Brett Vogel is an immensely talented and hard-working singer/songwriter and multi-instrumentalist based in Los Angeles. We’ve followed each other on social media for nearly three years, and I find Brett to be a warm, kind and gracious guy. He was one of the very first artists I featured on this blog, way back in January 2016, and you can read that post here. Born and raised in Rockford, Illinois, he grew up listening to his father’s records and became a fan of music at a very young age – something that I closely identify with, as I was listening to my parents’ Frank Sinatra, Ray Charles, Fats Domino and Elvis Presley records as soon as I was able to walk.
Brett describes his passion for music: “Music is within every fiber of my being! I sincerely believe without music I’d be doomed. Music has kept me alive. Music, I believe, has saved my life. Music is love to me. Music helps people heal. It’s what connects people, and for that I’m grateful!” Blessed with a large vocal range and beautiful tone, Brett showcases his sweet and soaring falsetto in many of the wonderful songs he writes.
Brett released his first album Lonely Traveler in 2004, and subsequently moved to LA. He eventually became discouraged about the music industry and returned to Illinois, but after three years he decided to move back to L.A. and give music another go, and has never looked back. In 2015 he released his second album Never Giving Up, a superb effort featuring 11 beautiful tracks that are a celebration of his passion for – and dedication to – his dream of making music. Since then, he’s released several singles and remixes, the latest of which is his delightful new single “Superwoman Sway,” which dropped July 20th.
It’s an upbeat, happy tune with an infectious reggae/dance beat that aims straight for the hips. The carefree guitars, lively synths and snappy drums transport us to a sun-kissed tropical beach, making it a perfect song for summer. Brett’s earnest vocals are lovely as he sings of his devotion for a loved one who brings so much joy to his life:
There you go brightening up my day You wouldn’t know it but it’s true What you’ve got is that Superwoman Sway I wouldn’t have any other
Through the thick and thin when I’m dashed upon the rocks You stay close to me and give me all you’ve got Through the lightning clouds The sorrow and the rain You take away my blue, brighten up my sky To see the light again
Every little thing you do is so so you I couldn’t have it any better no Every little thing you do is so so you I couldn’t have it any better
Darren Campbell is a talented and hard-working 24-year-old singer/songwriter from Scotland who’s now based in London, UK. He’s been making music since his teens, releasing his first single “Find My Way” in January 2012. He followed with the EP Days to Come later that year, and has released a great number of fine singles in the years since. His latest is a beautiful song “Wherever You Are,” which dropped in May.
The track opens with a delicate jangly guitar riff and ambient synths, immediately enchanting our eardrums. Fifteen seconds in, the guitars and synths expand into an exuberant and gorgeous wall of sound, accompanied by a joyous toe-tapping beat. Darren’s strong, earnest vocals convey the optimism, hope and love expressed in his lyrics:
Wherever you are, wherever you go Always watch the stars unfold The love you wanted you could know The lives we live are wonderful When you think about me when you think about us I don’t want you to fear babe I want you to trust
In an interview with music blog Music Musings & Such, Darren explained his inspiration for writing the song: “‘Wherever You Are’ is inspired by the need to travel and see what’s out there in the world. I have older brothers in the States, great friends living in different countries and my parents back home in Scotland. With this song, I captured the feelings I had regarding the need to get out of your comfort zone and experiencing life whilst still feeling close and connected with the ones you love, even if they may be half the world away!”
The gorgeous music video for “Wherever You Are” was filmed and edited by Patrick Zangl, and follows Patrick and friend Christina Canek, accompanied by their beautiful husky, in their exploration of South Tyrol in northeastern Italy.
PandaRama is a creative young alternative pop/rock band from Miami, epicenter for the thriving South Florida music scene. (I’ve featured quite a number of South Florida artists & bands on this blog, including Above the Skyline, Sunghosts, Dyslexic Postcards, Xotic Yeyo, Raker and John Defeo.) I also happen to have an adorable cat named Panda, so it’s only natural I’d like a band called PandaRama.
The band was formed 2014 by Christian “Panda” Benabe (vocals) and Steven Quintanilla (guitar) while they were students at Miami-Dade College, and they were joined two years later by drummer William Snyder. In September 2016 they released their first EP 37.5%, a solid effort with five very good tracks, and in May of this year, they dropped a new EP Mixed Messages. They’re currently working on recording a full-length album, but wanted to showcase their softer side. So, they recorded acoustic versions of a few songs, which resulted in the more ambient and experimental approach used on Mixed Messages, and I think they turned out quite nicely. The songs all address troubled relationships with honest, biting lyrics set to sublime melodies.
