Tag: Paris Alexander

Fresh New Tracks, Vol. 43 – Paris Alexander, Keelan Donovan, David Haerle, Secret Postal Society

On By EclecticMusicLoverIn Reviews8 Comments

It’s been a while since my last edition of Fresh New Tracks, as I haven’t much felt like writing given the ever-worsening onslaught of mendacity and horrors issuing from America’s insanely corrupt leadership. But with so much great new music being released, it’s time for another installment in my series. Today I’m featuring deeply compelling songs by four singer-songwriters, in alphabetical order – English composer and producer Paris Alexander, Texas-based Keelan Donovan, Los Angeles-based David Haerle, and Welsh artist Secret Postal Society. I’ve previously featured Paris Alexander and Secret Postal Society many times on this blog, whereas Keelan Donovan and David Haerle are new to me.

Paris Alexander – “Ride to Heartbreak”

Photo by Karim Hamid

Hailing from Brighton, England is Paris Alexander, a creative and talented singer-songwriter, composer and producer of electronic music. He’s been a long time collaborator with his life partner, British singer-songwriter, producer and muse Tina Eirene, as well as Norwegian coldwave/post-punk artist Antipole, with whom he co-wrote, produced and sang vocals/played synths on five albums together (two of which, Northern Flux in 2017 and Crystalline in 2023, I reviewed). In 2021, I also reviewed Paris & Tina’s wonderful album Renaissance, which they co-wrote and co-produced. Now Paris is back with a new single “Ride to Heartbreak“, which was co-written and co-produced with Tina, and recorded, mixed and mastered at his Blue Door Music Studios in Brighton.

The song is a darkly beautiful and mesmerizing coldwave gem, with mysterious, almost otherworldly synths layered over a hypnotic pulsating beat. Paris’ ethereal whispered vocals are at once both seductive and melancholy, backed by Tina’s soft, breathy croons, as they sing about the sadness associated with the passing of time and missed opportunities: “Sadness touches my soul, for what was meant to be has gone astray. Time said too late as I gave you a chance. Sadness is the mourning for many times have passed.”

Keelan Donovan – “The Influence”

Photo from Keelan’s Facebook account

Born and raised in Maine and now based in Austin, Texas via Nashville, singer-songwriter Keelan Donovan has been releasing music for the past decade as both a solo artist and under his indie pop alter-ego Mr. Irrelevant. His songs span across genres, encompassing everything from pop, singer-songwriter and indie rock to Americana, country and folk. His 2018 single “Like a Radio” has been streamed over 2.6 million times on Spotify alone. I learned about him recently when he reached out to me about his new single “The Influence“, which he describes as “a raw, confessional song about the quiet grip of alcohol, the weight of inherited struggles, and the fear of what we pass down to our kids.” He co-wrote the song with Canadian-born and now Nashville-based country singer-songwriter Tenille Townes, and it was produced by Kevin Kadish.

In a heartfelt Instagram post, Keelan eloquently articulated his reason for writing the song: “I wrote ‘The Influence’ because I have two boys who are always watching me. Learning not just from what I say, but from what I do. That’s a beautiful thing and also terrifying. It forces me to hold a mirror up to myself every single day. The way I handle stress, how I treat people, how I talk about myself, the habits I lean on…especially my drinking…they’re picking it all up. It’s about wanting to break cycles but sometimes slipping anyway. We all fuck up as parents. A lot. And that’s okay. It’s about guilt, grace, and the deep hope that love is louder than our flaws. One of the things I’ve struggled with is using alcohol to cope, to numb, to unwind. and sometimes I wonder what kind of message that sends. What they’ll remember. What they’ll carry with them. This song is rooted in that quiet fear. What if the parts of me I haven’t healed become the parts they inherit? I’m still figuring it out. And sometimes the shame of falling short makes it even harder to get back up. I’m learning in real time how to be the kind of man I want them to look up to. Not a perfect one. Just an honest one.”

The song has a pleasing indie folk-pop vibe in the vein of songs by Noah Kahan, Wilderado and Mumford & Sons. In fact, Keelan’s vocals remind me of Noah Kahan as he sings “If forgiveness is a virtue, a little sin, it never hurts you. It feels good to get drunk once in a while. Is it bad? It’s probably bad, but I’m doing the best I can.”

