STRANGELY ALRIGHT – Single Review: “Maybe If”

Strangely Alright is a wonderful and wildly-entertaining psychedelic-punk rock band based in Seattle-Tacoma, Washington. Referring to themselves as an “Eclectic Traveling Minstrel Magic Music Medicine Show”, they’ve built a loyal following not only through their great music, but also for the positive messages of humanity, love, kindness and acceptance in their songs. Their quirky and unique style of punk-infused rock is inspired by such iconic British artists as David Bowie, T.Rex, Pink Floyd, the Jam, Suede, the Buzzcocks and Supergrass. The band is fronted by Regan Lane, who does much of the songwriting and sings lead vocals, Sean Van Dommelen (lead guitar, backing vocals), Ken Schaff (bass), Raymond Hayden (keyboards, backing vocals) and Jason Bair (drums).

They’ve released a number of recordings over the past several years, including their debut album The Time Machine is Broken in 2013, as well as a compilation album All of Us Are Strange (The Singles) and an EP Stuff, both of which were released in 2018. Since then, they’ve dropped a number of terrific singles, one of them the brilliant and trippy “Psych Film”, which has been streamed nearly 75,000 times on Spotify. The song has also spent the past four months on my Weekly Top 30 list, peaking at #4. (You can read my reviews of Stuff and “Psych Film” by clicking on the links under “Related” at the end of this post.)

Now Strangely Alright returns with their marvelous new single “Maybe If“, a beautiful song of hope, love and gratitude. About the song’s message, the band states “In a world of pointing fingers, we have decided to look inside for the answers. And let’s be kind! It matters in ways we often never see.” Running nearly eight minutes long, the song has an epic, otherworldly feel reminiscent of some of Pink Floyd’s music. The intricate guitar work is fantastic, alternating between jangly, chiming and grungy textures, and accompanied by sparkling piano keys, measured percussion, and a colorful mix of spacey and sweeping orchestral synths. It all comes together beautifully to create a dreamy cinematic backdrop for Regan’s wonderful Bowie-esque vocals.

Feeling like an alien
Who fell and landed here
Maybe if I face my pride
The answers will be clear
Maybe if I ride a cloud
Into the sun my darkness disappears

Everything I never had
I’d give it all away
If I have to steal a smile
I’ll wear it for the day
If I have to tell where I have been
I have to sell there’s nothing left to win

Maybe If I look inside
I’ll see the things I’ve always tried to hide

Maybe everything I have
Is everything I need
And I can’t control the world outside
And I hate who I can be
If I lose control will I disappear
And will I fade away to the nothing
In the mirror

Galaxies of brokenness that fabricate what I have missed
Peculiar thoughts I died when I was young
Can’t escape what might have been
The atmosphere is getting thin
I’m out of gas
Maybe If

Maybe If my gratitude is greater than my faith
If I see myself in everyone will I share a little grace
And I want to trust all the things I see
And I want to feel just a little peace
There’s a million no’s deep inside of me
If I let em go
I just might end up free

Strangely Alright hit the ball out of the park yet again with “Maybe If”, further cementing their reputation for putting out stellar tunes with the power to both dazzle our senses and stir our souls.

To learn more about Strangely Alright, check out their website
Connect with them on Facebook / Twitter / Instagram
Stream their music on Spotify / Apple Music / Soundcloud
Purchase on Bandcamp / iTunes / Google Play

DENSE – EP Review: “Abjection”

DENSE is a remarkably talented young psychedelic garage rock band from Leeds, England I’ve been following pretty much since their beginnings nearly four years ago. As their name suggests, they combine thick, fuzz-coated grooves with intricate, often explosive riffs and complex melodies to create music that’s exhilarating and intense. To best describe their distinctive sound, I’ve come up with the phrase ‘industrial surf-metal psychedelic garage rock’.  Making this incredible and innovative music are Charlie Fossick (Guitar/Vocals), Dylan Metcalf (Bass) and Sam Heffer (Drums), three intelligent guys who take their music seriously, yet are still fully in touch with their playful side.

A favorite of this blog, I’ve featured DENSE numerous times over the past three and a half years, most recently last December when I reviewed their dark and gritty single “Fever Dream” (you can read some of my previous reviews by clicking on the links under ‘Related’ at the end of this post). Now the guys return with their debut EP Abjection, featuring four combustible little sticks of dynamite packed into 14 explosive minutes. The guys have gained a reputation for their electrifying live performances, and in the creation of the EP, they wanted to capture that energy and translate it into their songs. Abjection was written and recorded by DENSE, produced and mixed by Adam Bairstow, and mastered by James Grover.

It’s been gratifying to follow these guys on their musical journey, and as they’ve matured, so too has their sound, songwriting and performance, with each release sounding better and better. Abjection is their best work yet, with the band further experimenting with progressive rock elements. In a recent interview with British webzine DRAB, the band explained “The instrumentals are incidentally written to sort of be ‘progressive’ with changing moods and vibes through each song to almost tell their own story. To pair with this, Charlie usually writes taking influence from writers such as H.P. Lovecraft (i.e. cramming a horror story into a single song), and this led to us landing on the main theme of the EP being a small collection of songs that are all essentially short stories about different forms of suffering, hence the title of the EP. Looking back on that, it makes us come across a lot more bleak and depressing than we like to think we are as people!

