Today I have the pleasure of introducing a wonderful artist named Josephine Pascoe who, together with guitarist and producer Neil Thom, creates exceptional instrumental music with various and ever-changing elements of jazz, acid jazz, classical, blues and funk. Based in the London suburbs, she’s a classically trained pianist, violinist and flautist with a life-long love of music. She began studying piano at the age of five, then violin at eight and flute at thirteen, much of it at Trinity College of Music in London, where she also began composing her own music. She also trained to be a secondary school music teacher, but prefers giving one-on-one instrumental instruction on piano and violin.
According to an article about Josephine on the music blog COOLTOP20, she met Neil in 2016 when she began taking guitar lessons from him. Besides teaching guitar, Neil is a producer and sound engineer with a wealth of experience working with various artists, bands and record companies. One night, after a few rounds of drinks, the two decided to have a go at writing something together, and took some jazzy chords Josephine had been playing with and developed it into what would become their first track “Florescence”, which they released in May 2017. In the years since, they’ve recorded and released 14 more songs, their latest of which is “Starfish“, an exuberant acid jazz tune which dropped May 5th. Josephine and Neil are both big fans of English funk and acid jazz band Jamiroquai, whose influence is strongly evident in their music.
Like most of their songs, “Starfish” was co-written by Josephine and Neil. For the track’s recording, she played piano, Rhodes electric piano, strings and flute, while he played guitar, bass and drums. Neil also produced and engineered the track. As I mentioned at the beginning of this review, their songs incorporate an ever-changing mix of styles that make each one sound unique. Whereas their previous single “Eden” has a mellow jazz vibe, “Zomer” is breezy acid jazz, and “Before The Light Goes Out” is a soothing, contemplative piano ballad, “Starfish” has a more spirited dance-oriented feel, with a strong lively beat. Highlights for me are Josephine’s resonant piano keys, spirited strings and airy flute. Neil’s funky guitars and bass provide a wonderful, edgy counterpoint to the more classical-sounding strings and flute, yet complement both quite nicely. It’s a marvelous track.
British singer/songwriter, multi-instrumentalist and producer Philip Morgan Lewis is a creative and engaging artist who’s long been a favorite of mine. Drawing from an eclectic range of music genres and influences, including alternative rock, blues, R&B, soul, jazz, garage rock and folk, the London East Ender crafts his own unique sound. That unique style, combined with his distinctive unusual and raspy singing voice that sounds like no one else, makes his music instantly recognizable as only his. And, as I’ve noted on previous reviews, I like how each of his songs is uniquely different, with every release surprising us with a totally new vibe. Moreover, he isn’t afraid to address the darker side of humanity and the emotional wreckage of failed relationships, love gone bad and our sometimes self-destructive ways, while also offering glimmers of hope and redemption.
Over the past decade, Philip has released quite a lot of music, including his 2016 EP Karma Comedown, two albums, the brilliant Grief Harbour in 2017 (which I reviewed), and the ambitious 18-track opus work Now + Then in 2021, as well as over a dozen singles, a number of which I’ve also reviewed. Two of my favorites are “Come Find Me Back”, which ranks #88 on my 100 Best Songs of 2021 list, and “Redchurch Street Blues”, ranking #63 on my 100 Best Songs of 2022 list.
Now he’s back with “When You’re Shattered“, the first single from his upcoming EP, due for release on June 20th. Philip says the song was quite cathartic for him. “I have written a lot over the past year as I was going through a very rough time. I realised that even though I was struggling, I kept on answering “I’m alright mate” when asked how I felt. This track is about that- don’t even try to hide [your feelings], just let it out and help might come.”
Philip wrote, produced, recorded and mixed the track, played guitar, bass, percussion and keyboards, and sang vocals. His 12 year old daughter Annick, who’s sung on all of this records since she was four, sang backing vocals. The track was mastered by Fred Miller in his Copenhagen studio. Released via Philip’s own label TX2 Records, a cool-looking special limited edition 7-inch 45 rpm red vinyl pressing of the single is also available.
To drive home his point, Philip starts with a strong driving beat, fueled by a bold, thumping bassline. He then layers a marvelous array of blues-soaked grungy guitars, snappy drums and mysterious swirling synths, creating a dark, cinematic backdrop for his emotion-packed vocals that range from sultry croons to fervent entreaties. Annick’s lilting backing vocals, which sound far more mature than a 12 year old, are wonderful, and the perfect complement to her father’s raspy croons. “When You’re Shattered” is another gem in an unbroken string of superb releases by this uniquely talented artist.