David Haerle – “To Dance On Sands (Ode to Marta Becket)”

Photo from David’s Facebook account

David Haerle is a singer-songwriter based in Los Angeles who blends rock, folk, and Americana to tell heartfelt stories inspired by his life experiences and observations of the people and places that surround him. From what I can tell, he’s released a fair amount of music since 2017, including three albums – Garden of Edendale in 2018, Death Valley in 2020 and El Camino Sierra in 2023. His music has been featured in many notable music publications including Billboard, American Songwriter, Goldmine, Under The Radar, Glide Magazine and Rock and Roll Globe, to name just a few. On his latest single “To Dance On Sands (Ode To Marta Becket),” David pays tribute to American actress, dancer, choreographer and painter Marta Becket, who left an indelible mark on California arts culture. She performed for more than four decades at her own theater, the Amargosa Opera House in Death Valley Junction. She gave her first performance in February 1968, and continued to perform until 2012. She passed away in 2017 at the age of 92.

Born in 1924 in New York City, Marta was later traveling with her husband on her way to an engagement in 1967 when, due to a flat tire, she ended up in the tiny desert hamlet of Death Valley Junction, where she discovered a small abandoned theater in a community center built in the 1920s. Immediately charmed by the small town, she decided to stay and restore the theater, which she renamed the Amargosa Opera House, for her own performances. In 1970, reporters from National Geographic happened upon her performing a show to no audience, and, with the help of a story in that publication and another in Life Magazine, Marta took on a degree of notoriety. David elaborates: “I had an awareness of Ms. Becket as I am a regular visitor to Death Valley, but it was upon reading her [autobiography To Dance on Sands] and learning her story more fully that she became an artistic hero to me. Though her art was dance, choreography and painting and mine music, Ms. Becket represents a pinnacle of artistic courage to me. A true beacon and role model for what it can mean to follow, express and fulfill one’s artistic vision, impulses and ambitions.”

The track was written by David and produced alongside co-producer/mixer/engineer and frequent collaborator Jose Salazar. David sang lead vocals and played electric and acoustic rhythm guitars, along with Carson Cohen (bass, backing vocals), Reade Pryor (drums, percussion), Ken Belcher (electric guitar, acoustic guitar, backing vocals), and Jose Salazar (keyboards). To accompany his lovely Americana song, David has created a wonderful video to honor Marta’s legacy. Opening with scenes of him directed and shot by Michael Pottle, the video also features footage from Amargosa, the Emmy award-winning 2000 documentary film about Marta by Todd Robinson.

Secret Postal Society – “Scars”

Photo by Barry Hill

Welsh artist Secret Postal Society is the music project of hard-working and talented singer-songwriter, composer and multi-instrumentalist Craig Mapstone. He’s also thoughtful, generous and kind, and though we’ve never met in person, I’m quite fond of him on both a personal and professional level. We’ve been following each other on social media since early 2021, and I’ve written about him and his music several times over the past four years, most recently last month when I reviewed his EP Embrace the Fear, a collaboration he did with fellow Welsh singer-songwriter Guy Challenger to help raise funds for a UK youth suicide prevention charity. Also, his beautiful single “Autumn Leaves” recently spent more than four months on my Top 30 chart, where it peaked at #3. Now he’s back with his follow-up single “Scars“, which dropped April 15th via Lonely Bear Records. The heartwarming song was written, performed and recorded by Craig, and mastered by his frequent collaborator Brandon Green of Texas indie rock band Formerly Misinformed.

About “Scars”, Craig stated it’s “about how we all have our own scars – whether they are physical or emotional scars – that can affect us in dierent ways, but with love, understanding and support we can learn to accept that these scars have made us who we are and we can start to heal and love ourselves. Musically, ‘Scars’ was influenced by the French cafe jazz music of the 1960s, with its accordion, lush string arrangement and hypnotic acoustic guitar arpeggio.” His musical arrangements and instrumentation are always first-rate, and “Scars” is no exception. And though Craig’s vocals are generally understated, they’re always honest and heartfelt, conveying a deep sensitivity as he sings “Your broken heart, it’s in two. And I know it’s going to take some time to mend but I will wait. And see it through with you. I’ll be the constant constellation you can hang your hope on to to heal your scars.”

The Bandcamp release also includes an exclusive acoustic mix of the song.