Opening track “Calcium” really showcases how well the three guys play as a tight unit, their respective instruments in perfect sync as they deliver a thunderous wall of psychedelic sound. Starting with Dylan’s deep, pulse-pounding bass line that serves as the song’s rapidly beating heart, Charlie layers scorching reverb-soaked riffs that rip through the airwaves while Sam aggressively smashes his drum kit. I can’t make out all the lyrics Charlie’s singing, but he screams with a ferocity that’s downright chilling. A little more than halfway through the song, we hear what sounds like jets flying as Sam starts shattering his drums with crushing beats that echo off the walls. At 2:45, Charlie lets loose with a savage volley of raging distortion, while Dylan’s relentless throbbing bass can be both heard and felt. It’s an exhilarating ride from start to finish.

As it’s title suggests, “Dread” is a dark and ominous track, with a heavy start-stop beat driven by a menacing bass line. Two thirds into the song, Charlie blows us away with an explosion of screaming distortion while Sam smashes his drums to bits. Charlie wails the lyrics that speak of depression and hopelessness: “Dark shadows surround me. So patient. So worthless. So nothing.” In that DRAB interview, he commented on his vocals: “I think as far as my vocal tone on the EP goes, I was trying to be more confident in my voice and not hide too much behind walls of reverb and delay which is a lot more comfortable for me. I never think of myself as a ‘singer’ or anyone of any significant talent vocal/lyric-wise so I wasn’t very comfortable in having my words sound clear and at the forefront. This time around I’ve decided to be a bit more vulnerable with what I wrote and how I’m performing it.”

Electric Chair” has a rousing punk rock vibe, with gnarly reverb-soaked guitars that border on surf at times. As always, Dylan and Sam blast out a hard-driving rhythm with their intricate heavy bass line and pummeling drum beats.

The final track “Cleanse/Repair” is a reworking of their song “Irreversible Knot” that they’d previously recorded a few years ago. After changing a few lyrics and elements that make it a sharper and more polished-sounding track, they felt it needed a new name. The song begins with Dylan’s deeply-strummed bass, then we’re hit by a thunderous barrage of fuzzy distorted guitars and wildly crashing cymbals. Charlie’s echoed vocals go from sultry drones to savage wails, while he shreds his guitar nearly to bits. Halfway through the track, things calm down so that we hear only Dylan’s bass, then with a scream from Charlie, a cacophony of reverb-soaked distortion comes crashing back like a rogue wave. A second lull occurs three quarters of the way through, with a final return of tumultuous discordant musical mayhem closing out this monumental track.

All three members of DENSE are supremely talented guys who continue to blow me away with their incredible musicianship. Charlie’s guitar work is exceptional, and I think Dylan is one of the finest bassists around today. And Sam’s a literal beast on the drums. Abjection is a fantastic little EP that makes quite an impact in its 14 minute run time, and if you like music that’s complex, thrilling and dark, you will enjoy it as much as I do.

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

EML’s Favorite Albums – JEFFERSON AIRPLANE: “Surrealistic Pillow”

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Surrealistic Pillow by Jefferson Airplane was one of the earliest albums I remember buying as a teenager growing up in the San Francisco Bay Area, where the band was based. I’d loved their two hit songs “White Rabbit” and “Somebody to Love”, but when I heard the album in its entirety at a friend’s house when it was played by her older sister, I was immediately smitten. I loved every song on the album, and had to have my own copy.  To this day, it remains one of my top 10 all-time favorite albums, and I still cherish my copy, now more than 50 years old. I also think it’s one of the best album covers ever!

Originally formed in 1965, Jefferson Airplane became one of the pioneering bands of psychedelic rock, and came to define what was then called the ‘San Francisco Sound’. They released their debut album Jefferson Airplane Takes Off in 1966 to critical acclaim and decent sales, eventually enough to have it certified gold. It’s a very good album, with songs that were more folk-rock oriented, and inspired by the music of bands like the Beatles, the Byrds and the Lovin’ Spoonful. A turning point in the band’s sound came after the departure of their original female vocalist Signe Anderson in October 1966, who wanted to devote more time to raising her baby daughter. She was replaced by Grace Slick, who’d previously been with the band The Great Society. In addition, founding drummer Skip Spence had earlier been replaced by Spencer Dryden. This new Jefferson Airplane lineup, which would last until early 1970, now consisted of Marty Balin (vocals), Grace Slick (vocals), Paul Kantner (guitar, vocals), Jorma Kaukonen (lead guitar, vocals), Jack Casady (bass) and Spencer Dryden (drums).