Your body’s torn to pieces
Your mind is drifting free
You seek blue ladders
That’ll take you to the sky
Well I tell you baby
Your heart is sick and tired
Keep on pretending sugar
This love will never die
When you’re shattered
When you’re shattered
Shattered deep inside
When you’re shattered
Oh baby when you’re shattered
Don’t even try to hideNow keep on moving baby
Push on through the crowd
When you think of what you’ve been through
This shuffle brings you down
People tell you what to do
They sell you dirty lies
Say everything's all right
And you know that everything’s all wrong
Cause’ when you’re
Six feet buried deep babe
You sure just waste your timeWhen you’re shattered
Baby when you’re shattered
Shattered deep inside
When you’re shattered
Baby when you’re shattered
Don’t even try to hide
Don’t even try to hide
When you’re shattered
When you’re shattered
Shattered deep inside
Don’t even try to hide
When you’re shattered
Baby when you’re shattered
Shattered deep inside
Don’t even try to hide
You’re shattered baby
Oh you’re just shattered babe
Oh you’re just shattered babe
Oh you’re just shattered babe
Quite a few music bloggers I follow seem to have favorite artists and bands they like to write about, and I’m no exception. I’m partial to certain artists and bands not only for their music of course, but also because I genuinely like them as people, so am happy to support them however I can. One such artist who falls into this category is Skar de Line, the solo music project of singer-songwriter, producer and composer Oskar Abrahamsson.
A thoughtful, charismatic and intensely creative guy born and raised in Sweden and now based in London, England, Oskar draws inspiration from his love for cinematic soundtracks and blends those influences with pop, hip-hop, electronica and alternative rock to create dark, unconventional music that takes the listener on a sonic adventure while also giving us a lot to think about. A renaissance man of sorts, the multi-talented fellow writes, performs, records and produces all his own music, as well as writing, directing and editing all his imaginative music videos. I’ve featured him on this blog him more times than I can remember over the past five years, both as a member of his former band Heist At Five as well as his solo act Skar de Line.
Oskar is endlessly fascinated by the concept of boundaries and the human need for self-understanding, so with that as a guiding principle, in May 2022 he released “Reset”, the first chapter in his autobiographical suite of music that aims to explore those concepts. That song addressed the notion of wanting to become a better person through continually evolving and reinventing oneself, but fearing that nothing will ever be good enough. He followed a few months later with the second chapter “New Silhouettes”, a song about having the freedom to make your own choices to become whoever or whatever you want to be, with no limits on how many different options you can choose. Last November, he released the cinematic “No Eyes in Paradise”, the third chapter in which he pondered his own sense of self-worth as an artist, believing he’s creating works of value and merit, but fearing that if no one else sees nor acknowledges them, does any of it mean anything? (I reviewed both “Reset” and “No Eyes in Paradise”.)
Now he returns with the fourth chapter of his autobiographical suite in the form of the single “A Way“, a hauntingly beautiful song inspired by a real-life event in Oskar’s life that occurred one night in London. He witnessed a man about to commit suicide by leaping off a ledge, intervening at just the right moment and saving the man’s life. But instead of feeling relieved that he’d helped avert the demise of this man, he was hit with conflicting emotions he hadn’t expected. Rather than feeling positive, caring thoughts over having saved the man’s life, he also harbored feelings of deep selfishness. Regardless of the outcome of the situation, he experienced a sense of excitement from the event, which gave him a new story to tell.
To convey this sense of emotional conflict, dissonance and guilt, Skar de Line layers eerie, wobbly synths over an emphatic beat as he croons: “With my hands on your shoulder looking down, this feeling is creeping up on me. The excitement I just can’t deny. Twenty feet above the ground, I’m scared, just how little I care. It’s almost like I’m thrilled to be here. Maybe it’s no longer about your fall. Maybe it’s about mine. Up or down, I can’t control it. I don’t know where I’m going. Up or down, I can’t control it. I don’t know what I’m doing.” The music turns more cinematic in the choruses, his vocals rising to a lovely plaintive entreaty as he sings “And if you would let go just for a moment, that would change our lives tonight. A bridge to a new life. Another step now, and you’ll take my breath away.”
This music video was entirely created, storyboarded, and edited by Skar de Line, and filmed on location in the Swedish countryside. The scenes were shot in the middle of summer in bright daylight, and later color corrected in dark blue hues to make them appear to have occurred at night, as was done with quite a few films made in the 30s, 40s and 50s before the advent of computer generated effects and more sophisticated cameras (“Sorry Wrong Number”, “From Here to Eternity” and “South Pacific” are a few that come to mind).
The story depicted in the video takes a different turn from reality, reflecting how Skar de Line truly felt about the night. He’s shown sitting on a ledge overlooking a lake with another man, and when the man finally leaps off, Skar de Line reaches out to grab him too late to stop him from tumbling over the precipice. The outcome of the event leads him to question his core sense of morality, his perspective on what is up and down, and ultimately, if there could have been another way to go.