ANTIPOLE & PARIS ALEXANDER – Album Review: “Crystalline”

On By EclecticMusicLoverIn Reviews8 Comments

The music industry has long thrived on the collaboration of talented songwriters and musicians, and one of the most successful collaborations I know of is the one between Norwegian coldwave/post-punk project Antipole and British electronic music artist Paris Alexander. Antipole is the music moniker of guitarist and composer Karl Morten Dahl, who’s based in Trondheim, Norway, whereas singer-songwriter, composer and producer Paris Alexander is based in Brighton, England.

Antipole (aka Karl Morten Dahl) & Paris Alexander

While each has released music as solo artists, the majority of their output consists of albums they’ve recorded together or with other musicians and vocalists. I’ve followed them both for quite a while, and have written about some of their previous works – in 2017, I reviewed their collaborative album Northern Flux, and in 2021, I reviewed Alexander’s album Renaissance, featuring his partner Eirene. On May 12, they dropped their latest album Crystalline, featuring eight outstanding tracks.

The music was co-written by Antipole and Alexander, and lyrics written mostly by Alexander, with the exception of the songs “Marble” and “Infractions”, which were written by Eirene. Antipole’s guitar parts were recorded at AGV63 studio in Trondheim, while Alexander’s programmed synths and vocals were recorded at his Blue Door Studio in Brighton. Eirene sang additional vocals on “Marble”. Alexander also produced, mixed and mastered the album. The beautiful artwork for the album cover was created by Anne-Christel Gullikstad.

Listening to Crystalline, I hear strong influences by iconic darkwave and synthwave acts like Joy Division, New Order and The Cure, with a bit of Depeche Mode for good measure. Antipole’s jangly and shimmery guitar work is pretty spectacular throughout, and together with Alexander’s hypnotic beats and dreamy cinematic synths, create darkly beautiful and mesmerizing soundscapes. I also love Alexander’s rich baritone vocals, which have a haunting yet sensual quality, reminding me at times of David Bowie, most notably on “Midnight Shadows” and “Marble”.

Most of the songs have a somewhat similar sound and feel, certainly not a bad thing, as they’re all quite arresting and beautifully-arranged. At 30 minutes and 45 seconds in length, the album seems to pass by quickly, always a sign of a quality work in my book. I like every track a lot, but will touch on some of my favorites. Opening track “Perceptions“, features a strong pulsating groove, overlain with lush industrial synths and Antipole’s intricate jangly guitars. Alexander’s breathy vocals are wonderful, both mysterious and sensual. The video, filmed in black and white and at night, shows Antipole making magic on his guitar outdoors on a cold night in front of a church in Trondheim, while Alexander walks through the abandoned streets of Bath, England.

Perhaps the darkest song on the album is “Bleached“, a beautiful but brooding track for which the guys have also fortunately created a video showing them performing the song, superimposed over rather bleak footage of a large English industrial city filmed along a railroad line. The lyrics speak of a desperate existence in an urban wasteland, which Alexander sings in ominous whispered tones: “Take me. Houses full of lost dreams. Structures gripping the sky. Roads leads to hope, but walking is tiring. Reality is the end. Dead end streets and turnarounds. Windows gaze down upon me. Wandering these city streets, struggling for breath to nourish the blood. Stuck on an island, gotta get off. Get me off my phone, get me off my phone…“

“Marble” is an especially lovely and melodic track, with a rapid, pulsating beat, sharp percussive synths, and marvelous jangly guitar notes. Alexander’s comforting vocals are nicely backed by Eirene’s ethereal harmonies. “Infractions” has a wonderful psychedelic vibe, thanks to a greater use of spacey synths, while “Sentiments” is a gorgeous four-minute-long tour de force of hypnotic beats, dreamy atmospheric synths and jangly guitars, accompanied by Alexander’s brooding but hopeful breathy vocals.

With Crystalline, Antipole and Paris Alexander have gifted us another stellar collection of exquisite darkwave songs. I continue to be impressed by the consistently high quality of their output.

