Tag: Rock

RUSTY SHIPP – Album Review: “Capsized Empire”

On By EclecticMusicLoverIn Reviews12 Comments
Cover artwork by Hein Zaayman

Few acts I know of have mined a novel theme as successfully and consistently throughout their career as has Nashville rock band Rusty Shipp. I’ve previously featured them numerous times on this blog, but to summarize, the band is the brain child of singer-songwriter and guitarist Russ T. Shipp (his actual birth name is Russell Thomas Shipp), who call themselves a “Nautical Rock’n’Roll” band with a sound influenced by “the melodic chord progressions of The Beatles, the surf guitar of Dick Dale, the grunge rock of Nirvana, and the heavy metal of Led Zeppelin“. As their name suggests, their music is characterized by a dark, immersive sound, unforgettable melodies, electrifying guitar work, and Shipp’s vibrant tenor vocals. Like many bands, they’ve undergone numerous personnel changes since forming in 2014, and now consist of the aforementioned Russ Shipp on guitar and vocals, AJ Newton on drums, Dave Gajda on lead guitar, and Doug Webster on bass.

Band photo from their Facebook account.

In keeping with their name, all Rusty Shipp albums have been concept albums built around nautical themes, starting with Mortal Ghost in 2017, followed by Liquid Exorcist in 2019, Dark Side of the Ocean in 2022, and now their fourth and latest album Capsized Empire (its official title is Cosmic Innuendo, Vol. II: Capsized Empire), released on June 27th. (I reviewed both Liquid Exorcist and Dark Side of the Ocean, which you can read here and here.)  Whereas Vol. I: Dark Side of the Ocean explored the balance between dark and light, descent and ascent, and men and angels, Vol II: Capsized Empire tells the fictional story of an evil band of pirates who set sail on a sinister mission, dismissing the prophetic warnings of an old sailor on the pier who warns of a worse fate for them than the gallows if they stay on their course. The band further states that the fictional story “is ultimately a masked philosophical message warning of people living their lives in a self-inflicted apocalypse.” 

To accompany their ambitious album, which features 17 tracks – ten full length songs and seven interludes that drive the story forward and provide a connection between the primary songs – the band has also written a detailed narrative for the story, some of which I’ll include here:

“The story of ‘Capsized Empire’ is actually two stories. One is clearly told through this album’s narration and imagery-laced lyrics, and picks up where ‘Cosmic Innuendo Vol. I’ left off: when the warrior sea angels with the royal title ‘Nautical Sea Lords’ ascended from The Dark Side of the Ocean up to its surface to find out why the souls of men are sinking down to their kingdom with increasing frequency. And what do the Nautical Sea Lords find when they reach the land of men? Probably the worst example of man there is, which leads to the second story…

The other story is the more covert one that’s told through the philosophical lyrics of each song, creating a parallel undercurrent to the surface-level fiction story. This story addresses the problem of evil in the world. Each song responds to this problem from a different angle – as we hear from the voices of those grappling with the painful consequences of evil, as well as from those inflicting the pain. As the album progresses, philosophical layer is built upon layer to expand the intellectual understanding and emotional empathy to all affected by this problem (which is ALL OF US) to hopefully stir up outrage that leads to activism, but also to filter that justice through the ultimate solution (which is love and grace).“

Back cover of the album

The album opens with the slowly-building and ominous 40-second-long instrumental track “What The Tide Washed In“, quickly followed by “All Aboard!“, which I featured on a Fresh New Tracks post in February. As I wrote then, the song is a wonderful hard-driving rocker, with a roiling torrent of grungy guitars joined by blistering surf guitar solos in the second half, and nicely accompanied by AJ’s aggressive drums, a terrific organ and Russ’s dynamic spine-tingling vocals. The band calls this their first theme song, as expressed by the lyrics “All aboard this hallowed, rusty ship. Won’t you join us on our voyage away from suffering, into our destiny? With love and spirit pointing us true north, we’ll make it through the storm and build a kingdom we can call our home.“

Next up is “Espionage“, another hard-hitting track fueled by gnarly guitars and thunderous drums, detailing the sea angels’ efforts to observe the ways of mankind: “Call it Espionage in ocean camouflage, spinning up and down between two kingdoms, searching for a sign of intelligent life. Find out what these men are made of.” Their search leads them to a pub where they find a group of salty sailors singing the old traditional sea shanty “Spanish Ladies“: “Farewell and adieu to you, Spanish Ladies. Farewell and adieu you ladies of Spain. For we’ve received orders for to sail for old England, and we may ne’er see thee fair ladies again. We’ll rant and we’ll roar like true British sailors. We’ll rant and we’ll roar all on the salt seas until we strike soundings in the channel of old England. From Ushant to Scilly is thirty-five leagues.“

“On The Docks” explores the dichotomy between men who inherently strive to be good people and make a living through honorable means with those who choose a darker path of thievery and exploitation of others: “The difference in a sailor and a pirate is their consciences. And if his conviction is growling louder than the howling of his stomach could it be that a pirate’s greed is the same old thing as a shark’s instinct? Who didn’t have the pedigree or luck to evolve into a sailor’s breed. ‘Cause on the docks we swim with sharks, trying to get a bite. ‘Cause who has time to tread the lines between the dark and light, But if you would pay my daily wage, then I’ll put away my net. Show me something I need more than food and I’ll fish for that instead.” I love the song’s breezy melody and the wonderful mix of twangy and surf guitars.

