play

PHILIP MORGAN LEWIS – Video Premier: “Blowtorched Dreams”

Philip Morgan Lewis

It’s hard to believe that nearly two years have passed since I featured British singer/songwriter, multi-instrumentalist and producer Philip Morgan Lewis on this blog in November 2017, when I reviewed his brilliant, meticulously-crafted album Grief Harbour. The London East Ender melds alternative rock, blues, garage rock and folk influences to create his exciting, bluesy rock sound that complements his unique, raspy vocal style. Following up on Grief Harbour, he released a fun album House Works that featured eight house/EDM tracks. Now Philip is back with a bold video for his new single “Blowtorched Dreams“, which I’m honored to premier today. The single will be officially released on the 28th of October as a digital download and 7-inch vinyl.

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Philip wrote the lyrics and music, performed all the instruments and sang vocals on the track, as well as produced the song, which is being released via label TX2 Records. Backing vocals were sung by Vick E and his daughter Little A. For the recording of the track, Philip built a one-stringed instrument to play all the twangy slides, adding a rather dark country-folk vibe to his bluesy guitars and bass, all of which sound so damn good. He’s a remarkable musician and vocalist who manages to wring out every last drop of emotion with his deft, passionate guitar-playing and distinctive, raspy singing voice. When he sings of his pain, you believe every word, and the deep, almost tortured guitar work only serves to intensify those moods. It’s a brilliant track.

The dark lyrics speak to a sense of despair and hopelessness, of a life gone down the tubes as a result of having lived a self-destructive existence. Or, could it be the bitter realization of having expected too much from a cold, cruel city that eats up and discards you?

I wander night and day
Sidestepping all the way
No brighter light is gonna come
Is gonna come for me baby
Trapped in an altered state
With somebody else’s fate
No kingdom come no kingdom come
The road is done for me baby

When the chips finally fall on the ground
And the sod is just you hangin’ round
You know what’s it all about

Blowtorched dreams
Leaving blood on the pavement still
Blowtorched dreams
Leaving lives in the gutter still

I step into the dark
Draw from a crooked stack
The light is gone the light is gone
The light is gone and it ain’t coming back
No one but me to blame
I’d do it all the same
The time has come the time has come
The time has come and I don’t feel no shame

The fascinating video was directed, produced and edited by Philip and Vicky Crawley, and features black and white footage shot in and around Los Angeles, juxtaposed with scenes of Philip sitting in a darkened room singing the song. The video starts off with scenes of arriving by plane at LAX, followed by beautiful images of the sun-drenched city, evoking a sense of promise (we’re even shown a billboard with images spelling out ‘I love LA’). Suddenly, there’s a flash of light and a spacey synth chord, at which point the images become distorted with a kind of static effect that Philip refers to as “singularity distortion”, conveying a sense of tension and discord. Eventually, the scenes transition to the darkness of night, with images of raging wildfires and rather disturbing views of a long, dark tunnel leading down into the bowels of an old building, suggesting that the dreams have gone up in flames.

Connect with Philip: Website / Facebook / Twitter / Instagram
Stream his music: Spotify / YouTube / Google Play
Purchase:  iTunes / Amazon / Deezer / Bandcamp

REVOLVERS – Single Premier: “Confusing Times”

Revolvers single art

One of the best indie rock bands I’ve had the pleasure of getting to know in 2019 was London, England four-piece Revolvers. Formed just three years ago in 2016, Revolvers was comprised of singer-songwriter James Thurling (guitar/lead vocals) Will Oliver (guitar/backing vocals), Steven Morrison (bass/backing vocals) and Rhys Kibble (drums). I say ‘was’, because they recently disbanded due to a number of factors, some of which are the cause of many a band breakup that I won’t go into here. Suffice it to say I was gutted, because I really love their high-energy, guitar-driven melodic rock music.

I’ve featured them twice on this blog over the past nine months, when I reviewed their fantastic singles “True Love” and “Rubbing Shoulders With the Devil” (the latter of which has spent the past four months on my Weekly Top 30). Fortunately for us, they’re releasing as their swan song a terrific new single “Confusing Times“, which I’m thrilled to premiere. The hard-rocking song speaks to the crazy times we’re now living in. Like their last three singles, “Confusing Times” was recorded at Kore Studio in London, and produced by George Apsion (White Lies, Catfish and the Bottlemen, Ellie Goulding). 