For the first track “Toxic,” PandaRama skillfully melds elements of acoustic folk/rock with synthpop to create a great-sounding and powerfully moving song. Despite the dark subject matter, the instrumentals are beautiful, with Steven’s intricate, rapidly strummed guitar work, accompanied by swirling synths and a gentle drumbeat. Panda’s commanding vocals are filled with emotion as he sings the bitter lyrics about a relationship damaged beyond repair: “This could be toxic. The grievances we hold. This is toxic. The story left untold. Those beautiful lies we left behind. We slowly killed ourselves inside.”
“Someone Save Me” is a poignant ballad about someone in a precarious emotional state pleading with a loved one to help him keep it together: “Give me a reason to stay. Why shouldn’t I throw it all away? Instead of you standing there, show me that you really care. Prove yourself to me. / Recovery is a couple of words away. Giving up is an action I won’t take. All I need is to hear you go ‘Someone save me’.”
My favorite track is “Sweet Daughter of Blood,” a lovely song about a not so lovely woman. The gorgeous music, consisting mostly of delicate keyboard synths and Steven’s exquisite acoustic guitar work, sharply contrasts with the scathing lyrics, sung by Panda with an icy bitterness:
Disguising your lies with those pretty eyes Oh boy what a joy just to have you around Dear pretty girl you reeked of disaster Make your plans, have them run a little faster As you separate all in the family
Fooled just a little Harbored a meany devil Sick twisted individual Monster, monster, monster We had a monster, monster, monster She was a monster, monster, monster There goes the monster, monster, a monster Good riddance to the monster
Hey sweet daughter of blood I’m kicking you from my life to throw you in the mud Guilty, with treason in the family You don’t really care, watch us suffer everywhere But no, not today. In hell you will stay So burn away
As the song draws to a close, the hauntingly beautiful guitar riff is gradually replaced with sounds of crackling flames. I love it!
Having no musical talents whatsoever, I’m always impressed by people who do, and especially when they’re also quite young. Needless to say, I was blown away when I listened to the debut album Perfect on Paper by Welsh artist Georgia Fearn. Only 17 years old, the singer/songwriter from Carmarthen has a remarkable artistry and maturity far beyond her years. She writes all her own songs and plays guitar and piano, with session musicians playing the other instruments.
Released in March through Grapefruit Records, Perfect on Paper sounds like the work of a seasoned artist, which is actually the case in a sense. Georgia began writing songs at the age of nine, and at 17 she’s an accomplished wordsmith, penning thoughtful and frank lyrics about the joy, pain and complications that arise when we enter into relationships. She’s already performed in many different venues, most notably the famous Cavern in Liverpool, and her songs have received airplay on BBC Wales, and other radio stations in the UK.
Georgia incorporates a myriad of music styles, including pop, rock, jazz, hip hop and even Celtic folk, to create songs that are surprising, unique and always compelling. The superb opening track “L’Amour” beautifully illustrates what I’m talking about. The song features all sorts of interesting sounds and instruments like accordion, banjo, horns and strings, and the result is delightfully saucy track with a sophisticated French vibe. As if all that weren’t enough, she injects a bit of a Celtic feel in the chorus interlude. Didn’t I say that she likes to surprise us?
The lyrics describe a relationship doomed from the start: “You told me you were leaving ’cause I smoked too many cigarettes. I broke the bad habit, and I drove straight to your address. I saw you pressing your lips to someone new. It’s time to break my other bad habit. You.” Bloody brilliant.
Perfect on Paper is an ambitious work with 12 tracks, all of them suberb. “Catch Me If You Can” is an infectiously catchy number that had me humming the melody long after hearing the song. “Misty Mae” was inspired by a character in the TV series American Horror Story. A beautiful mandolin riff and flute lend a bit of a gypsy flair to the rousing track, while distorted electric guitar adds an edgy feel. “Does It Make You Wonder” is a sweeping ballad featuring a haunting piano riff, mournful violins and a military drumbeat. Georgia’s heartfelt vocals are extraordinary as she croons: “I’m living in a glass house, where the person I used to be, she’s buried six feet under. She’s trying to scream. She’s blocked out by the thunder. Does it ever make you wonder, what could have been?”