“Black Market Jam” is a spoken word track describing some of the sailors engaging in nefarious activities like black market trade and human trafficking beneath the pier, followed by “Neck Breaker“, a bluesy and grungy rock song of warning to those sailors by an old prophet who predicts the harrowing fate that awaits them: “You’re wanted dead or alive, up to you which one they decide. So ride, but you gotta land sometime, and when you do, oh, you fool, the gallows will be waiting for you. You’re gonna hang from the head until you’re dead, dead, dead. Make your bed with the fishes.” The prophet then issues a curse on their captain on the spoken word interlude “The Curse of Robert Williams“, in which he warns him to turn the ship around and not proceed with their evil mission.

Bound and determined to go forward with their piracy, the sailors are self-proclaimed “Tough Guys“, blinded by their bad-ass bravado as they snarl “Yeah, we’re bad dudes, rockin’ tattoos, with our black shoes. Yeah, we’re tough guys, giving black eyes, as we’re cruisin’ by. Blame it on our daddy issues, blame it on whatever you want. Glad you got us figured out ’cause now we’re gonna come burn down your town!” Over a powerful chugging rhythm, the band layers some blistering guitar work, accompanied by gruff vocals that nicely convey their menacing message. Next up is “Aquamoto“, a terrific little instrumental tour de force of killer surf guitars that would make Dick Dale proud, making it one of my favorite tracks on the album. This is then followed by the spiritual track “Don’t You Grieve Us“, ostensibly sung by the kidnapped trafficking victims huddled in the hull of the ship.

Every Rusty Shipp album includes a cover of a classic rock song by a famous band – Mortal Ghost featured the Beatles song “Helter Skelter”, Liquid Exorcist featured Audioslave’s “Show Me How to Live”, and Dark Side of the Ocean includes a shortened cover of Pink Floyd’s “Us and Them“, from their masterpiece Dark Side of the Moon. For Capsized Empire, the band chose Paul & Linda McCartney’s “1882“. I wasn’t familiar with this rather unusual McCartney song, which tells the story of an impoverished boy of the servant class who faces stern consequences for stealing a loaf of bread from the big house upstairs. Rusty Shipp has reimagined and elevated the song into a darkly beautiful and gut wrenching number that here applies to slaves freed by President Lincoln’s Emancipation Proclamation, but who were unlawfully kidnapped and taken to Cuba where slavery was still legal at the time – sadly echoed by the cruel and unlawful deportations now being perpetrated by the Trump regime (my opinion). The guitar work and Russ’s impassioned vocals are stunning.

Russ unleashes the fury of his wrath for those who would prey on the innocent on “Nefarious“: “You, you are so despicable. Herding little girls like some kind of cattle, but you’re the animal. You have all devolved into a primal impulse. No trace of a soul, you’re nefarious.” The song is sonically magnificent, though, with haunting piano keys and a grandiose arrangement that reminds me of a few songs by English rock band Muse. And in fact, Russ’s fervent falsetto seems to channel Matt Bellamy when he really lets loose. I love this track!

“Scallywags” is another gorgeous and powerful rock song, with intense reverb-soaked guitars, throbbing bass and thunderous percussion creating an explosive, yet highly melodic soundscape. The lyrics speak to the ideas that evil is inherent in all of us to some degree, who are we to judge others, and that only through grace can we overcome our sins: “Scallywag buccaneers, black market blackbirders. So easy pointing fingers at the Neros and Blackbeards. But Rome wasn’t built in a day, and neither was its tyrant. It took centuries to make a culture to enthrone them. Love these enemies, and turn your cheek till they nail your hands and feet. Grace alone can save the world by breaking the chain of revenge. But I’m seething, can’t hardly see a thing except this blinding rage. Don’t wanna give the Lord all the revenge. ‘Cause I hate you, but I create you when I treat them the same way you were treated.” This immediately segues into “Counsel of Sea Lords“, a brief interlude featuring spoken word vocals of multiple Shippmates detailing the findings and judgements against the pirates by the Nautical Sea Lords.

The interlude track “Upside Down Kingdom” continues with the theme laid out on “Scallywags”, that so long as humans continue their endless cycle of retribution and revenge for wrongs committed against them (sound familiar to a certain evil President?), the world and mankind will never fully recover: “Ooh, Hell and Heaven are two kingdoms waging war within us. And every choice you make builds one, either death or life to come. When you repay good for evil you pull a brick out from the wall of Hell to build up the kingdom of Heaven. A step closer to Shalom.”

The album closes with “Sinners In The Hands“, a raucus rock song that brings everything full circle, that we are all sinners in the hands of a loving God who through his son set an example for us to follow of giving love and forgiveness to the sinful people in our lives, lest the world topple over as a capsized empire: “So never judge an evil man, for the greatest of all saints were once the vilest sinners who got a taste of saving grace. The same grace is calling out, reaching out for you right now. And has been for all your life to make you fully alive!“

To sum up, Capsized Empire is another epic, brilliantly-executed concept album by Rusty Shipp. As with their previous albums, everyone involved in its recording and production did a masterful job creating a work that’s flawlessly arranged and beautifully crafted on every level. But most of all, a great deal of credit must go to Russ Shipp’s incredible vision, imagination and talents as a songwriter, musician and vocalist.