Crystalline is also available on vinyl and CD through Young & Cold Records

Connect with Antipole: Facebook / Twitter / Instagram

Find his music on Bandcamp / Spotify / Apple Music / YouTube

Connect with Paris:  Facebook / Twitter / Instagram

Find his music on Bandcamp / Spotify / Apple Music 

 

Paris Alexander featuring Eirene – Album Review: “Renaissance”

On By EclecticMusicLoverIn Reviews14 Comments

Paris Alexander is a creative and talented singer-songwriter, composer and electronic music producer based in Brighton, England. He’s been a long time collaborator with British singer-songwriter, producer and muse Tina Eirene (with whom he’s also romantically involved), as well as Norwegian coldwave/post-punk artist Antipole, with whom he co-wrote, sang vocals and played synths on, and produced three albums together (one of which, the 2017 release Northern Flux, I featured on this blog). Alexander and Antipole have also worked together on numerous projects with other artists, and Alexander has worked with fellow Brighton electro-rock band IAMWARFACE (one of my favorite British bands who I’ve also written about many times) and London electro-psych band Leg Puppy.

Tina Eirene and Paris Alexander enjoying themselves

In late 2019, Alexander released two excellent darkwave singles, “Tense” and “Druids”, both featuring vocals by Eirene. Then, this past February, he began releasing a series of new singles, “Renaissance”, “Devour”, and “Lost in the City” (the latter of which I also reviewed). All three of those singles are included on his wonderful debut album Renaissance, which dropped September 17th. The album was co-written and co-produced by Eirene, who also sings vocals on most tracks, and recorded, mixed and mastered at Alexander’s Blue Door Music Studios in Brighton.

About the album, Alexander explained to me that the title “Renaissance” is intended to symbolize “a positive change in life and an onward journey,” as well as the fact that this is his first solo album (albeit with Eirene). Delivering 38 minutes of shimmery darkwave grooves in ten outstanding tracks, Renaissance has a retro late 80s feel in the vein of bands like The Cure, Depeche Mode and New Order, yet sounds current and original. One of the characteristics I especially like about the album is that, similar to The Cure, many songs feature beautiful jangly and chiming guitars which lend great texture and drama to their overall sound.

The album opens with the title track “Renaissance“, a brooding song with a mesmerizing fast-paced driving beat that sets the tone for what’s to come. Alexander explained that the melodramatic lyrics are a metaphor for an internal crisis that’s producing an anxiety attack: “The mine exploding in my face was my first clue. Dreams shattered, burning pain. My hands are tied, my heart is cold. Burn down, the ashes, left with nothing. Nothing. My hands are tied, my heart is cold.” His rich baritone vocals sound like a glorious mash-up of David Bowie and ABC’s Martin Fry, while Eirene’s sultry, otherworldly croons lend added mystery to the proceedings.

From that point on, each track seems to flow seamlessly into the next, transporting me to a dark but dreamy place. The hauntingly beautiful second track, “Son Chemin“, is one of my favorites. Loosely translated, the song’s title means one’s way or path forward, which seems to signify an emergence from the personal hell first described in the opening track “Renaissance”. Against a backdrop of lush atmospheric synths, the interplay between the throbbing synth bass groove and the delicate mix of moody and chiming guitars is quite marvelous.

As noted above, I’ve previously written about “Lost in the City“, a darkly beautiful song about the cold and anonymous aspects of urban life, and how despite living amongst lots of people, we can sometimes feel very isolated and alone. I love the assertive stomping beat, hypnotic bassline, moody swirling synths and bold jangly guitars. The accompanying video, beautifully filmed in black and white by Eirene, features scenes along and around the Thames River in historic South East London. The black and white tones and brooding skies nicely capture the darkwave elements of the music and lyrics.

Frequent collaborator Antipole contributes some dazzling jangly guitar work on “The Void“, a song awash in dreamy psychedelic synths and moody vocal harmonies. Another favorite of mine is “Devour“, a dramatic and stunning track featuring a sharp, pulsating beat, luxurious cinematic synths, shimmery guitars and enchanting harmonic choruses. The lyrics are rather ambiguous, but seem to speak to searching for a way out of the depths of despair: “I kneel on this dusty floor. Look up through the pane. Light shimmers on my refrain. The dust splinters the light. The moon breaches the night. My arms extend to the stars. My back it holds the scars. Gotta find a way.”

The stellar tracks keep coming on strong, and I’m running out of descriptors and superlatives. “Siren” has a pulsating, almost dubstep-type beat, overlain with mysterious sweeping synths, handclaps, and a repetitive and hypnotic guitar riff, all creating a mesmerizing soundscape. In her best siren-like voice, Eirene breathily croons “You’re the one that always draws the best of me. Hold on to the words that go unspoken. I want the sun to shine through the trees, and the warmth develop my sanity.” The dark and dramatic “Floating Cities” features strong, driving beats, otherworldly synths and the combined vocals of Alexander, Eirene and guest vocalist UIU aka Grey Blatsa, who also played synths.