Slick’s joining the band proved pivotal to the Airplane’s commercial breakthrough, as her wonderful resonant contralto voice nicely complemented Balin’s beautiful tenor voice, and was well-suited to the band’s increasingly amplified psychedelic sound. In addition, being a former model, her good looks and on-stage charisma greatly enhanced the band’s live performances. She also contributed two of what would become the band’s signature songs – “White Rabbit” and “Somebody to Love”, both of which she originally recorded while with The Great Society (Slick wrote “White Rabbit” and her brother-in-law Darby Slick wrote “Somebody to Love”).

Surrealistic Pillow was recorded in Los Angeles under the guidance of producer Rick Jarrard in only 13 days, at a cost of $8,000. According to Wikipedia, the title “Surrealistic Pillow” was suggested by the album’s “shadow producer” Jerry Garcia, when he commented that the album sounded “as surrealistic as a pillow is soft.” Although the band’s label RCA would not acknowledge Garcia’s considerable contributions to the album’s production, he is listed in the album’s credits as “spiritual advisor.” The album was released in February 1967, and remained on the Billboard 200 album chart for more than a year, peaking at No. 3. Rolling Stone Magazine has ranked the album at #146 on their list of the “500 Greatest Albums of All Time”.

OK, enough with the background information. Let’s get to the album. It kicks off with the rousing “She Drives Funny Cars”, and what a great opening track it is. The first sounds we hear are Dryden’s aggressive galloping drumbeats, which are soon joined by Kaukonen’s and Kantner’s dual guitars, and we’re off to the races. Their intertwining psychedelic riffs are incredible, and so is Casady’s powerful bass line. Balin sings lead vocals here, with Slick nicely crooning in the background. Before we can catch our breath, we’re hit with Slick’s verbal assault of “When the truth is found to be lies”, and for the next two minutes and 55 seconds the masterpiece “Somebody to Love” unfolds, pulling us willingly into its maelstrom of explosive psychedelic greatness. The guitar work on this track is positively wicked! The song became Jefferson Airplane’s highest-charting single.

“My Best Friend” was written by former drummer Spence, and is a pleasing folk-rock song with a Lovin’ Spoonful vibe that would have been at home on their first album. Balin and Slick’s vocal harmonies are particularly nice. Next up is the haunting Balin-Kantner penned love ballad “Today”, with gorgeous jangly and chiming guitars and featuring Balin’s fervent vocals, enveloped by a dramatic percussion-heavy wall of sound that would make Phil Spector proud. “Comin’ Back to Me” is a beautiful mellow ballad with strummed acoustic and electric guitars, some of which were reportedly played by Jerry Garcia. Highlights of the song are the haunting flute and Balin’s stunning heartfelt vocals.

As we continue with the album, it’s clear that every single track is outstanding, and that the band had an incredibly diverse and wide-ranging sound. The hard-driving psychedelic guitars on “3/5 of a Mile in 10 Seconds” are fantastic and gnarly as hell, showcasing the band’s ability to deliver down and dirty blues rock. They seem to channel the Byrds on the breezy gem “D.C.B.A.-25”, with glorious jangly guitars and more of Balin and Slick’s gorgeous vocal harmonies. The song has a different feel from most of the others on the album, but is one of my favorites. “How Do You Feel” is a nod to the Mamas and Papas, with its pleasing melody, beautiful harmonies and more of those beguiling flutes. And then we have the stunning instrumental “Embryonic Journey”, featuring a tour de force acoustic guitar solo performance by Kaukonen of a song he wrote.

Next up is my personal favorite Jefferson Airplane song “White Rabbit”. Slick has stated she wrote the song as a slap to parents who read their children novels like Alice in Wonderland, then wonder why their children later used drugs. In an interview with The Wall Street Journal, she mentioned that besides Alice in Wonderland, her other inspiration for the song was “the bolero used by Miles Davis and Gil Evans on their 1960 album Sketches of Spain,” which was itself inspired by the famous classical composition “Bolero” by Maurice Ravel. It’s the buildup to the crescendo that makes both “Bolero” and “White Rabbit” so wonderful. Here’s a performance of the song on the Smothers Brothers Comedy Hour in 1967.

The album closes with the bluesy “Plastic Fantastic Lover”, with more of those wonderful psychedelic guitars, accompanied by the kind of powerful head-bopping beat I love. It’s a fantastic finish to an album I consider a masterpiece. Although Jefferson Airplane would go on to release several more albums before splitting up in 1972 and going their separate ways with other music projects, none would match the phenomenal success of Surrealistic Pillow.

The album was later re-released with five bonus tracks not on the original 1967 release.

 

New Song of the Week – ROADKEEPER: “Downs”

Roadkeeper

There are a lot of really talented indie bands around today making great music, and I enjoy giving at least some of them a bit of press to hopefully introduce them to a wider audience. One of my favorites is Texas alt-rock band Roadkeeper, who since forming in 2018 have consistently put out a string of exceptional singles. I featured them twice on this blog last year (you can read my reviews under ‘Related’ at the bottom of this article), and especially loved their single “Old Man’s War”, a stunning track about anxiety and worry over things, both real and imagined. It spent 18 weeks on my Weekly Top 30, and ended up at #51 on my Top 100 Songs of 2019 list. They’ve just released their sixth and latest single “Downs“, a beautiful song that I’ve chosen as my New Song of the Week.