Here’s Capsized Empire on Bandcamp:

And on YouTube:

Rusty Shipp Socials: Website / Facebook / Twitter / Instagram
Find their music on Bandcamp / Spotify / Apple Music / Soundcloud / deezer / YouTube

BRYAN HOWELL – Single Review: “An Untamed Heart”

On By EclecticMusicLoverIn Reviews4 Comments

Time sure does fly by with increasing speed the older I get, and I can’t believe I’m nearing the 10 year mark of writing about music for this blog (though I didn’t begin writing reviews in earnest until Spring 2016). One of the artists I wrote about in those early days was Nashville-based singer-songwriter and guitarist Bryan Howell, when I reviewed his excellent debut album Take the Risk, which he recorded with his backup band The Standalones. Released in August 2016, the album featured ten stellar tunes drawing from a variety of influences, including rock and roll, rockabilly, garage rock, power pop, country, surf and indie rock, as well as the timeless soul music of Motown, Sun and Stax records.

In the years since, Bryan has released a handful of singles on a sporadic basis – “Against the Storm” in 2020, followed by “Still Hungry” and “Like Summer Thunder” in 2023 – yet we’ve remained connected on social media, where it’s been gratifying to know he and I are of similar minds with regard to the music industry and our nation’s insane political situation.

Photo by Andrew Hutto

Though rather quiet with regard to releasing new music, Bryan’s remained active in the Nashville music scene, frequently playing gigs and shows with his backup band The Standalones, where he’s garnered a growing fan base through his high-energy performances. Now, Bryan is back and sounding better than ever with his first single in two years, “An Untamed Heart“, and I thought it high time I featured him again. Written by Bryan, who sang vocals and played guitars, the song was co-produced by him and Drew Boals, who engineered and mixed the track. Other musicians who also played on the track include Wes Burkhardt on bass, Tyler Peck on drums & percussion, Eric Robert on piano, organ and synths, and Austin Rothrock on saxophone. Melo Nelson provided additional vocal arrangments, and Bobbi Giel did the mastering. The song will be included on Bryan’s forthcoming second album Shouting Back At The Brink.

“An Untamed Heart” is a rip roaring banger, blasting open with an electrifying barrage of wailing gnarly guitars, hard-driving bass and explosive drums. Throughout the song, we’re treated to marvelous piano keys and exuberant sax, echoing some of the great songs by the likes of Bruce Springsteen and John Cafferty & the Beaver Brown Band. Bryan’s intricate, fiery guitar work is truly spine-tingling and I love it!

In his spirited gravelly vocals, Bryan fervently sings of a “fiery vixen” who just might have what it takes to tame his wild heart and get him to finally settle down: “I’m an outlaw on the road of love. Robbin’ every heart I come across. No use for any knife or a gun, cause there’s no defense when that feeling comes. Cause an untamed heart makes its own rules. It might be time to leave this town. Gotta headstong woman chasing me down. A fiery vixen with eyes that smolder. But when I see her my breath gets shorter. And if that woman catches up to me, I’m afraid of what I may see. I may not be as man as I want to be. Cause an untamed heart makes its own rules. I’ve been mixed-up for a while now, ever since she and I crossed paths. I never thought I’d be tied down. But maybe those days are in the past.”

And here’s the track on Bandcamp:

Bryan’s Socials:  Facebook / Instagram / Threads

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

HOMELESS RADIO – Single Review: “Fed To The Teeth”

On By EclecticMusicLoverIn Reviews6 Comments
Cover art by Kostiantyn Borshch

Hailing from the war-torn nation of Ukraine are indie rock band Homeless Radio, a resilient group of musicians consisting of Andrii Yampolskyi (vocals/guitar), Fedir Orlov (guitar), Stepan Tkachuk (bass) and Ivan Orlov (drums). Guitarist Ihor Pankieiev is also technically still a member, though he’s been away, fighting in the terrible ongoing conflict with their Russian invaders.

Formed in the city of Kharkiv in 2016, the band incorporates garage rock, alternative rock, skate punk, grunge and pop influences to create music that runs the gamut from pleasantly melodic to relentlessly intense. I first learned about them at the beginning of 2024, at which time I reviewed their terrific hard-hitting single “Submarine“ (which ranks #34 on my list of 100 Best Indie Songs of 2024). Six months later, I reviewed their follow-up single “Sleep Not”. Now they return with “Fed To The Teeth“, their first new single of 2025.

Fedir, Ivan & Andrii taking it to the streets

About the song, Homeless Radio states: “‘Fed To The Teeth’ blends melancholic alternative rock with a fierce skate punk climax, channeling frustration, rejection, and raw emotion into one cathartic release. The track captures a personal transformation from isolation and doubt to indifference and power.” Band vocalist Andrii gave me some background as to what inspired him to write the song while still in his teens: “The song was originally written in 2014, during the war in Donbas which was active at that time. It’s probably the first Homeless Radio song I’ve ever written. At that time, I was finishing high school. We had really shameless and cruel propaganda during those days, so sometimes my classmates were talking real garbage, pushing pro-russian narratives and anti-LGBT agenda. Although it’s possible to find something like this even in modern Ukraine nowadays, at that time, it was almost a trend. I couldn’t agree with it and had numerous arguments that led me to write a song about societal rejection and prejudice. The times have changed significantly. Is it a pro-LGBT or anti-russian propaganda song? I guess so, although it was written during the time when both of these topics were quite different. It’s not a political song, but it was inspired by these political topics.”