On the lively “Sound of Vision“, Alexander layers fuzz-coated gnarly synths and chiming guitar notes over a strong, throbbing EDM beat and deep, almost funky bassline. The result is a mesmerizing dance track guaranteed to have you swaying your hips within seconds. Eirene’s bewitching siren-like vocals make a welcome return engagement on this terrific track as well. The charming video they produced for the song features vintage footage of women dancing and doing light striptease, courtesy of Prelinger Risque Archives.

The final two tracks, “Revival” and “Desire“, deliver more hypnotic grooves, darkwave synths and stellar guitar work. “Revival” has a rapid, driving beat and spacey synths, punctuated by beautiful jangly guitars and Alexander and Eirene’s somber vocal harmonies, while the more languid “Desire” features a sultry dance vibe with jangly guitars, swirling atmospheric synths and Eirene’s breathy vocals.

Before I know it, the album’s over, and the first thing I want to do is hit repeat so I can hear it all again. Renaissance is a beautiful, masterfully-crafted work, and one of the finest electronic music albums I’ve written about in a long while. If you’re a fan of darkwave electronic music, or bands like The Cure and Depeche Mode, you will enjoy this album.

Follow Paris:  Facebook / Twitter / Instagram

Stream his music:  Spotify / Apple Music / Soundcloud

Purchase on Bandcamp

PARIS ALEXANDER – Single Review: “Lost in the City”

On By EclecticMusicLoverIn Reviews9 Comments

Paris Alexander is a singer, songwriter, composer and electronic music producer based in Brighton, England. He recently dropped a mesmerizing new single “Lost in the City“, which I like so much that I have to share it with my readers. Co-produced by fellow Brighton singer-songwriter and producer Eirene at Alexander’s Blue Door Music Productions, the track is the third single from his forthcoming album Renaissance, due out later this year.

The talented musician has been a long time collaborator with Eirene, as well as Norwegian coldwave/post-punk artist Antipole, with whom he co-wrote, sung on and produced three albums together (one of which, the 2017 release Northern Flux I reviewed). Alexander and Antipole have also worked together on projects with other artists, remixing songs for such acts as Clan of Xymox and She Past Away. Additionally, Alexander has worked with London electro-psych band Leg Puppy on some of his music.

Starting with an assertive stomping drumbeat, Alexander layers a hypnotic bassline, moody swirling synths and bold jangly guitars that immediately make me think of The Cure. Some of the guitar work was played by Simon Meek, with added drums by Martin Meadows. Alexander’s deep baritone vocals have an ominous haunting quality, nicely conveying a rather dystopian vibe befitting the dark lyrics about the cold and anonymous aspects of urban life – how despite living amongst lots of people, we can sometimes feel very isolated and alone. The combination of living in a densely built environment with little or no natural spaces, and feeling overwhelmed by technology, only serves to exacerbate one’s sense of isolation and disconnection, of feeling ‘lost in the city’.

We’re lost in the city
Going nowhere so fast
We’re lost in the city
Little do we care
We’re lost in the City
Techno, nostalgia, round cars, designed beer
We’re lost in the city

Our brains are gone
Lost to receivers, transformers, flat screens
We’re lost in the city
Strobe light flashing away
Inner world far from here
A world of rich hue

Get lost in yesterday
In the city or in our minds
Hang on to the thread of hope
We’re desperate to find……(repeat)

We’re lost in the city….(repeat)
Lost in the city

The darkly beautiful video was filmed in black and white by Eirene along, and in the vicinity of, the Thames River in historic South East London. The black and white tones and brooding skies beautifully enhance the darkwave elements of the music. Particularly interesting is that the scenes are all nearly devoid of people, adding to the overall sense of coldness and isolation expressed in the lyrics.

Follow Paris:  Facebook / Twitter / Instagram

Stream/purchase his music:  Spotify / Apple Music / Bandcamp

IAMWARFACE – Album Review: “Year of the Dragon”

On By EclecticMusicLoverIn Reviews8 Comments

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 Dragon “Say 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.

https://soundcloud.com/iamwarface/closer-paris-alexander-remix

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