Skar de Line is the solo music project of singer-songwriter, producer and composer Oskar Abrahamsson, a thoughtful, charismatic and innovative artist born and raised in Sweden and now based in London, England. Fascinated by the concept of boundaries and the human obsession for self-understanding, he fuses his love for cinematic soundtracks by such composers as Hans Zimmer, Junkie XL and Ramin Djawadi with hip-hop, alternative rock and electronic metal to create dark, unconventional music that takes the listener on a sonic adventure while giving us a lot to think about. The multi-talented fellow writes, performs, records and produces all his own music, as well as writing, directing and editing all his imaginative music videos.
I’ve featured Skar de Line numerous times on this blog, most recently last May, when I reviewed his single and video for “Reset”, the first chapter in his autobiographical suite of music. The song explores the concept of wanting to become a better person through continually evolving and reinventing oneself, but fearing that nothing will ever be good enough, expressed in the lyric “Every time I open my eyes I kill an old version of mine. But I’m not a murderer, no, I’m a maker./ Every time I close my eyes, I am already set to reset.” He followed in July with the second chapter “New Silhouettes”, a song about having the freedom to make your own choices in becoming whoever or whatever you want to be, with no limits on how many different options you can choose. Now he returns with “No Eyes in Paradise“, the third chapter of his personal journey of self exploration and the need to understand himself.
With this song, he ponders his own sense of self-worth as an artist, believing that he’s creating works of value and merit, but fearing that if no one else sees nor acknowledges it, does any of it mean anything? He explains: “You can be great, you can want to do well for yourself and for people around you, but if no one saw what you did, did it really happen? If your life work is something that the world does not care about, what is your life worth? And are there any limits to what we can’t do to get that attention, that worth? Throughout the lyrics, there is this growing frustration in the world around me, a feeling that I think every creator recognizes. A feeling that the world does not actually really get you.” For both song and video, he uses classical imagery to bring his message to life. Here’s a photo of him in a setting similar to the famous Leonardo da Vinci painting of Mona Lisa (in which he’s undeniably more attractive):
Though all of his songs have cinematic elements, “No Eyes in Paradise” is his most grandiose and melodically complex yet, blending dramatic choral and symphonic elements with bold hip hop beats and heavy electronics to create a magnificent soundscape. The song opens with a soaring gospel-like choral, then quickly segues into a dark trip hop groove, with harsh industrial synths and finger snaps as Skar de Line raps the opening verses. As the song progresses, the music alternates between trip hop verses and sweeping symphonic choruses, punctuated with delicate piano chords and gorgeous string synths. His emotive vocals go from seductive, slightly sinister rapping in the verses to impassioned entreaties in the choruses, creating a strong sense of tension and emotional angst.
I’ve got this presentation that will surely blow your mind
This is an invitation to a god-damn paradise
The only thing I ask for is another pair of eyes
Cause what you never saw it never happened, right?
No eyes in paradise
No eyes in paradise
No eyes in paradise
No eyes in paradise
As these doors are left wide open
As my world turns in slow motion
As these walls are steeped in gold
Another bottle’s left unopened
Another story on repeat
Another comment obsolete
Another invite went astray
Another offer thrown awayDid I bathe in the light
Turn inside out
Did I repaint the skies
For empty crowds?
Did I wait for too long?
Have you all moved on?
Am I the architect
Left in paradise?
I still got to trust in some kind of order
Some kind of virtue for which you’ll adore me
But I cannot leave it, you need to sign
And I'm getting restless, I'm out of time
How far do you go for wickedness
to stop being sexy and just grotesque?
If there’s a case, I haven’t found it yet
I can’t imagine or believe that this is itDid I bathe in the light
Turn inside out
Did I repaint the skies
For empty crowds?
Did I wait for too long?
Have you all moved on?
Am I the architect
Left in paradise?
No eyes in paradise
No eyes in paradise
No eyes in paradise
No eyes in paradiseLike a lamb of God, like a torn façade
Tearing up the scars with no regards
Just come inside, I’ll break it down
It’s a god-damn paradise
How far do you go for wickedness
to stop being sexy and just grotesque?
If there’s a case, I haven’t found it yet
I can’t imagine or believe that this is it
If I offered you a piece of the forbidden apple
Would you trust me to repaint the Sistine Chapel?
Does it matter what I do or what I’ve done?
Would you trust me now if I am the only one?