The song has somewhat of a retro late 1990s/early 2000s post-grunge feel, starting off with a melancholy fuzzy guitar riff accompanied by a galloping drumbeat, then transitioning into a rather complex melody of relatively quiet verses alternating with louder choruses featuring raging gnarly guitars and pummeling drums. The guys are skilled musicians, as Andrii and Fedir’s dynamic guitar work is truly electrifying, and Stepan’s sturdy bassline powers the song forward while Ivan’s aggressive drumming elevates the song to stratospheric heights. Each time I listen to the song, I discover wonderful little nuances and sounds, like the squealing horn-like guitar notes at the beginning of the line “You will tell and may get only things you’ve never felt“. As always, Andrii’s colorful, highly-emotive vocals bring all the passion necessary to drive the song’s powerful message home. 

Invite me to a party, I'll feel like an outsider
You did this out of duty, 'Thanks for coming, you're a cutie'
'Hey, what's wrong? Why so sad?' - 'I'm okay, just hear the voice in my head -
Humiliation, torment session, 'Please stop now! This is my station!'

Why you running? Why you struggling?
You don't know why I am coming!
You're talking 'bout unknown
Never felt this, all in all

Just cursing and hating - oh no, I'm watching and waiting
You will tell and may get only things you've never felt
Prosecution and charges, behind them always darkness
The clamor of denial, in the name of the void and its empire.

Why you running? Why you struggling?
You don't know why I am really coming!
You're talking 'bout unknown
Never felt this, all in all

Oh, I hear the sound
Oh, it is so loud
You're always talking 'bout stuff you've never known
You're not a pro in this field, that much is shown
Oh, I can't stand to be like you, and by the way
To talk about anything, you must know it anyway

“Fed To The Teeth” is another impressive release by this talented foursome. And as I stated in my previous review, it’s admirable that Homeless Radio have managed to stay together as a band and make new music, despite the fact their country has been waging a valiant defense again their Russian invaders for more than three years. I hope they can remain safe and able to continue doing what they love.

Homeless Radio Socials:  Facebook / X (Twitter) / Instagram / TikTok

Find their music on Spotify / Apple Music / Bandcamp / Soundcloud / YouTube

HEALER – Single Review: “London Town”

On By EclecticMusicLoverIn Reviews7 Comments
Artwork by Joel Hewitt

HEALER is an outstanding alternative indie rock band who’ve become one of my favorite British music acts over the past couple of years. Based in the historic fishing port of Grimsby, on the central eastern coast of England, the band is currently made up of Steve Dean Smith (lead vocals), Dave Harries (guitar), Jazz White (drums) and newcomer Joel Hewitt, who created the single artwork and filmed the video, on guitar. (For the recording of their latest music, Tony Edmondson played bass, however recently departed the band.) Their powerful songs explore themes of love, loss, and hope, wrapped in infectious melodies and beautiful arrangements, and delivered with masterful instrumentation and Steve’s wonderful distinctive vocals that make HEALER’s songs immediately identifiable. 

Since forming in 2022, the talented and charismatic five-piece have built a strong following in the British music scene on the strength of their exceptional music and riveting live performances, as well as garnering recognition and airplay on BBC Music Introducing and Amazing Radio UK/USA. Since the release of their debut single “Hurricane” in December 2022, the busy guys have followed with eight more singles and two remixes. I’ve previously reviewed three of their singles – “Bones“, “Wake Me Up” and “War” – with “Bones” and “War” each spending many weeks on my top 30 chart and “Bones” ranking #67 on my 100 Best Songs of 2023 list and “War” ranking #84 on my 100 Best Songs of 2024. (You can read some of those reviews by clicking on the ‘Related’ links at the end of this post.)

Photo by Joel Hewitt

Now they’re back with their ninth and latest single “London Town“, a gorgeous rock song that continues their unbroken string of stellar releases. The track was recorded and mixed by Pieter Rietkerk at Chapel Studios and mastered by Grant Berry of Fader Mastering. About the song, the band says it “explores the burnout of big-city life and the identity crisis that follows — when chasing your dreams starts to feel like losing yourself. It’s spacious, urgent, and speaks to the modern struggle of finding meaning in chaos. In the song, we personify London as a magnetic, almost haunting character — reflecting what it feels like to be on the outside looking in, and losing yourself in the city that was supposed to save you.”

To gain a bit more insight into HEALER’s new song and the Grimsby music scene, I had a brief interview with the band’s drummer Jazz:

EML: I’ve been following you guys for two years now, and first wrote about you when I featured your powerful song “Bones” on my blog in late May 2023. At that time, you’d been together as HEALER for about a year. In your bio on your website, you begin with the following line to describe your hometown: “Rising from the ashes of a once thriving but now forgotten fishing town, HEALER are...”, which I find both brutally honest and endearing. Is there much of a music scene in Grimsby? And what brought the five of you together to form a band in the first place?

Jazz: There is currently a great music scene in Grimsby. Historically, Grimsby (and Cleethorpes) has always had an amazing music scene, filled with bands that have done great things and have been on the edge of making it big. The scene seemed to die down a bit a few years ago, particularly throughout the dreaded Covid years, but that also seemed to be a bit of a catalyst to inspire a lot of the bands that had previously broken up to reunite or create new bands. Which is what brought us together. We all knew each other through either being in previous bands together or being in bands that did gigs together and we all just wanted to start making and playing music again, which is what we did. Now the scene is thriving, with an abundance of bands doing great things, even young bands getting signed, venues like Docks Academy and Yardbirds providing platforms for local artists to perform and support bigger bands and the best thing of all, is all of the local bands know each other and are supporting each other.

EML: Are any or all of you still living in Grimsby?