“Sharp Objects” is a dark rock song about the proverbial town without pity. The track opens with what sounds like helicopter blades and men shouting in the distance. Georgia snarls the biting lyrics about hypocrisy and evil that lie beneath a rosy exterior: “Home is where the lies are. Pretty quiet village, that’s where all the scars are. Tiny little village, that’s where all the hate is. / Ooh I’m gonna drown. Something about this nuclear town. Toxic.”
And speaking of dark, one of my favorites is the dramatic, searing title track “Perfect on Paper,” about a woman serving prison time for killing the man that done her wrong: “I know he never loved me. He just loved the thought. He thought there was a girl out there who’d do what he wants. She’d smile in a loving manner to her man perfect on paper. Not knowing soon she’d see every awful heartbreaking, sickening, ugly thing he could be.” Wow, those are some of the best lyrics I’ve seen in a while!
Another great track is the bluesy “Master of Jazz.” The sensuous song speaks of the cool allure of a jazz musician who can sweep a girl off her feet: “Heart on his sleeve and mic in his hand. I heard he was a part of some out of town band. He liked to think he was the king of swing. And the king of swing would have you hanging by a string He’s a master of jazz, when he sings you come alive.” The melancholy “Emptiness” is a piano-driven track with mournful violin. The lyrics address the feelings of pain and loss when love has gone: “We judge people for judging, ’cause judging is wrong. The only way to stay OK is writing a song. Food has lost it’s taste. Get me out of this place. If you cut me open, I would bleed his name. It hurts so much.”
Georgia injects a hip hop beat and lots of distorted guitar into “No Need to Hide,” while “Always Be Yours” is a lovely, uplifting ballad about how she was saved by another’s love and devotion. The Latin-infused album closer “You Wouldn’t Do This if You Did” is a kiss-off to a lover with a chronic drinking problem: “How am I supposed to love you, when you only see me through bottled eyes. And every time I smell the liquor, a little part inside of me dies. You’re not who you were when I first met you. / I know you don’t love me. Cause you wouldn’t do this if you did.”
Perfect on Paper is a brilliant album, and an outstanding debut from this gifted and promising young artist. I expect – and hope – we’ll be hearing more great music from Georgia Fearn before long.
Matt DuPuy is a singer/songwriter, music producer and recording artist based in Nashville, Tennessee. He’s thrilled to release his very first single “More Than I’ve Ever Known,” which dropped May 15th, and I’m happy to review it. Matt had assistance from Andie Sandoval and Antonio Brum, who provided backing vocals, and the track was mixed by Jeremy Hatcher and mastered by Nathan Dantzler.
The track opens strong, with a strutting electric guitar riff and thumping drumbeat that quickly hook us in. An assortment of kick-ass bluesy, funky and distorted guitar licks are gradually layered over the continuous strutting riff, accompanied by aggressive drums, loudly crashing cymbals, and organ that dial up the heat as Matt sings about a steamy romantic encounter: “I want her and she wants me. Can’t fight the pull of gravity. I think I’ve found my place. She was hiding in the smoke. Can you take me higher baby. More than I’ve ever known.” Matt’s smooth earnest vocals are terrific, and I love the calm interlude in the bridge, where keyboards and strings share the spotlight, and Andie and Antonio’s beautiful harmonizing background vocals really shine.
“More Than I’ve Ever Known” is a fine, well-crafted song, and a promising debut effort from this talented young musician. Not only are Matt’s guitar-playing skills impressive, his songwriting and vocal abilities are also first-rate.
Dancing on Pluto is a talented and charismatic rock band I learned about at the beginning of this year, when I first heard their fantastic single “Feels Good” (which I reviewed). Formed in early 2017 and based in Grand Rapids, Michigan, Dancing on Pluto is made up of four long time friends Chas (lead vocals), Josh (drums), Gilbert (guitar) and Ishmael (bass). Drawing influences from many of their favorite genres, including rock, hip hop, R&B, reggae, synth-pop, shoegaze and grunge, they create music that’s eclectic, interesting and unpredictable. They released their superb debut EP Abandon Ship in 2017, followed by “Feels Good” at the end of the year. In April, they dropped their second EP Paradise Fahrenheit, delivering five great new tunes for our listening pleasure.