Based in the eastern Texas city of Tyler, Roadkeeper consists of songwriter/producer John Hetherington (vocals, synths, rhythm guitar), Trevor Tull (lead guitar), Nick Cogdill (drums) and Daniel Griffith (bass), all long-time friends. Roadkeeper is completely independent and self-produced, doing their recording, producing and mixing in John’s studio – dubbed ‘Yacht Country’ – and releasing their songs on their own label Equal Temperament. Blending dreamy shoegaze and dramatic psychedelic rock with complex melodic structures, they craft lush soundscapes that are a perfect backdrop for their intelligent and topically relevant lyrics that give us something to think about.

With that in mind, the band states that “Downs” “is a personal contemplation of impostor syndrome and not finding one’s place within the cultural and sociopolitical zeitgeist.” The lyrics speak to feeling disconnected with one’s surroundings and the people we interact with: “I feel so disconnected from the qualities of people. My sense of self is out of style. I dread to leave my house and the comfort of this down. I just wanna stick around. I just need a better life.”

Musically, Roadkeeper starts with a simple two-chord progression and layer a lush palette of glittery analog synths and beautifully-strummed acoustic guitars to create a dreamy soundscape. The track opens with an enchanting minute-long introduction of atmospheric synths, then a toe-tapping beat kicks in, along with the aforementioned acoustic guitars and a sublime piano riff that are really gorgeous. John has a smooth and pleasing vocal style that’s well-suited to the band’s sound, and his slightly echoed vocals are especially wonderful here. “Downs” is a superb song, and one of Roadkeeper’s best yet.

Connect with Roadkeeper:  Facebook / Twitter  / Instagram
Stream their music on Spotify / Soundcloud
Purchase on Bandcamp / iTunes / Google Play

New Song of the Week – STRANGELY ALRIGHT: “Psych Film”

Strangely Alright Psyche Film

Strangely Alright is a five-piece band from Seattle, Washington who refer to themselves as an “Eclectic Traveling Minstrel Magic Music Medicine Show”. They’ve built a huge following not only because of their entertaining and quirky style of punk-infused psychedelic rock, but also for the strong messages of humanity, love, kindness and acceptance in their songs. The band is fronted by Regan Lane, who does much of the songwriting and sings lead vocals, Sean Van Dommelen (lead guitar, vocals), Ken Schaff (bass), Raymond Hayden (keyboards, vocals) and Jason Bair (drums). They’ve released a number of recordings over the past several years, including their terrific album The Time Machine is Broken in 2013, as well as a compilation album All of Us Are Strange (The Singles) and an EP Stuff, both of which were released in 2018. You can read my review of Stuff here.

On the heels of their epic and mesmerizing Pink Floyd-esque single “Inside a Place”, Strangely Alright are back with a fantastic new single “Psych Film“, which I’ve chosen as my New Song of the Week. The song is about connection, trust, and valuing someone for who they are, warts and all. About their creative process, the band explains: “Part of being in a band, or relationship for that matter, is trust. Regan and Sean’s songwriting chemistry and trust are based on mutual respect and similar journeys from that darkness into the light that work for them. ‘Psych Film’ is a perfect example of one of the ways they create. [It’s] like having two painters painting on the same canvas at different times in order to create one cohesive piece of art.”

The track is melodic and trippy, with a bit of a 70s era David Bowie vibe thanks to lush psychedelic guitars and wonderfully spooky synths. The drums and percussion are flawless, and I love the deep, throbbing bass and heavy, buzzing reverb that continues throughout the song. Regan’s pleasing vocals are comforting as he croons the optimistic lyrics:

In the best of us you’re gonna find a good thing
In the worst of us you’re gonna find a bad thing
A different job
A different life
A different God
A different wife
In the best of us you’re gonna find a good thing

I don’t have to be alone no more
Connection
I don’t have to change
Who I am today
I am here and that’s enough to make it all ok
Connection
In a movie where the hero isn’t handsome
He got a job but he cannot afford the ransom
A different skin
A beating heart
A different dream
A tiny spark
In a movie where the hero isn’t handsome
I don’t have to be afraid of me
Connection
There’s a tiny thread
That I cannot see
But I feel it when I touch it with an open mind
Connection

Ooooo
A sinner today a saint tomorrow
A sinner today

To learn more about Strangely Alright, check out their website
Connect with them on Facebook / Twitter / Instagram
Stream their music on Spotify / Apple Music / Reverbnation / Soundcloud
Purchase on Bandcamp / iTunesGoogle Play

THE SLYTONES – Album Review: “IT IS CALLED”

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From the moment we first hear the sounds of someone sniffing a bottle, dropping ice cubes and pouring liquor into a glass, then taking a swig at the beginning of the opening track on the new album It Is Called by British band The Slytones, we just know we’re in for a good time. And quite frankly, can’t we all use a few more good times right now?!