Jazz: We all still live in Grimsby. I think we would find it hard not to all live in the same area. We meet up regularly to rehearse, make band plans and just generally socialise together so it would be really difficult if we didn’t all live near each other.

EML: In addition to sounding great, your songs also feature intelligent, relatable and often poignant lyrics. How do ideas for new songs come about, and do all band members contribute to writing the music and lyrics, or does that job generally fall on one or two of you? 

Jazz: There isn’t really a clear process for how we write our songs. Steve generally writes most of the lyrics but we all contribute musically to each song. Sometimes Steve might come to a practise session with a new idea or maybe an old idea that he wants to rework, sometimes Dave might come to practise with a new riff that we all build on or sometimes we just randomly start jamming and come up with something brand new together. Sometimes these songs feel like they ‘fall from the sky’ and, sometimes, those are the best songs.

EML: You write that your new song “London Town” “explores the burnout of big-city life and the identity crisis that follows — when chasing your dreams starts to feel like losing yourself.” Is the song autobiographical, and have one or more of you spent any time living in London? Or do the lyrics speak more to the challenges and conflicting emotions that sometimes result when an artist or band puts so much of their time and energy into “making it big”?

Jazz: ‘London Town’ is definitely autobiographical and is about the time that Steve spent living in London and some of the lyrics are directly about Steve’s experiences whilst living there. The song does also link to the challenges of being an artist from a small town and trying to make it and the frustrations of a lot of opportunities being more readily available for artists from ‘bigger cities’.

EML: You’ve released eight singles and two remixes since late 2022, with “London Town” marking your ninth original single. Are there any plans for a full album on the horizon?

Jazz: We recorded a batch of new songs in the studio recently which we will be releasing over the new few months, starting with ‘London Town’ but we have also been writing more new material, which we hope to get back into the studio later in the year to record. We’re not sure whether we will be releasing an album yet but we will definitely be releasing more new material, regularly over this year.

EML: If you could perform with another artist or band in a billing of your dreams, who would that be?

Jazz: That’s such a tough question, there are so many bands we would love to play with, especially because, although we’ve all got similar music tastes, we also all have our own individual tastes. Overall though, U2 seem to be a band that we all take inspiration from and all for different reasons. Bono is certainly a huge inspiration for Steve as a vocalist and they are one of the biggest bands in the world so we know that it would be a huge, packed out stadium show with high quality production throughout. 

“London Town” opens with a plucky guitar riff, then quickly builds into an anthemic rock banger. That smoldering riff continues throughout the song as more of Dave and Joel’s formidable guitar work enter the mix, fortified by Tony’s driving bassline and Jazz’s emphatic drumbeats. It all creates a powerful dynamic backdrop for Steve’s emotionally-charged vocals as he plaintively laments about the strong, unforgiving psychological hold London had on him and so many other musicians: “Can the city hear me singing in my town? Will London listen, does it even hear my sound? Am I loud enough, loud enough for you? We don’t have the same view. You’ve got England ’round your finger. Every song, every singer wants to call you home, while we’re just left alone. Can you hear me? Can you hear me now? Can you hear me London Town!” I love it, and it’s now one of my favorite HEALER songs.

The video, shot at the Grimsby Bus Depot, was filmed and edited by Joel Hewitt and features the band members as passengers on a bus.

Healer Socials: Facebook / X (Twitter) / Instagram / TikTok

Find their music on Spotify / Apple Music / Amazon Music / YouTube / Pandora

Fresh New Tracks, Vol. 39 – Darksoft, Frank Joshua, Kiffie, Koyal

On By EclecticMusicLoverIn Reviews13 Comments

It’s time once again for another edition of Fresh New Tracks, and today I’m pleased to feature terrific new songs released over the past week by four talented acts I’m especially fond of from both a musical and personal standpoint. They are, in alphabetical order: Portland, Maine-based alternative dream rock artist Darksoft, English singer-songwriter and producer Frank Joshua, English singer-songwriter, composer and producer Kiffie, and L.A.-based indie pop-rock band Koyal.

Darksoft – “After All”

I love dream pop/rock in all its forms, and the music of singer-songwriter, producer and multi-instrumentalist Darksoft is right up my alley. Originally from Seattle, he relocated in late 2021 to Portland, Maine, where he’s continued creating music that’s both sumptuous and pleasing, with compelling lyrics addressing timely and relevant issues related to technology, social media and disillusionment, and delivered with his soothing ethereal vocals. Starting with the release in late 2018 of his brilliant debut album Brain, a concept work named for the first computer virus to attack the internet back in 1986 (which I reviewed), the imaginative, talented and hard-working artist has released five more concept albums, another of which, Beigeification, his beautiful 2023 work featuring songs inspired by overused phrases and idioms like “it is what it is”, “you gotta do what you gotta do” and “only time will tell”, I also reviewed.  

Darksoft began the new year by dropping a new single “Devil’s In The Details”, the first from his forthcoming seventh album Rationalism, slated for release on February 21st. Now he returns with a second single “After All“, released via Spirit Goth Records. Once again, he serves up an enchanting and dreamy slice of ear candy, filled with crystalline jangly guitars and assertive but gentle percussion. His captivating vocals beautifully express a sad resignation as he croons the lyrics touching on feelings of loss and regret over a romantic relationship’s that ended: “After all we’ve been through, thought that we’d be close. But all is said, said and done. And you’re so far away.” Given its first two tracks, Rationalism promises to be another superb album.