Like they did on Abandon Ship, Dancing on Pluto really bends genres and mixes things up on Paradise Fahrenheit – one of the things I love about their music. The first track “Ozone” has a sunny reggae beat, but a hip hop element is added via Chas speed-rapping in the song’s middle. The acoustic and wobbly electric guitars are particularly good, with a tasty little riff in the bridge. The song seems to essentially be about not seeing the forest for the trees, and feeling pessimistic about life: “All I see, nestled in green, tripping over nothin’ by my own damn feet. I can’t see at all, no stars in the sky. No food and I’m starving.” But after spending time in the forest, he finds clarity and peace of mind, and his attitude becomes more optimistic: “Nestled in green. Visibly at ease. The stars are so beautiful.”
“Where the Wild Things Are” starts off as an uptempo rock song, with buoyant riffs and peppy drums. Halfway through, the track shifts to sort of a ska beat, with jangly guitars and strutting bass. Chas sings of teenage insecurities, self-doubt and the struggle for independence: “I know what people see. I’m scared that you’re too good for me. That’s why I’m always scared. / Is it because I get jealous when I see you in a crowd? Is it because I can’t take you where my thoughts get loud? Am I not beautiful enough for you to want to treat me good?”
The joyously uplifting gem “Feels Good” is the song that first made me fall for Dancing on Pluto. Beginning with Chas yelling “It feels good, yeah!“, followed by a few seconds of a simple drumbeat and tapping drumsticks, the track bursts wide open with a barrage of shredded guitars, then settles back down. Chas’ incredible vocal dexterity really shines on this track – sounding as smooth and soulful as John Legend one minute, then raw and loud the next. The tempo goes from a mellow, bass-driven groove while he croons “When you’re on your own, take time and deep breaths. And when you’re on your own you’ll find out…”, to an explosion of wailing guitars and thunderous drums with the refrain that perfectly describes the song’s affect on me: “It feels good! It’s so good, right on!”
The guys change things up again with “Snowflakes on Mercury,” which sounds totally different than any of the other tracks on the EP. The beautiful, languid song has more of a shoegaze vibe, with greater use of synths and keyboards, yet they insert some grungy riffs in the bridge, adding a bit of poignant drama. The lyrics seem to address self-awareness and appraisal: “Snowflakes, I want to see you even when you hurt my eyes. I want to feel you even when you hurt my skin. Falling and floating. You help all of my footprints be seen. So I can see how far I am from where I’ve been. Falling and floating.”
“Monet,” is a seven-minute-long rock song with an incredibly pleasing and catchy melody, and marvelous strummed acoustic and electric guitar work. At roughly four minutes in, the tempo slows and riffs of jangly guitar dominate until drums and crashing cymbals return. The instrumentals all quiet down to just a simple acoustic guitar riff to close out the track. The lyrics seem to be about working through problems in a relationship: “I’d paint a picture of love that I can’t put into words for you. / This is your whole life, not just a cause worth fighting for. / I’m standing outside your door, ’cause I thought that I was more than the half-hearted fool you took me for. We’re fine ’cause our creator says so. We’ll be fine.”
With Paradise Fahrenheit, Dancing on Pluto have another solid EP under their collective belts as they start to build an impressive discography. I love their music, and look forward to hearing more great and innovative songs from them.
UK indie pop band V A L E set the winter airwaves ablaze this past January with their gorgeous debut single “Fire.” Now the East Midlands duo – consisting of Will Bond (vocals, piano, synths & guitar) and Olly Walton (drums & synths) – return with a breathtaking new single “Better Place.” Employing lush synths and a seductive dance beat in a similar style to that which made “Fire” such a marvelous track, with “Better Place” V A L E has created an emotionally stirring and achingly beautiful dream pop song.
Starting off with dramatic piano keys, the guys add layers of sparkling synths and a gorgeous, mesmerizing guitar riff, all set to a pulsating dance beat that grabs us by the ears, hips and heart. Will’s smooth vocals are captivating as he fervently sings of the betrayal that’s caused him pain and led to the breakup of their relationship:
You were the reason I was riding on the wave You pulled the plug now I’m sinking I stood and watched you turn my trust into the grave I don’t know what I was thinking
I gave you everything so why’d you misbehave? You knew my love was unblinking And all the times I turned an eye and still forgave You let me down now I’m drinking
Ooh, I still think about ya Ooh, I still see your face Ooh, life goes on without ya Ooh, need to find a better place
With just two stellar singles thus far, V A L E is already establishing themselves as an act on the rise and one to watch. I love their songs and look forward to hearing more from them soon.