The brilliant video Skar de Line created for the song is his own interpretation of a perfect, but empty, paradise. Throughout the video, he recreates and inhabits some of the most renowned renaissance paintings such as The Last Supper (Leonardo Da Vinci), The School Of Athens (Raphael), and Saint Jerome Writing (Caravaggio), all in his desire to make something special that others will care about. He elaborates: “But like an architect left in paradise, a creator in a world that does not need more creations, I’m feeling like I’m falling behind and running out of time to make a difference. Maybe I’ve gone about it wrong. In the final scenes, as I’m leaving my paradise behind to walk out into the dark night, a thought goes through my head. Maybe it’s all a matter of perspective. Maybe, just maybe, it’s not what I do that needs to change, but rather the world in which I do it in…” His creativity and imagination, as well as technical prowess to be able to produce such a beautiful video, are truly impressive.
“No Eyes in Paradise” is Skar de Line’s finest work yet, and I eagerly await the next chapters in his autobiographical suite.
Perpacity is an electronic music act comprised of British singer-songwriter, composer and producer Ian Harling and Danish singer-songwriter, composer and producer Martin Nyrup (Martin is a also a member of Danish Electronica act Oui Plastique, whose single “The Fear” I reviewed last year.) They’re both accomplished musicians, with over 20 years of experience, and from what I’ve been able to discern from their website and social media accounts, have been collaborating for nearly a decade. Their sound is characterized by haunting melodies, lush electronic soundscapes and driving beats, with thoughtful and compelling lyrics. And while their social media following is rather modest, they have over 3,100 followers on Soundcloud, an impressive figure for an independent music act.
Martin Nyrup & Ian Harling
The released their debut album The Sinner Inclination in 2015, consisting of a previously-written catalogue of early instrumentals and songs. Since then, the prolific duo have released scores of singles and three more albums: Arise, The Order of Now and, most recently, Conflagration in 2020. Now they’re back with a new single “Granite“, along with a B-side “Never Let Go“, both of which will be included on their forthcoming fifth album Discordia. The songs explore the seemingly conflicting aspects of love lost and love found. Martin produced, mixed and mastered both tracks, and Ian produced the video for “Granite”.
Perpacity states that “‘Granite’ is about love lost and the repercussions that follow, finding that you are suddenly alone and vulnerable, whereas ‘Never Let Go’ is its opposite, about love found and the strength and cohesion it brings.” Both songs have a haunting, rather enigmatic vibe, but that’s where the similarities end. “Granite” features a insistent thumping beat, overlain with a pulsating synth bass groove and mysterious swirling synths. Ian’s low-key vocals nicely convey a sense of sad resignation as he contemplates a love that’s slipping out of reach, never to return.
Reading in Fahrenheit,
I'm in flames,
But I feel colder than the rain you left me in again today.
Bleeding but sanitised,
There's no pain,
But every little raindrop,
Is burning in my veins.
Don't let it rain anymore.
I'm washing away I'm not stone.
Don't let it rain anymore,
I'm slipping now don't let me go.Nearing the danger line,
Overflow,
And the clouds that gather round my head are greyer than before.
Drowning in real time,
You couldn't wait,
You found a friend for shelter,
And let me liquidate.
Don't let it rain anymore.
I'm washing away I'm not stone.
Don't let it rain anymore,
I'm slipping now don't let me go.
Hvad som kommer er mit
Som i hvileløst granit
“Never Let Go” is more introspective, with a gentle, cinematic soundscape that nicely complements, but never overpowers, Ian and Martin’s enchanting vocal harmonies. The moody atmospheric synths and softly soaring strings are really captivating, and I think I actually prefer this track.
I was in denial,
I love LOVE, that you see me.
So let me stand trial,
I love you, now hear me.I looked to the stars
I love LOVE, when you´re near me.
I carry all the scars,
You see them, you feel me.
You´re my seed to everything
And with water we´ll grow
And I´ll give you anything
Just you hold on and never let go
You´re always by my side
You´re loved LOVED, and I'm near you
When worlds they collide
Together, I´m with you
You and I have come far
You´re loved LOVED, and I am with you
I'm with the northern star
Everything shines up, when with you
Art Block is an alternative folk singer-songwriter and multi-instrumentalist based in East London, England. A prolific artist, he’s been making beautiful music for a number of years, and has released an impressive number of singles, EPs and remixes since early 2015, beginning with his debut L.A.-inspired single “Los Feliz”. I’ve featured him three times on this blog, the first time in November 2019 when I reviewed his enchanting song “The Basement”. The song has become his most successful to date, amassing over 290,000 streams on Spotify, which is notable in light of the fact he not represented by any label or management. A year later, I reviewed his lovely single “Borderline”, then this past March, I included his single “Pilgrim” in a post about my having been a moderator for Tom Robinson’s Fresh On The Net blog.
Now he returns with a new EP titled White Horses EP, featuring three tracks he says were “inspired by the beauty of nature but also touching upon war, themes of death, loss and the bitter sweet nature of human existence.” The EP was recorded at Super Symmetry Studios in Hackney, utilizing a mix of both analog and digital sounds that give the songs incredible texture and depth. William Robertson aka Wheeliemix produced, mixed and engineered the EP using Moog synthesizers, as well as played acoustic guitar, Raphael Bouchara played drums, and Sandra Brus played violin. Mastering was done by John Webber (David Bowie, Duran Duran). Art Block created the beautiful cover artwork for his EP using a photo he’d taken of the English countryside.