Frank Joshua – “Walls”

Over the past two years, London-based Frank Joshua – an enigmatic but enormously talented singer-songwriter and producer who, wanting his music to speak for itself, shares no photos of himself – has become a favorite of mine on the strength of his gorgeous baritone voice and beguiling music style. It’s no exaggeration for me to say that Mr. Joshua has one of the most enthralling singing voices I’ve heard in a long while, and I was blown away the moment I first heard his music. The prolific artist has released a staggering amount of music over the past four years or so, including three albums, an EP and 41 singles! Every one of his songs is a captivating feast for the ears, and I love them all. I’ve previously written about three of them, most recently last February when I reviewed his single “On This Night”. His song “Bluebell Wood” ranks #53 on my 100 Best Songs of 2023 list, while “Winter Cowboy” ranks #36 on my 100 Best Songs of 2024. 

His latest and 41st single is “Walls“, released via British music label Numen Records. Although Frank writes some of his songs, like the majority of his singles, “Walls” was written by his frequent collaborator Simon Pitheakley, and produced by Tony White. And like all his songs, this one’s a real beauty, with gorgeous reverb-drenched bluesy guitars accompanied by warm piano keys, soaring orchestral synths and gently crashing cymbals layered over a sensuous pulsating beat. It all creates a glorious cinematic backdrop for Frank’s melancholy yet captivating vocals which are both passionate and heartfelt.

The poetic lyrics speak of the challenges of growing older and maintaining a long-term relationship, in which there’s often a tug of war between the comfort and security that comes from being with a devoted loved one, and the primal urge to be independent and free of responsibility or commitment – which is something I’ve long struggled with myself. “It has to be love though it hurts to let go. The blue of your eyes and the shame of the know. I am in it too deep and I can’t let you go. I can’t let you go. Makes no sense to be sunny. But there she is sipping Mai Tais with honey. Confused this boy is.” The lyrics then address the added element of trying to raise children amidst all this drama, which I think is a brilliant addition to the song: “Our children are smashing up downtown, spouting logic and facts without sense. Rootless sensationless moody and cute, they just pound on the walls of their age.” “Walls” is another oustanding addition to Frank’s already impressive repertoire. 

Kiffie – “The Exclusion Principle”

British artist Kiffie (the music moniker of Daniel Paul Kiff) is a creative and fascinating singer-songwriter, composer and producer of electronic music based in Norwich, England. Drawing from a wide range of music genres including electronica, hip-hop, rock, folk and classical, his arresting songs are inspired by current events, as well as the oft-covered topics of love, lies and betrayal. Kiffie records and produces all his own music at home using hardware instruments, synthesizers and drum machines. In a space of only four years, the incredibly prolific artist has released an astonishing 15 albums, 12 EPs, two compilation albums, two CDs, and numerous singles. His songs have received critical acclaim, and garnered airplay on BBC Radio 6 and other internet radio programs. In July 2023, I reviewed his album The Product, a powerful work addressing such timely issues as creeping authoritarianism, income inequality, misinformation and fake news, anti-science/conspiracy mongering, and political corruption. (Read that review here.)

Now, the busy artist is back with a new instrumental track “The Exclusion Principle“, the third in a series of tracks from his forthcoming album Approaching the Horizon. The album will be the third and final installment of his ‘Home’ trilogy which began with his 2021 collaborative album Home, followed by his 2022 album Interplanetary Exodus. Kiffie explains “The trilogy is basically a cosmic space opera about love at a distance and the idea that all of us one day will be refugees, escaping some never explained planetary problem that forces us to seek somewhere else to live. The love aspect is that during this upheaval people will become separated. ‘Approaching the Horizon’ is going to reunite the ‘star crossed lovers’ and many of the tracks will have titles based on physics and quantum theory.” “The Exclusion Principle” is a marvelous spacey track featuring an array of ominous sound textures and beats that nicely convey a sense of impending upheaval without ever becoming over dramatic. I like how it gradually builds, then slowly trails off.

Koyal – “hiatus”

Photo by Jeremiah Rafferty

Koyal is delightful and charismatic indie pop-rock band I’ve been following for a couple of years. Originally formed in Atlanta as a six-piece in 2018 while still in college, the band reduced to a trio in 2023 consisting of Pooja Prabakaran (lead vocals), Noah Weinstein (guitar, production) and Henry Wallace (drums & piano). With a shared love of Glass Animals, Yeah Yeah Yeahs and GROUPLOVE – all acts I love too – Koyal draws from an eclectic range of elements, including indie, alternative, rock’n’roll, blues and jazz. They started releasing a series of singles in 2020 which culminated with the release of their debut album Mountain City in July 2021. They followed with more singles, along with an EP Joyride in November 2022, which I reviewed. In February 2024, they began dropping a series of excellent disco/dance-infused singles that will be featured on their second album breathe in. breathe out, scheduled for release on February 28th. And in September (2024), they relocated from Atlanta to Los Angeles.

On January 28th, they dropped “hiatus“, their fifth single from the forthcoming album. Co-written by all band members along with singer-songwriter and musician Tony Doud, who also co-produced the track with Noah and played the wonderful saxophone, the song’s a bouncy, yet sophisticated, dance gem about disconnecting from your phone and enjoying a bit of quiet solitude. Though it seems to pay homage to some of the disco hits of the late 70s, “hiatus” feels fresh and contemporary. I love the sensuous dance groove overlain with swirling synths, sparkling piano keys, funky guitar notes and Tony’s warm sax. Pooja’s lilting vocals are full of unbridled euphoria as she sings the joys of having a bit of alone time to herself: “Where my time, time is my own, I can turn, turn off my phone. Take a hiatus.“

The charming video, shot in a single take at Elysian Park in Los Angeles, shows Pooja singing the song while playfully walking through the park, and features animated artwork and lyrics created by her.