Jon Magnusson is a songwriter and musician from Stockholm, and the first Swedish artist I’ve featured on this blog. He’s been writing and producing his own songs for over twelve years, but more recently has been putting a greater emphasis into playing, singing, recording and producing music. His sound could best be described as folk with touches of rock, pop and occasional punk influences and, as he muses, “an occasional jazzy beat thrown in to keep listeners on their toes.” His primary instrument is the guitar, both acoustic and electric, but he’s also adept at programming drums, strings and keyboards.
Another big interest of Jon’s is languages and literature. Speaking and reading Swedish, English and even Spanish, he’s found inspiration in different cultures and has recorded songs in all three languages. In addition, as a professional social worker he also appreciates how interpersonal relations can affect humans in a positive direction and he brings that to his music as well. And finally, though he’s not quite as passionate about politics as when he was younger, his sensibilities still lie left of center, and he’s always striving for a more equal society, which is reflected in some of his lyrics, and something that definitely has appeal for me.
In March, he released his latest effort, a five-track EP titled Always a Rebel. The first track “Rely on Me” is an upbeat message of unconditional support to a friend or loved one. The fine layered guitars, sparkling synths and peppy drums make for a really warm and pleasing song.
“I’m Not the Only One” is a pretty, bittersweet song that’s rather sad but hopeful. About the lyrics, Jon explains “I wrote this song the summer 2011. I had just finished my social worker degree. I was feeling a bit tired living in Stockholm and wasn’t really sure what to do with my life. On top of that I had a period with quite a lot of anxiety so life was actually kind of rough. Luckily I had some great people around me, family and friends and most of all my to-become wife and the line “I can not sleep tonight, but I’m not the only one” was more or less literally written a night when I couldn’t sleep but at least I had someone with me to keep me company.”
Musically, the track features glittery synths that create a cheerful, sunny soundscape, conveying a strong sense of optimism. The guitars and percussion are just right, and Jon’s vocals (which can be a little flat at times) sound really good on this track. It’s a beautifully arranged song, and my favorite on the EP.
The third track “Set Me On Fire” is an interesting song that touches on three subjects – mental illness, existentialism and the need to keep on creating. Jon explains “The song is totally built around the first line ‘Put something in my bloodstream to take away the pain, attenuate my anxiety, make me go astray.’ I actually came up with this one day thinking back a few years when I was dealing with a lot of anxiety… I got a lot of help thanks to a fantastic doctor and to some anti-anxiety medication, and so that line is somewhat of a tribute to those pills that made such a difference for me. I also remember how much I got helped thanks to other people being open, breaking the stigma around mental health issues.”
“The second verse goes into a bit of a mined ground, challenging the concept of a god and an inherent meaning to life. ‘Don’t preach about eternity, while life is fairly well. Don’t lie to us I know that there’s no heaven there’s no hell. If Jesus is your savior, cross me off your list. In the end I might get burned, but I gladly take that risk.‘ Personally I define my self as somewhat of an existentialist. I don’t think there is any basic meaning to life that you are able to find through soul searching or religion. Life itself is rather pointless; you’re born and then you live, and then you die. What’s important is to create meaning to your life yourself, and most of all together with others.” Being non-religious myself, I totally identify with Jon here.
The third verse – “And keep that fire burning, don’t tuck me in to sleep. Whisper softly in my ear, that I’m the one you’ll keep. I might get overheated, I might put on a show. But what’s the point in holding back, I never liked it slow.” – speaks to Jon’s feelings that he can’t be still, and always needs to find outlets for his creativity, no matter how exhausting it can sometimes be.
Musically, the track has a languid, pleasing melody that slowly builds to a crescendo. Jon and his sound engineer Ruben utilized chiming guitars, synths and crisp drums to create the beautiful sound, as well as a distorted glockenspiel that adds to the song’s charming quality.
The title track “Always a Rebel” is a lovely folk song that’s featured in two different versions. Both sound fairly similar to my ears, with a pleasing mix of acoustic and rhythm guitars and gentle synths, along with a sublime organ riff. The first version has a slightly more polished feel, whereas the second has a more relaxed folksy vibe, but both sound great in any case.
The lyrics speak to someone who enjoys the freedom and independence that comes from being an unconventional, rebellious sort, but at the same time missing out on some of the meaningful things in life: “You see yourself as disengaged, so casual and smart. And pity for the working man stuck in his car. No bills to pay, no gallows swaying over you now. But deep inside you’re longing for a life where you will never be a part. But a rebel, always a rebel you are.”