Influenced by their love of The Doors, Mr. Bungle, Queens Of The Stone Age and Jimi Hendrix, as well as a colorful mix of Motown, psychedelia, gospel, blues, jazz and Afrobeat, the Brighton-based sextet make wildly entertaining music that’s bawdy, irreverent and funny as hell. Their hilarious, tongue-in-cheek lyrics tackle the minefield of love and relationships, and how they have a way of often exploding in our faces. As they so eloquently state in their bio, their sound “encompasses everything from schizophrenic fairground avant-pop and queasy skanking swamp-ska to crunching left-brain hard rock and mad scientist anti-funk.” To top things off, they dress in natty attire with their faces covered in black and white greasepaint, looking like six dapper mimes in their animated and theatrical performances.

Formed as a trio back in 2006, The Slytones eventually expanded to six members: Ashley Edwards (lead vocals/guitar), Bradley Wescott (guitar), Chip Phillips (keyboards, backing vocals), Chris Warren (bass) (though Carl Brothwood played bass on many of the album tracks), Freddie Hills (drums), and Robin O’Keeffe (percussion/backing vocals). They released their debut EP The Psychedelic Sound Of in 2011, then began recording new songs in 2013 for what was to be their first full-length album.

According to band drummer Hills (whose music I’ve previously reviewed both as a solo artist and as a session musician with fellow Brighton artists Ellie Ford and Liemba), The Slytones “spent three years slaving over it meticulously with a lot of love and attention to detail until it was finished around 2016. Despite all of this work, we got a bit fed up of playing the music industry game (and each other) and went on an indefinite hiatus. Now that we all have time on our hands, we decided to finally release it.” I’m glad they did, because it’s the most fun I’ve had listening to a record since last year’s Love at First Sniff by Australian band Thunder Fox.

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It Is Called was recorded at Ford Lane Studios in West Sussex, under the guidance of Rob Quickenden (Royal Blood, Tigercub, Demob Happy, Fickle Friends), who produced, mixed and mastered the album. Seven years in the making, the album was at last released on May 1st, and features 12 stellar tracks.

Kicking things off is “She Said She Came From the Sea“, which The Slytones first released back in 2015 as a double single with “Time Won’t Wait For Strangers”.  Opening with the aforementioned sound effects of liquor being poured and consumed, it’s the perfect drinking song about what appears to be a vexing mermaid who’s intruding on the singer’s free-wheeling ways. Lead singer Ashley Edwards has a raspy, sardonic and emotive vocal style that’s well-suited for their songs. We fully believe him when he sings “The truth is a stone. My heart is a rock. The women that surround me only long for my cock.” The accompanying video showing the guys performing the song on a pier and in the sea is delightful.

The Slytones are terrific musicians, adept at writing complex, ever-changing melodies and delivering them with an eclectic mix of instruments, sounds and stylistic elements that make for a fun and exciting listen. “Empire” is a great example of this, with a melody that alternates back and forth between a bouncy Latin-funk dance beat and a bluesy, guitar-driven groove that seems to channel the Doors’ “Roadhouse Blues”. In fact, Edwards sounds alarmingly like Jim Morrison when he wails the lyrics “Break down the walls, your empire falls!” The instrumentals are fantastic, especially the bluesy guitars and exuberant horns.

Another favorite of mine is “Sleeping Beauty Blues“, an appropriately bluesy track with everything from glittery synths, funky bass and blues guitars to honky tonk style piano, organ, jazzy drums and even a bit of cowbell for good measure. Then there’s Edwards cheekily crooning the lyrics about his girl not being all that she appears: “I got the sleeping beauty blues. / She sleeps like a beauty, but she snores like a fool.” There’s more musical mayhem to be heard on the rousing “Come Gigolo“, a wonderful tune with a feel similar to “Master of the House” from Les Misérables (at least to my ears). It also has some of the best lyrics: “I’m feeding all the lions to the dogs. As the idiots sleep, we massage their wives. Come gigolo my body ’cause my time is for sale. / Your mother should have slapped you before you were born.” The rousing vocal harmonies in the chorus are marvelous.

The Doors’ influence continues to be felt on many tracks. “Time Don’t Wait For Strangers” is another song with a complex, evolving melody. Opening with a peppy Latin beat, the song transitions after a minute into a languid and beautiful melody, with watery guitars and shimmery keyboards that remind me a bit of “Riders on the Storm”. At around 3:15, the song transitions once again, this time to a more psychedelic vibe with organ and heavier, distorted guitars. “Green Jacket” is a hard-hitting psychedelic and bluesy rocker, with some great fiddle, accompanied by Phillips’ lively keyboards and organ, and O’Keeffe’s gnarly percussive instruments. “The Seed They’d Sewn” has a bluesy vibe similar to “Love Me Two Times”, with lyrics that seem to describe a woman who’s turned out to be the Bad Seed: “She once was an angel, with skin so divine. Now the lizards congregate.. / The seed they’d sewn should not have grown / The sound they found, they should have drowned.”