In addition to beautiful melodies and captivating arrangements, a defining aspect of Art Block’s songs are his tender, heartfelt vocals. With his incredibly emotive singing voice, he has the ability to convey a deep sense of sorrow and despair, which is on full display on all three songs. The first track “Saviour” speaks of a relationship that saved him at first, but ultimately ended because of the hurt and pain they inflicted on each other: “It was a travesty. Unjust unliberty. Hurting those around you. Building walls between ourselves. We knocked our brains out cold. Drank from the cup untold. Floored by passion and the drink. Makes us do what we don’t think. You were a precious stone. Now I am all alone. I’m fading, yeah I’m fading. We dug our grave too soon.” It’s a melancholy but lovely song, highlighted by Art Block’s stunning piano and Sandra Brus’ mournful violin.
“White Horses” is another hauntingly beautiful piano-driven song with a somewhat similar vibe as “Saviour”, except Art Block’s vocals are more emotionally-wrought in the choruses. He says the song “was inspired by a beautiful place in England, but also by the attack in Mariupol Ukraine which was in the news, where I imagined I was going through the devastation there. Perhaps ‘White Horses’ is a metaphor for something else, greater, perhaps mystical or mysterious? The place I visited in England certainly had a mystical feel even though the White Horse itself etched into a hill was not ancient.” His lyrics are poetic and deep, touching on the terrifying randomness of death and suffering: “We bear our own cross. And the people may wonder why God’s left them alone? The wind is burning. There’s so much smoke cos’ you’re coughing up blood now. The poem has ceased. And the soil is all over me, I’m six feet deep.“
The bittersweet “Low Light” is both captivating and melancholy. Art Block’s vocals are downright heartbreaking here, perfectly conveying the intense pain and heartache of a relationship or friendship that’s falling apart, but not wanting to come to terms with it just yet: “A friendship ooh has crumbled. Ooh we’ve stumbled, as we break into dust. A fear I don’t wanna see. A light I don’t want feel. A low light I don’t wanna see. A change I don’t wanna make tonight.” Art Block’s piano is sublime, accompanied by airy synths, William’s shimmery guitar notes, Sandra’s subtle electric violin, and Raphael’s gentle drums and cymbals that evoke waves crashing upon rocks at the sea’s edge.
While it’s subject matter is decidedly bleak, White Horse EP is nevertheless a gorgeous little work. With its flawless arrangements, production and performances by everyone involved, the three songs are among Art Block’s finest yet. The EP was released exclusively on Bandcamp today, September 2nd, and will be released on most streaming platforms on the 23rd.
Skar de Line is the solo music project of singer-songwriter, producer and composer Oskar Abrahamsson, a talented, handsome, thoughtful and creative artist born and raised in Sweden and now based in London, England. Fascinated by the concept of boundaries and the human obsession for self-understanding, he fuses his love for cinematic soundtracks by such composers as Hans Zimmer, Junkie XL and Ramin Djawadi with hip-hop, rock and electronic metal to create dark, unconventional music that takes the listener on a sonic adventure while giving us a lot to think about. He writes, performs, records and produces all his own music, as well as writing, directing and editing all his music videos.
In October 2019, Skar de Line released his debut single “In Charge”, a fascinating orchestral electronic song about the human need to understand and control our surroundings, followed a year later by “Satisfied”, which explored the concept of satisfaction, posing the question “do we get satisfaction from being right, or merely by the act of searching for what we think we want?” The intensely dramatic song ended up spending 10 weeks on my Weekly Top 30 from January through March of 2021. (I reviewed both singles, and you can check them out by clicking on the Related links at the end of this post.)
Now he’s back with another single “Reset“, a dark and cinematic song that sees him continuing to explore new musical sounds by pushing beyond his comfort zone. He explains that the song “is built on my need to be better. A wish to constantly evolve, but also a fear that nothing ever will be enough. This is a journey out of this mental prison, in order to try to find something that I believe in, something I can hold on to forever.” He further elaborated on his Instagram page “Does every circle, even the ones we’ve created ourselves, hold us back? No matter how positive they are meant to be? As I looked around the room, I knew myself well enough to know that in my search to be better, this moment was just a phase, and would not mean anything in the next moment once I’ve grown beyond it. But I didn’t know if I really could accept that and let that happen, or if I, in this moment, could be more than that… Just take what I needed from myself.“
“Reset” opens on an eerie note, with sounds of Skar de Line’s echoed breathy gasps, which are soon accompanied by a distant rumbling bass and gently ticking drums as he sings in a rather ominous voice “Every time I open my eyes I kill an old version of mine. But I’m not a murderer, no, I’m a maker./ Every time I close my eyes, I am already set to reset.” From there, the music gradually builds as the breathy gasps continue, with the addition of dark orchestral synths and sharp percussion, creating a strong aura of tension along the way. His vocals turn more menacing as the tension continues to build, finally exploding into a bombastic cinematic crescendo, highlighted by a hauntingly beautiful angelic chorus that he states serves to “lift us out of the darkness“.