Revolvers go out on a high note, pulling out all the stops on this exhilarating head-banger. The song instantly blasts open with a frantic barrage of fuzz-coated jangly guitars and pummeling rhythms that never let up. They sound better than ever, delivering layers of intricate melodic riffs and explosive percussion that raise goosebumps. Thurling passionately sings of his frustration with the current state of things, and the mind-control that media exerts over society, aided by corrupt and incompetent politicians who prey on a deeply divided public. The lyrics include a reference to John Lennon’s iconic song “Imagine”, and later on state “life goes on like a Beatles song“, giving a nod to the enduring cultural significance of classic songs of yesterday as a symbol of hope for a better future.

I can’t hide from the TV screen
The old days are dead and gone
Whatever happened to Lennon’s song?
It goes on, it goes on
We live in confusing times
Least to say confusing times
And I don’t want to listen to this politician

The self-produced and highly entertaining video draws its source material from popular political and cultural GIFs, memes and footage found on the internet. It makes for a compelling and provocative snapshot of our very confusing times.

Finally, though Revolvers are no more, band frontman and songwriter James Thurling will continue to feature some of the their songs in his new rock band project Bitter Lime, so stay tuned.

Stream their music on Spotify / Soundcloud
Purchase on iTunes

New Song of the Week: A VOID – “No Rest”

It may be 2019, but the enduring legacies of grunge – especially that of Nirvana – and punk continue to have a significant influence on music. I’ve reviewed a lot of artists and bands who’ve drawn their influences from those two groundbreaking genres, and am pleased to feature another today – a young band called A VOID. With members from both France and the UK, and currently based in London, the attractive female-fronted trio refer to their wild, unorthodox sound as “sonic grunge.”

They claim as their inspiration a decidedly eclectic mix of artists and bands, including the aforementioned Nirvana, as well as Sonic Youth, Smashing Pumpkins, Hole, Kaaris, Babes In Toyland, Patrick Sébastien, Deftones, Silverchair, Björk, Tokio Hotel, Lady Gaga, Céline Dion and even Charles Aznavour! Making the music are Camille Alexander (guitar, lead vocals), Aaron Hartmann (bass) and Marie Niemec (drums, backing vocals).

A VOID2

A VOID released their debut EP Roses As Insides in 2016, when they consisted of Camille and two previous band members. The current lineup released an excellent full-length album Awkward And Devastated in 2018. One of the tracks on that album is “No Rest“, which I’ve chosen as my New Song of the Week, as the band just dropped a hilarious and wildly entertaining new video for the song.

Camille’s a terrific guitarist, dazzling us with intricate, melodic riffs of jangly and grimy guitars. Early in the track, her riff calls to mind Nirvana’s “All Apologies” as well as Silversun Pickups’ “Lazy Eye”, but picks up the pace later on when her playing turns more aggressive. Aaron and Marie keep a tight rhythm with their resonant bassline and snappy drumbeats, respectively. Camille’s vocals are really wonderful, with a deep vibrancy that’s youthful, yet worldly, and I love how her French accent shines through. She shrieks “No rest” quite nicely in the frantic punk rock-like final chorus, matching the wailing guitars note for note.

The lyrics speak to the stress and anxieties that stem from relationships, being in a band, and the myriad responsibilities of young adulthood:

Bullshit over bullshit
I’ve lost my drive again
I’m all over the place… ace
Addicted to your sweet words and your belonging
I can’t replace

No Rest
No Rest
No Rest for me x2

Utterly broken
Keeping fading away
Completely wasted
I can’t believe myself

Unstable and insecure I try
Creating like the only way to survive
Holding on to everything as if you died today
All these lines I didn’t write
Now they come chasing me

No Rest
No Rest
No Rest for me x2

The music was so loud
So loud that I can’t hear the thoughts inside my head
The whispering voices
Silence violated

Can’t risk to deny
Responsibilities lie for you to take
Caught up into choices
It’s not my place to make

I wish I was more like you
Disregard and pass on through
I wish I had a clue
Of what I’d get myself into

No Rest
No Rest
No Rest for me

Connect with A VOID:  Facebook / Twitter / Instagram
Stream their music:  Spotify / Soundcloud / Apple Music
Purchase:  Bandcamp / Google Play

IAMWARFACE – Album Review: “Year of the Dragon”

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

IAMWARFACE new
Photo by Caitlin Stokes

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

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

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

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

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

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

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

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

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

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

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

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

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

Catch IAMWARFACE at one of these upcoming shows:

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

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