Silver Harpoons” is a jazzy, bluesy and psychedelic fantasia. Edwards’ raw vocals are almost feral as he screams “Silver harpoons in the water. Night made to slaughter. Who are you?!” Later in the track, amid eerie synths and distorted riffs, his malevolence is palpable as he snarls: “Where is my goldmine? This corporate clothesline. I’m in a circus full of thieves. You’d kill a whale to feed your tart. I’ll fuck your wife to break your heart.” The infectious honky tonk piano makes a return appearance on the spirited “Shake the Cage“. Edwards and Wescott’s intense, bluesy guitars, Brothwood’s driving bass and Phillips’ piano are fantastic, and Hills does a fine job pounding out the lively rhythm.

Don’t Leave Me Alone” has a wonderful tango melody, punctuated with flourishes of bluesy, roadhouse-style grooves. On the amusing but dark “King of the Castle“, the band reference nursery rhymes to describe what appears to be a power-mad father. Edwards sounds rather diabolical as he croons “I’m king of the castle / Do you want to grow big and strong like your daddy? / Not by the hair on my chinny chin chin. Well I’ll huff and I’ll puff and I’ll blow your house in.” The song starts off with a jaunty fun-house vibe, complete with ghoulish clown laughter. Edwards repeatedly sings “Come sing, come sing as we’re dancing“, then in the last minute of the track, the music turns darker and downright menacing, with distorted guitars, crashing cymbals and a wailing organ riff.

The guys pull out all the stops on the final track “Pull Your Finger Out“, a complex and meandering 7:52-minute long extravaganza with more melodic change-ups than I believe I’ve ever heard in one song. It starts off with a slow, organ-driven melody punctuated by a bluesy guitar riff, then shifts to a bouncy melody with honky tonk piano, then to a bluesy, guitar-driven vibe, featuring flute and quirky percussive instruments. Various instruments come and go as the tempo continues to change, with even a flourish of gypsy guitar at the halfway point, and later on, a harpsichord. The lyrics are ambiguous to me – and I’m probably way off base – but they seem to describe a vampire’s love life: “We dance in the wretched moonlight. Sing me a wicked lullaby. Like wild men, we scream at the moon. Conscious in mind, but body aloof. Pull your finger out. / I sleep in the day when the moon is away. Wild horses couldn’t drag me away.” Whatever their meaning, it’s a great track.

I love this album and I love this band! It Is Called is 54 minutes of non-stop aural mayhem, and a blast to listen to from start to finish.  The Slytones are all amazing musicians, and I hope the release of this album will give them an impetus to reunite and make more music that brings a smile to our faces.

Follow The Slytones: FacebookTwitterInstagram
Stream/purchase their music: Spotify / SoundcloudApple Music / Google Play

FOLLOW DEEP – Album Review: “Will You Still Love Me…”

Follow Deep album art

Follow Deep is a young indie/alternative rock band from Hull, England who are making quite a name for themselves on the UK music scene with their dynamic, innovative music and high-energy performances. Making the music are Luke Bushby (vocals, guitar & bass), Joe Ingram (bass, keyboards & saxophone), and Jed Pearson (drums, vocals). The talented trio skillfully blend elements of alternative, progressive, psychedelic and grunge rock to create their unique, eclectic sound, with an added bonus of having two vocalists and a saxophonist in the mix.

They released their debut single “Bad Influence” in December 2017, then dropped an EP of the same name in July 2018. They followed up with several new singles in 2019, and in December, released their debut album Will You Still Love Me, which I’m finally getting around to reviewing. The album features ten songs addressing the highs and lows of love, along with the myriad perils of entering into romantic relationships.

Follow Deep

The brilliant opening track “Before The Storm” is a shining example of Follow Deep’s solid songwriting and musicianship. The song has everything I love in a great rock song: a complex melody, a strong, driving bassline, intricate, multi-textured guitars, explosive percussion and superb vocals that span a wide emotional range. The aggressive gnarly riffs contrast nicely with the more subdued jangly guitars and deep bass during the track’s calmer interludes, and along with the dramatic stop-start breaks in the melody, keep the song’s overall tension on a high level. I really like Luke’s voice, which goes from a seductive croon as he sings “You’re a fan of Mozart / I love him too / But it’s now your time to…“, then launches into a chilling full-blown scream with “Sing!” I also love his well-placed shouts of “Woo” and the harmonica riff that comes later in the track.  The lyrics seem to speak to our darker impulses, and possibly someone suffering the effects of PTSD. In an voice electronically altered to sound evil and menacing, we hear the words “Do you know what it is to be a monster? You have no idea.”

The band has released two videos for the song, first a lyric video to coincide with the album release last December, then an official video at the end of February. I’ve included them both, as the film footage in the lyric video nicely complements the lyrics, whereas the official video shows the band performing the song.