The brilliant video, filmed mostly in black and white and sepia tones, pays homage to the neo-noir black-and-white art style, and reflects the claustrophobic sentiments expressed in the lyrics. Skar de Line is dressed in black amidst a dark background, representing him feeling deeply trapped in the dark mental prison from which he wants to break free. His mind’s eye envisions a setting sun in a world of color, symbolizing a sense of freedom that still eludes him, and pushing him to fulfill his wish to climb out of this cycle that holds him back.
Irish post-punk band Fontaines D.C. (the suffix D.C. in their name stands for Dublin City, to distinguish them from L.A.-based alt pop-rock band The Fontaines) formed in 2017, but it wasn’t until summer of 2020 that I learned about them, when I heard their mesmerizing single “A Hero’s Death”, from their brilliant second album of the same name. I loved it at once, and after listening to the entire album, I became a fan of this exceptional band. Comprised of Grian Chatten (vocals), Carlos O’Connell (guitar), Conor Curley (guitar), Conor Deegan III (bass), and Tom Coll (drums), Fontaines D.C. met while students at the British and Irish Modern Music Institute in Dublin, and bonded over their common love of poetry. They began recording and self-releasing singles, as well as performing locally, and were ultimately signed to Partisan Records in 2018.
Since the release of their debut album Dogrel in 2019, Fontaines D.C. have garnered widespread critical acclaim as one of the best bands making music today. The album was named Album of the Year on the record store Rough Trade’s website, voted Album of the Year by presenters on BBC Radio 6 Music, and nominated for both the Mercury Prize and the Choice Music Prize. Their second album A Hero’s Death, which was written and recorded in the midst of extensive touring for Dogrel, was nominated for Best Rock Album at the 2021 Grammy Awards, losing to The Strokes’ The New Abnormal. They just released their darkly beautiful single “I Love You“, which I love so much, I’ve chosen it as my New Song of the Week.
The song is the second single from the band’s forthcoming third album Skinty Fia, due for release April 22. The album’s interesting title translates to “the damnation of the deer” in English. Fontaines D.C. bassist Conor Deegan III further elaborates about the band’s intent: “The Irish giant deer is an extinct species, but ‘skinty fia’ is also used as an expletive, in the way you’d say ‘For fuck’s sake’ if you bang your arm on a table or whatever. We just thought there was something really beautiful about that, because it’s representative of Irish culture in some sense. We were interested in the idea of something really precious or sentimental and attached to family, but also something that’s been taken away from us. Which doesn’t mean we can’t cherish it.”
“I Love You” follows lead single “Jackie Down The Line” which was released a month ago, and is described by band frontman Grian Chatten as “the first overtly political song we’ve written”. In one sense, it’s a love song to their home of Ireland. Chatten, along with the rest of the band, relocated from Ireland to London to further their music careers, and the first two verses of the song address his guilt at becoming successful and leaving his beloved homeland. He explained to Rolling Stone: “I’m in a position there where I’ve made something of a career from trying to connect with and render the culture and country that I come from and try and express it, [and] in doing so, understand it myself and help other people understand it. [But] I’ve moved from that country, and I’m now living in a country that is responsible for a lot of the chaos in the country that I’m from, that still kind of looks down on that country. I feel guilty for having left. I feel like I’ve abandoned Ireland to some extent. Not that it can’t survive fine without me, but I feel like I’ve taken all this crap from it creatively, and then I’ve just left. I have this kind of strange feeling of guilt toward my leaving of Ireland.”
But the song also speaks to Chatten’s seething anger and disappointment over the current political climate in Ireland – expressed in the lyrics condemning two of its major political parties: “I will tell them ’bout it all / About the gall of Fine Gael and the fail of Fianna Fáil“- as well as one of Ireland’s grimmest historical atrocities, namely the decades of tragic brutality at the Tuam Mother and Baby Home in Galway, where a mass grave containing the remains of 800 babies was later discovered decades after the home’s closure. He rebukes both those responsible for the atrocity, as well as those who turned a blind eye, which he references in the scathing words “This island’s run by sharks with children’s bones stuck in their jaws.”