Always a Rebel is a very nice little EP that actually grew on me the more I listened to it and delved deeply into the compelling lyrics, many of which strongly resonated with me.
Alexis Gerred is a hard-working, multi-faceted artist based in London, UK. A seasoned performer, he has appeared in numerous stage productions in The West End, on national television, and on various tours around the UK and Asia for over 10 years. Some of those productions include American Idiot, Our House, Dreamboats and Petticoats, The West End Men, Rooms, and many more. He loves being creative in any area of performance, but his true passion lies with singing. He explains “Having grown up listening to some of the greatest musicians of all time, I’ve always dreamed of someone enjoying my own music in the same way. Over the past ten years I’ve been lucky enough to receive some incredible support through TV and theatre, but I’m excited to show everyone who I am as an individual, rather than the part or role I’m playing.”
Alexis has penned numerous pop/rock songs over the past several years for what will be his debut album Alexis. Ranging from hard-hitting ballads to catchy up-tempo tunes, his songs are influenced by some of his favorite artists like Train, Goo Goo Dolls, 3 Doors Down, Gavin DeGraw and Walk the Moon, as well as the legendary Queen, Rod Stewart, Bad Company and Michael Jackson. He’s recorded the first two songs, “Sweet Angel” and “Hold You Close,” and is now appealing to fans and supporters to help him cover some of the costs of producing the album through a crowdfunding campaign which, at the time of this review, has raised 60% of the goal thus far.
To coincide with the launch of the crowdfunding campaign, Alexis has released his first single “Sweet Angel,” a beautiful, uplifting song about unconditional love and support. Originally written as a thank you to his parents for their support and guidance, Alexis says it now also reflects how he wishes to bring up his own children. “My parents have been a constant support, always showing me the way forward in whatever situation I found myself in, and I like to think I am now offering that same love and guidance for my own children. Having said that, I hope anyone who has received support from others during tough times will relate to the lyrics of ‘Sweet Angel’.”
Layers of gorgeous chiming and fuzzy guitars, delicate piano and just the right balance of percussion provide the perfect backdrop for Alexis’ heartfelt vocals on the track. And what beautiful vocals they are – raw and intensely passionate one moment, then a gentle falsetto the next – as he sings the stirring lyrics “I know you’re falling. I see you falling deeper down. I’ll show you how to fly with broken wings. Sweet Angel.”
The heartwarming video shows scenes of Alexis performing the song against a black background, interspersed with film footage of him and his family when he was a baby and later at various stages in his childhood. By the end, he’s shown in the present with his own two young children.
I’ve noted in previous posts that one of the things I like about Twitter is the huge amount of new music I’m exposed to from the many musicians and bands who follow me. And in addition to all the terrific music, I’ve also had the pleasure of getting to know some truly kind and generous people who I can call friends. They’ve not only supported me and my blog, they’ve also shown themselves to be strong supporters of other artists. One of those musicians is singer/songwriter Patrick Talbot, who goes by the artistic name GhostlyBeard.
Somewhat of an enigma, Ghostly Beard is originally from France but now calls Montréal, Québec, Canada home. Preferring the focus to be entirely on his music rather than him, he’s chosen to remain physically anonymous, so he never shows his image on any of his albums or social media, nor does he perform live. That said, he’s a creative and talented songwriter and multi-instrumentalist with a lot to tell us, which he expresses so beautifully through his intelligent lyrics, sublime vocals and dreamy, mellow soundscapes that draw from soft rock, jazz, pop, progressive rock and fusion, among other influences. When listening to his music, one can hear his inspiration from such legendary artists and bands as Steely Dan, Pink Floyd, Michael Franks, James Taylor, Cat Stevens, Genesis, XTC, and Weather Report.
Ghostly Beard has been a busy man, recording and releasing lots of music over the past year or so, including his superb album Invisible, which dropped last October (of 2017). More recently, he’s released two new songs that will be featured on his forthcoming album Inward, which is scheduled to drop on May 4th, and the subject of this review. The album contains ten tracks that have more of a soft-rock vibe than the jazzier Invisible, though jazz elements are still well-represented on Inward.