UNQUIET NIGHTS – Double Single Review: “Everything Seductive”/”Straight To The Ground”

On By EclecticMusicLoverIn Reviews3 Comments

Unquiet Nights is an outstanding rock band I’ve been following for seven years and have featured several times on this blog. Originally started in 2006 as a solo project by Luke Mathers, a talented singer-songwriter and guitarist from Belfast, Northern Ireland, with  the help of Rodger Firmin on drums he began recording songs for what would become the first Unquiet Nights album 21st Century Redemption Songs. In 2010, Luke moved to Italy, where he eventually finished and released the album. He was later joined by Italian musicians Francesco Piciucchi on bass and keyboards, and drummer Matteo Bussotti for live shows, though Rodger still played drums on their recordings. 

In 2015 they released their beautiful second album Postcards in Real Time. One of the tracks from that album, “George Best City”, which was never released as a single but was used in the Federico Buffa Racconta documentary series, landed them several live national appearances on Italian TV stations, and became their best known and most successful song, garnering more than half a million streams on Spotify alone as of today. Mathers eventually moved back to Belfast in 2016, where he continues to record and release music with Firmin and Piciucchi as Unquiet Nights. In 2022, they released a compilation album First Ten (2012-2022), a sort of ‘greatest hits so far’ work commemorating the 10-year anniversary of their debut album 21st Century Redemption Songs. They followed two years later with their third studio album Seasons in Exile, released last January (2024). I reviewed the album’s lead single “Diamond and the Missing Son”, which ended up ranking #11 on my 100 Best Indie Songs of 2024 list, and #65 on my 100 Best Songs of 2024 overall list. (Also, their 2019 single “Four Winds“ ranks #76 on my list of 100 Best Songs for that year.)

Now they’re back with a double single “Everything Seductive”/”Straight To The Ground” which, like all their music, was produced by Mathers, and mixed and mastered by Neal Calderwood. The songs were recorded during the Season in Exile sessions, but since they didn’t fit in with that album’s storyline concept, they weren’t included. Both being excellent songs, Unquiet Nights decided to release them now as stand-alone singles. The first, or A-side “Everything Seductive”, is an exuberant foot-stomping rocker, with fuzz-coated gnarly guitars punctuated here and there by twangy notes and accompanied by Fermin’s urgent drumbeats. Mathers’ commanding vocals nicely convey a sense of sad resignation as he sings of a romantic love affair that’s hit its end, leaving him feeling dejected and wondering what went wrong: “Tell her I’m discouraged, and she should know the reason why. Everything seductive in this life just seems to pass me by.“

The B-side “Straight To The Ground” is more personal for Mathers, who told me he never had the opportunity to meet one of his grandads because he died of a heart attack after the IRA (Irish Republican Army) destroyed his corner shop in a bombing. The song’s lyrics are meant to describe his grandad’s bitter feelings after seeing his life’s work blown up: “I built all that you can see. I built on solid rock for those who depended on me. You ever tried to make the best out of all that you found? You ever stood and watch it all falling straight to the ground?” To drive home his message, Mathers serves up a distinctly darker tone than on “Everything Seductive”, with an ominous grinding guitar riff layered over a hard-driving rhythm of throbbing bass and pounding drumbeats. His guitar work is fantastic, highlighted by a one-two punch of a gorgeous chiming solo in the bridge, followed by a magnificent wailing guitar solo that leaves me covered in chills before the song quickly fades out. Befitting the subject matter, his vocals are more intense as well, fervently conveying the anger and bitterness expressed in the lyrics.

Though I really like both tracks, “Straight To The Ground” struck me at first listen, and it’s my favorite of the two. 

Connect with Unquiet Nights:  Facebook / Twitter / Instagram
Find their music on  Bandcamp / Spotify / Apple Music/ Soundcloud 

Fresh New Tracks, Vol. 37 – Taylor DeRousse, Fake Empire, The Formerly Misinformed, Naive Nature

On By EclecticMusicLoverIn Reviews12 Comments

It’s been six months since my last Fresh New Tracks post, and given the plethora of new music being released, as well as the fact I’ve returned to writing reviews again (at least for now), I thought it was time for another installment. Today I’m featuring the music of four acts, in alphabetical order – Michigan singer-songwriter Taylor DeRousse, English alt-rock band Fake Empire, Texas alt-rock band The Formerly Misinformed, and Pennsylvania alternative pop/punk band naive nature. The songs were released on January 10th, except for the one by Fake Empire, which came out January 2nd. I’ve previously written about The Formerly Misinformed, whereas the other three acts are new to this blog.

Taylor DeRousse – “Growing Up Is Scary”

Photo of Taylor from her Facebook account

Taylor DeRousse is a singer-songwriter and multi-instrumentalist from the Detroit area with an impressive resume. She not only writes, sings and records her own original songs, she also owns a music school and studio called Tailored Harmonies Music Co, plus has a B.A. degree in Music with an emphasis in Piano Performance, as well as an MBA. According to her website, she’s been teaching music in a variety of capacities since 2014, including as a private music instructor, studio music teacher, group class instructor, middle school art & music teacher, theatre vocal coach, and collegiate music tutor. While her primary instruments are piano, guitar, and voice, she also plays the ukulele, violin, mandolin, and bass guitar.