Next up is the album’s lead single “Alive“, a terrific rock song about the overpowering feelings that hit us when we fall hard for someone: “Cuz you are the reason that I’m not OK. Cuz you are the reason that I’m in pieces.” The dual contrasting vocals of Luke and Jed are highlights on this track and also the sexy and grungy “Sweet Innocence“, one of my favorites on the album. A torrent of grimy guitars and crashing cymbals are layered over a deep, throbbing bassline, creating a sizzling-hot backdrop for the guys’ sultry mix of falsetto and deeper vocals as they alternately croon and wail: “Cuz I don’t wanna behave anymore. There’s no good in your heart.” “Press Rewind” is a bittersweet song about a couple facing the fact their relationship is over, and needing to move on. The track has a pleasing guitar-driven melody, backed by some gentle, sweeping keyboard synths.

Another standout for me is “Hearts In Hands“, with its outstanding bluesy guitars and the guys’ passionate vocals making for a really stellar track. “Lifeline” is a hard-driving rocker, with fuzz-coated jangly guitars, crunchy bass and lots of crashing cymbals. But the real treat is Joe’s lively saxophone solo in the bridge, injecting a bit of a jazzy flourish to the track. “Steal A Flower” is a dark, grungy song with a strutting bass-driven melody. Luke laments about a relationship that began with promise, but ended badly. “How did it get so dark? You are not my destiny. I know what we could have been.” The intense, gnarly riffs and heavy percussion that erupt in the final chorus are fantastic.

Paradise” is another fine example of how Follow Deep expertly fuses grunge with progressive and psychedelic elements to great effect. The track starts off with a fairly straightforward grunge rock melody, with some fine guitar work setting the tone. At 2:23, the guys inject a blast of grinding psychedelic riffs and spooky swirling synths that last about 28 seconds before calming back down to the previous melody. Luke admonishes: “I’ve told you once, won’t tell you twice. I’m sick of being nice. Why do you think you’re making it to paradise?” With that, the music abruptly launches back into the psychedelic trip, only this time with an onslaught of screeching, heavily distorted guitars that continue to the end.

The guys pull out all the stops on the final two tracks, beginning with the bombastic “Start A War“. Luke’s blazing guitar work is positively mind-blowing, accompanied by Joe’s lush, ominous synths that seem to channel Depeche Mode. Jed attacks his drum kit like a man possessed, adding tremendous power to this glorious track. On the 7:18 minute long “The Same“, they complete the question they began asking in the album title “Will you still love me the same?” This monumental track has more of a prog-rock feel, starting off slowly with a hauntingly beautiful little acoustic guitar riff. Gradually, the music expands into a thunderous soundscape, then Joe enters with a terrific, moody sax solo that’s pure bliss. At 3:50, the music calms down to the gentle acoustic guitar of the beginning, while Luke repeatedly croons the question in a lovely falsetto: “When I’m no longer here no more, will you still love me the same?” The music intensifies again, this time into a gorgeous extended instrumental, highlighted by a stunning guitar solo that continues for the last two minutes before fading out. It’s a magnificent track.

Will You Still Love Me… is a superb album from this very talented and creative trio who make up Follow Deep. I don’t know their ages, but I’m guessing they’re barely in their 20s, and their music has a maturity and complexity that’s quite impressive. With so many elements in the mix, there’s a lot going on here from a musical and compositional standpoint, and I found myself discovering something new with each listen. The guys are great songwriters and musicians, and have much to be proud of with their first full-length album. My lone criticism is that I wish a few more tracks featured Jed’s saxophone, but that’s pretty minor in the overall scheme of things.

Catch Follow Deep at one of these upcoming shows:

Sunday, March 8 – w/Bone Broke Kings, Slackrr & King Boa
West Street Live, Sheffield, UK

Thursday April 16 – w/Dude Trips
The Polar Bear, Kingston upon Hull, UK

As their name implies, follow them deeply on FacebookTwitterInstagram
Stream their music on SpotifySoundcloudApple Music
Purchase on Google PlayAmazon

VOX EAGLE – Single Premier: “Can’t Stop”

Regular readers of this blog know I write about a lot of indie artists and bands, as one of the things that drives me is wanting to support them in what little way I can. One of my absolute favorites – both from a musical and personal standpoint – is VoxEagle. Essentially the music project of Australian-born and now Colorado-based singer-songwriter, producer and multi-instrumentalist Andy Crosby, VoxEagle first burst onto the music scene in the beginning of 2017 with the release of the electro-pop single “No Sleep”. The terrific song has been streamed over 279,000 times on Spotify. He then followed up with a second single “Come Over”, both of which were featured on his debut EP Flamingo Paradiso Pt. 1., released in July 2017. I loved both songs so much they ended up on my Top 100 Songs of 2017 list.

Also in 2017, Andy and his wife relocated from bustling Manhattan to the bucolic solitude of Evergreen, Colorado, high in the Colorado Rockies west of Denver. There, he built his own recording studio, which he dubbed “The Eagles Nest”, and set to work on his first full album, the brilliant genre-bending TriumAvium, which was released in October 2018. You can read my album review and interview with Andy here. One of the tracks on the album titled “Wander” went all the way to #1 on my Weekly Top 30 this past February.