Like all his music, the album is entirely self-produced. He wrote all the music and lyrics, played all instruments, and recorded, mixed and mastered the songs at his own Studio GB in Montréal. He sang all vocals, other than for guest vocals provided by Emma Caiman on “Night Train” and his daughter Sarah Talbot on “Going Away.” The imaginative album cover photography is courtesy of Pol Ùbeda. Also, it must be noted that all proceeds from album sales will be given to MusiCounts – https://www.musicounts.ca/ – a Canadian charity organization that promotes music education through a wide variety of programs, including scholarships and providing musical instruments and equipment to after-school music programs and other community non-profit organizations.
The album opens with “How Does It Feel?” a laid-back tune with rather pensive lyrics about feeling that your life hasn’t mattered…that your existence has made no impact on the world: “When you’re so invisible what do you do in the title role? And when you know it’s far too late to take your place again in the human race. How does it feel? To be less than real.” The gently strummed and chiming guitars, accentuated by just a hint of reverb, are really pleasing, and the electric guitar riff that begins in the bridge and continues through to the end adds a nice complexity to the track. The languid drumbeat is accompanied by lightly crashing cymbals and a sweet xylophone that’s heard throughout the track. Ghostly Beard’s smooth vocals are warm and comforting, and seem to lessen the sting of the unhappy lyrics.
The warmth of his vocals, a major characteristic of his overall sound, are strongly evident on the bittersweet “The Love in Your Eyes,” an easy-going song dedicated to his mother, Christiane. His words beautifully express his feelings of loss and missing her in a way that everyone who’s lost a loved one can identify with: “Out of the blue I felt your absence. And into my heart an empty place. I reached for your light, I couldn’t find it. What would I give to see you now! And I had to say goodbye when I knew it would be for the last time. However hard I tried I couldn’t see all the love in your eyes anymore.”
In addition to his smooth, comforting vocals, another signature element of Ghostly Beard’s music is his layered, multi-textured guitar work that imparts a rich, fuller sound. His skillful use of strummed acoustic guitar alongside chiming and distorted electric guitars, all grounded by subtle bass lines, are exquisitely showcased on tracks like the Country-tinged “Gone,” the soft-rock ballad “Let Go” and the jazzy “It Doesn’t Matter.” And his ace guitar playing really shines on the sparkling instrumental track “Autumn Blues,” where his fantastic bluesy guitar work seems to channel Steely Dan.
One of my favorite tracks on the album is “Night Train.” The captivating song tells the story of two unhappy people on a train fantasizing about a chance encounter: “We were strangers on the night train riding in the dark. Going nowhere to speak of, just escaping from the past. / And the tears started falling down. Was it yours or was it mine? / As the train was heading north, I thought of all I’ve left behind. Who knows what crossed your mind when your eyes crossed mine?” The dream is disrupted by a explosive riff of distorted guitars, then the music calms back down to its previous languid pace as reality returns: “Never spoke and never will. It all happened in a dream. During that fleeting moment in the world that passed away. / We leave so little trace but a memory in the dark. Ooh, taking the life train. Ooh, riding the long way home.” I love the instrumentals on this track, and Ghostly Beard’s vocal harmonies with Emma Caiman are marvelous.
Another standout is the darkly beautiful “9 to 5 (Barely Alive).” Nearly eight minutes in length, the influence of Pink Floyd is clearly evident, with extended guitar riffs floating above a somber but lovely piano movement. The track opens and closes with the sounds of voices as if at a gathering, adding to the sense of isolation. Ghostly Beard sounds resigned as he wistfully sings of the soul-crushing tedium of a 9 to 5 job: “9 to 5, you leave your soul behind and drag your worried mind to earn your place back in the line. / You’re barely alive. Just another day to make it through. All you do is give your light away.”
“Let It Rain” is a pretty but very sad song about being heartbroken over a loved one’s betrayal: “I’ll never trust another one. I need some time to be sane again. My whole being out of hand. Entire world just turned to sand.” Not wanting to end things on a down note, Ghostly Beard delivers upbeat feels on the bouncy album closer “Going Away.” With assistance from his daughter Sarah on backing vocals, he sings about the thrill of getting away from life’s daily routines and problems, and going off on an adventure filled with possibilities. It’s a fitting closing track to an aptly-titled album filled with beautiful, introspective songs.
Track listing:
1. How Does It Feel?
2. The Love in Your Eyes
3. Gone
4. Autumn Blues
5. Night Train
6. Let Go
7. It Doesn’t Matter
8. 9 to 5 (Barely Alive)
9. Let It Rain
10. Going Away
ECLECTIC MUSIC LOVER 