Musically, the song is gorgeous and brooding, opening with Conor Deegan III’s somber bass riff, which is soon joined by a glorious mix of O’Connell and Curley’s shimmery and jangly guitar notes reminiscent of The Cure. As Chatten begins to sing “I love you, I love you, I told you I do” in his signature captivating drone, the music expands with Tom Cull’s assertive thumping drums, keeping perfect rhythm with Deegan’s immaculate bassline. A little past the two-minute mark, the song turns darker, with heavier instrumentals and an intense repetitive drumbeat to match the rising anger in Chatten’s vocals, in which he practically spits the bitter lyrics, eliciting chills in the process.
I love you, I love you, I told you I do
It's all I've ever felt, I've never felt so well
And if you don't know it, I wrote you this tuneTo be here loving you when I'm in the tomb
I've eddied the heart now, from Dublin to Paris
And if there was sunshine, it was never on me
So close, the rain, so pronounced is the pain
YeahWell, I love you, imagine a world without you
It's only ever you, I only think of you
And if it's a blessing, I want it for you
If I must have a future, I want to with you
Systеm in our hearts, you only had it before
You only opеn the window, never open up the door
And I love you, I love you, told you I doSelling genocide and half-cut pride, I understand
I had to be there from the start, I had to be the fucking man
It was a clamber of the life, I sucked the ring off every hand
Had 'em plying me with drink, even met with their demands
When the cherries lined up, I kept the spoilings for myself
'Til I had thirty ways of dying looking at me from the shelf
Cloud-parting smile I had, a real good child I was
But this island's run by sharks with children's bones stuck in their jaws
Now the morning's filled with cokeys tryna talk you through it all
Is their mammy Fine Gael and is their daddy Fianna Fáil?
And they say they love the land, but they don't feel it go to waste
Hold a mirror to the youth and they will only see their face
Makes flowers read like broadsheets, every young man wants to die
Say it to the man who profits, and the bastard walks by
And the bastard walks by, and the bastard walks by
Say it to him fifty times and still the bastard won't cry
Would I lie?I love you, I love you, I told you I doIt's all I've ever felt, I've never felt so well
And if you don't know it, I wrote you this tune
To be here loving you when I'm in the tomb
System in our hearts, you only had it before
Echo, echo, echo, the lights, they go
The lights, they go, the lights, they go
Echo, echoSelling genocide and half-cut pride, I understand
I had to be there from the start, I had to be the fucking man
It was a clamber of the life, I sucked the ring off every hand
Had 'em plying me with drink, even met with their demands
And I loved you like a penny loves the pocket of a priest
And I'll love you 'til the grass around my gravestone is deceased
And I'm heading for the cokeys, I will tell them 'bout it all
About the gall of Fine Gael and the fail of Fianna Fáil
And now the flowers read like broadsheets, every young man wants to die
Say it to the man who profits, and the bastard walks by
And the bastard walks by, and the bastard walks by
Say it to him fifty times and still the bastard won't cry
Would I lie?
The dramatic, beautifully-filmed video was directed by Sam Taylor, and shows Chatten strolling through a dark, candle-lit church as he sings the first few verses. Two minutes in, he abruptly turns to face the camera, whereupon he launches into his scathing attack on the things that infuriate him about the country of his birth. By the video’s end, blood can be seen issuing from his chest.
Branwell Black is a charismatic young singer-songwriter, producer, dancer and model who creates alternative electro pop-rock influenced by some of his favorite artists like Kate Bush, Madonna, Charli XCX, Kerli, Evanescence and Tokio Hotel. Born in Oxford, England, raised primarily in France, and now based in London, Branwell has recorded music both in French and English as a solo artist, and as part of the band Brothers Black/Posie that he formed with his brother Morgan. Both he and Morgan developed a love of music at a young age, as their father was an accomplished rock drummer.
In September 2019, Branwell released his debut single “J’attends L’amour”, then quickly followed up with “What You Want”, as well as an EP Posie with his band Brothers Black/Posie. In May 2020, he released his sultry single “Love Life” (which I reviewed), then followed that October with a marvelous electronic cover of the Verve classic “Bittersweet Symphony”. Now he’s back with “Lay On Me“, the first single from his forthcoming Lay On Me EP, due for release by the end of the month. That EP will also feature a rave remix of “Lay On Me”, as well as a live version of “What You Want”.