Now he returns with a wonderful new single “Can’t Stop“, which I’m thrilled to premier today. The song officially drops on December 16 on all major digital music sites, some of which are included at the end of this post. “Can’t Stop” has a soulful dance pop vibe, and captures the infectious energy we first encountered on “No Sleep.”

VoxEagle Studio 2

That energy is the essence of VoxEagle’s unique, yet eclectic, sound. In our interview, he told me “VoxEagle is a musical energy; I hate to call it a band or whatnot. It’s vibe I suppose is with me at the helm, [though] the whole idea of VoxEagle in the beginning was to collaborate with various artists.” He added that his main overriding objective in making music is that “It’s just gotta have big melodies and be real energetic.

The track opens with spacey, almost seductive synths that quickly expand like a giant flower unfolding its petals into a beautiful explosion of sound and color. Starting with a deep, thumping bassline as a foundation, VoxEagle layers a rich palette of sparkling, dreamy synths, guitar, and percussion, including what sound like bongo drums, to create an exuberant groove that just makes you feel good. He has a fine, casual singing voice, and I like when he freestyles some of the lyrics. It all builds to an exhilarating crescendo before fading out with those spacey synths and pulsating bass. I love it!

Although “Can’t Stop” was written prior to the occurrence of a personal tragedy Andy recently experienced with the death of his best friend of 30 years, it really hits home for him, serving as a sort of anthem for his philosophy about life and his music career. He became so despondent over his friend’s death that he actually considered throwing in the towel on making music. Thankfully, he came around to realizing it would be impossible for him to stop, as making music is the one thing that keeps him sane at the end of the day – a sentiment I and many others I know can strongly identify with.

Those feelings are perfectly expressed in the lines “Every time I get the hook wrong, I stay back all night just to fix it cuz we can’t stop until we catch the feeling. All I know is that we’ve come too far. Too far to turn back now. Can’t stop these feet when they start moving, no.” I hope VoxEagle never stops making songs for us to enjoy.

Connect with Vox Eagle:  Facebook / Twitter / Instagram
Stream: Spotify / Soundcloud / Apple Music
Purchase: iTunesGoogle Play

New Song of the Week – DENSE: “Fever Dream”

DENSE - FEVER DREAM (ARTWORK)

DENSE is a remarkably talented psychedelic garage rock band from Leeds, England, who combine thick, fuzz-soaked grooves with explosive riffs and intricate melodies to create music that’s incredibly intense and badass. As their name would imply, their sound has an impressive maturity, complexity and density, which I like to describe as ‘industrial surf-metal psychedelic rock’.  The trio consists of Charlie Fossick (Guitar/Vocals), Dylan Metcalf (Bass) and Sam Heffer (Drums).

A favorite of this blog, I’ve previously featured DENSE numerous times over the past two and a half years, most recently this past March when I reviewed their mind-blowing single “Displaced Face”  Now they’re back with another new single “Fever Dream“, which I’ve chosen as my New Song of the Week. The single drops today, December 6th, via Leeds label Come Play With Me. DENSE were selected for this release by a panel of judges which included BBC Radio 1’s Phil Taggart, Adele Slater (agent to Liam Gallagher and Dream Wife), and Paul Riddlesworth from Dipped In Gold Recordings and Too Pure Singles Club.

About the track, Sam explains “’Fever Dream’ is based on a dream our singer Charlie had when he was really ill a couple years ago. In it, a withered man was left to die by a burning window before being dug up and forced to relive the tormenting experience all over again. The artwork relates to the introduction and later repetition of the agonising circumstance which the protagonist is in, left immobile in a chair being burnt by the scorching sun and unable to break the cycle of his suffering. The rocking chair left in the unused wasteland represents the isolation of this suffering against nature’s elements, visually encapsulating the track’s overall atmosphere.

The song immediately bursts forth with an intense barrage of gnarly guitars, throbbing bass and bombastic percussion. Charlie uses his guitar like a battering ram, pummeling the airwaves with relentless riffs of gritty, reverb-drenched distortion. At times, his guitar sounds like a buzz saw, while other times it mimics a machine gun. Dylan lays down a jaw-dropping bass line so heavy and deep I feel it in my core, while Sam smashes his drum kit like a man possessed. It all serves to create a massive, nightmarish wall of sound for Charlie’s demonic wails and screams. Wow, what a phenomenal track, and once again, DENSE blows our minds and ears with their brilliant musicianship.

“Fever Dream” is also being released on 7” vinyl, and is backed on the other side by fellow label mates Sea Leg’s single ‘Favourite Doll’. Limited signed copies of the vinyl can be ordered from http://cpwm.awesomedistro.com/.

DENSE will be launching “Fever Dream” at the following show tonight, 6 December, at Hyde Park Book Club.

DENSE show poster

Connect with DENSE:  Facebook / Twitter / Instagram
Stream their music on  Spotify / Soundcloud / Apple Music
Purchase on iTunesBandcampGoogle Play

 

BRAIN APE Release Trippy New Video for “Stop Sulking”

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

Brain Ape 3

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

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

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

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

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

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

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

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

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

Here’s the video, so enjoy!

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

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

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