About the new song, Branwell explains: “‘Lay On Me’ is the first song I’m releasing which features my live band [with] Harvey on guitar and my insane drummer Alexandra. It’s a sonic reintroduction of sorts, as it’s a little heavier than my original music, and also a tease into the direction I’ll be going. We’ve been touring the UK and have grown our sound into something even more exciting as a bridge between rock and pop. The song also takes influences from the Vogue scene with elements of ballroom vogue songs, and is a sexy number about taking control of situations and appreciating your beauty and knowing how to use it. The lyrics ‘But I’ll be me’ represent a realization that you’re always in control of your own enjoyment and knowing what you want.“
When I first listened to “Lay On Me”, it seemed to be primarily a catchy dance-pop song. But with repeated listens, the brilliance of Branwell’s songwriting was revealed as I detected elements of house, trip hop, electro and psychedelic rock he’d artfully injected into the mix. Though the song’s driving dance groove is undeniably hypnotic, it’s the variety of stylistic elements and textures that make it such a compelling and sonically fascinating track. I love the thick synth bass groove, Harvey’s funky riffs, Alexandra’s galloping drumbeats, and the colorful blend of gnarly and spacey industrial synths. Branwell’s bewitching and breathy vocals have an understated seductive quality that perfectly complements the captivating instrumentals. It’s a terrific song.
British singer/songwriter, multi-instrumentalist and producer Philip Morgan Lewis is one of the most creative and prolific artists I’ve encountered in my more than six years as a music blogger. Drawing from an eclectic range of music genres and influences, including alternative rock, blues, R&B, soul, garage rock, folk and EDM, the London East Ender crafts his own unique style of blues-soaked rock. That unique style, combined with his distinctive raspy singing voice that sounds like no one else, makes his music instantly recognizable as only his.
Over the past decade, Philip has released an impressive amount of music, including two albums – Grief Harbour in 2017 (which I reviewed) and Now + Then this past September – as well as two EPs and scores of singles. I’ve also reviewed several of those singles, most recently “I.O.U” this past August (you can read some of those reviews by clicking on the links under ‘Related’ at the end of this post). Now the hard-working musician returns with a fantastic new single “Redchurch Street Blues“. In addition to writing, singing and producing the track, Philip also played slide and electric guitars and organ. Drums were played by Jon Harris, bass by Ben Jones, additional electric guitar by Rob Updegraff, and backing vocals were sung by Philip, Vicky and Little A. The track was recorded at One Louder Studios London by Alan Emptage, and mastered at Fluid Mastering by Tim Debney.
I’ve stated previously that one of the things I like about Philip’s music is its unpredictability, and how no two songs of his ever sound alike. With every release, we’re treated to an entirely different sound and vibe than the song before, and “Redchurch Street Blues” is another fine example of that. The song is a raw and bluesy ode to the hardscrabble East London neighbourhood he once lived in, which in recent years has undergone gentrification, along with all the positive and negative changes that comes with it.
The song’s retro and bluesy vibe has one foot planted in late 1950s rock’n’roll, with noticeable shades of Buddy Holly, Gene Vincent and Elvis Presley. In fact, Philip seems to channel Vincent with his be-bop-a-lula-esque vocals in the bridge. The other foot is firmly planted in the present, with a contemporary blues rock sensibility similar to some of the music of two of my favorite bands, Cage the Elephant and The Black Keys. The dual intricate guitars of Philip and Rob Updegraff are outstanding, floating over Ben Jones’ pulsating bass groove and Jon Harris’ thumping drums keeping the tight rhythm.
About his inspiration behind the song, Philip elaborates: “Redchurch Street is set in Shoreditch. I used to live a couple streets down on Bethnal green which is rougher and saw a good deal of the riots; it’s part of the poorest borough of London, Tower hamlets. It’s the home of the colourful Bricklane market and of course the Cockneys which by the way my daughter is as she was born in Whitechapel. Gentrification started a while back as posh shops and franchises moved into the area and most of the little shops, tenants and businesses had a hard time surviving with rent rising and all. I guess this is the way of the world, but the contrast remains stunning from one street to the other, with the City of London and its billions looming over in the east end of London.”
Builders aren’t building
Landlords evicting
The rent is trebling
No signs of easing
Cars are burning
While my baby is sleeping
The streets are a-blazing
And the bonfire grinsI’ve got the red church street blues
And I’m down in the gutter
There goes the neighbourhood
We toil everyday
For a misery pay
Ain’t got too much to lose
When you’re down with that blues
Now shops they are closing
And the malls keep on thriving
Got a bag full of nothing
And the pawnbroker’s spleen
I’ve got the red church street blues
And I’m down in the gutter
There goes the neighbourhood
Now the tables are turning
Heads are consulting
Inflation is rising
And my blood pressure steams
I’m just a dead man walking
Lord I’m up to my chin
I’ve been played now I spin
And the banker still grins I’ve got the red church street blues
And I’m down in the gutter
There goes the neighbourhood
It seems like yesterday
Will never fade away
No matter what you hear
No matter what they say
You’re on your own
I’ve got the red church street blues
And I’m down in the gutter
There goes the neighbourhood
Here’s a video of Philip’s acoustic performance of the song:
ECLECTIC MUSIC LOVER 