Inspired by such artists as Alanis Morissette, Phoebe Bridgers, Stevie Nicks and Carole King, she released her first single “Pins and Needles” in 2020, and last September (2024), she began dropping a series of singles, beginning with “Front Porch”, that will be included on her forthcoming debut album Running Back To Me. Her fourth in the series and latest single is “Growing Up Is Scary“, a sort of coming of age song about realizing what really matters in life. The song was recorded with the help of Bryan Pope on guitar and bass and backing vocals by Cassidy Chaisson and Tom Mihalis, who also produced the track. I like the bouyant melody and great instrumentation a lot, as well as Taylor’s lilting vocals, but it’s the honest and poignant lyrics, in which she sings about the thing that frightens her more than monsters, zombies or Friday the 13th that really touch me: “I don’t wanna die doing something I hate, make a whole lot of money just to drink it away. I want something more, I’ll do whatever it takes. It’s a burden I carry. Growing up is scary.”

Taylor’s Socials: Facebook / Instagram / Threads / TikTok

Fake Empire – “Imposter Syndrome”

Band photo by Rob Luckins

I wasn’t familiar with English band Fake Empire until the other day, when I learned about them in a post by Maria Savva for her blog Rock And Roll. She’d chosen their latest single “Imposter Syndrome” as her Track of the Day, and it was love at first listen for me. The song is darkly beautiful and mesmerizing, with a brooding atmospheric feel that reminds me of some of the songs by bands like The Cure, New Order, The Church and Interpol. The song compelled me to check out more of their back catalog, which I must say is outstanding, and I’m now a fan of this band.

Based in the south of England, Fake Empire consists of Simon Brookes, Les Black and Becky Bellinger, and from what I can tell, they’ve been putting out music since 2017, all in the form of singles which now number 20 in total. “Imposter Syndrome”, which runs 7:45 minutes in length, was released along with two shorter remixes. Though the primary song is long, it’s so beautiful and flawlessly executed that it could go on for even longer. I love the lush, haunting synths and Cure-esque jangly guitars set to an enthralling beat and accompanied by droning, yet comforting vocals. It’s the perfect song for sitting back with headphones and letting yourself be enveloped by its gorgeous soundscapes. To my mind, the lyrics seem to be about living lives that are inauthentic and controlled by other sociopolitical and cultural forces, leaving us acting like sheep, unable to be our true selves or even know who we really are: “Imposter syndrome. You’re sinking like a stone. How can you live when your life is not your own? Our lives are not our own.” The original artwork used in the single cover art was painted by Nathaniel Westwood.

Fake Empire’s Socials: Facebook / X / Instagram / Threads 

The Formerly Misinformed – “Cut To Scene (Half Life)”

The Formerly Misinformed is a family band from Texas that’s comprised of siblings Brandon Green, Erica Jones and Emily Henney, and their father Terry Green. Together, they create a pleasing style of alternative indie rock, with strong elements of folk and singer-songwriter. Brandon also hosts and produces a music podcast Gimme These Two. Formed in 2019, they released their debut album All In A Dream in 2020, followed by a number of singles and an EP Let’s Pretend it’s Fine in 2022. In September 2023, I reviewed their song “Underneath the Same Stars”, a collaboration with Welsh singer-songwriter and multi-instrumentalist Craig Mapstone, who records music under the moniker Secret Postal Society. The two collaborated again last month (December 2024) when The Formerly Misinformed did a remix of Secret Postal Society’s song “Autumn Leaves”, which is currently enjoying a long run on my Weekly Top 30.

Now they’re back with a new single “Cut To Scene (Half Life)“, which was written and sung by Brandon, with backing vocals by Craig. Brandon also produced, mixed and mastered the track. According to the press release, the song draws inspiration from the scientific concept of half-life, a term used to describe the rate at which unstable atoms decay or how long stable atoms survive, and aims to capture the feeling of transition – of reflecting on where you’ve been while acknowledging the messiness of where you are now. I like the song’s free-form melody that almost borders on progressive rock, as well as its colorful mix of grungy guitars, spare piano keys, throbbing bass, swirling synths and spirited percussion. Brandon’s laid-back vocals have a casual air, and are nicely complemented by Craig’s backing harmonies that fully blossom in the terrific choruses.

The Formerly Misinformed’s Socials: Instagram

naive nature – “alright”

Photo by Justin Henry

Hailing from Philadelphia is alternative indie rock trio naive nature. Formed in 2023, the band is comprised of singer-songwriter and guitarist Jackson Vincent, drummer and backing vocalist Jim Lorino (who’s also front man of Philadelphia-based power pop band Scoopski) and bassist and backing vocalist Mickey Collins, who joined the lineup last September. Together, they blend grunge, pop-punk, alternative, emo and indie rock influences to create some really terrific songs. They released their debut single “the weight of the world” in January 2024, and since then they’ve dropped another four singles plus a three-track EP outsiderism (their band name and all their songs are stylized in lower case letters). Their wonderful single “childhood friends” ended up on my 100 Best Indie Songs of 2024 list.

On January 10th, the guys released “alright“, the first single from their forthcoming second EP separation anxiety, due for release in March. The band said the song “serves as a modern breakup anthem with a clear determined focus on pushing through the worst of times to find something better.” To drive home their message, Jackson serves up a marvelous fuzz-soaked guitar riff, while Jim and Mickey drive the rhythm forward with insistent drumbeats and a thumping bassline. Jackson has the perfect singing voice for this type of grunge/pop-punk song, and he’s in fine form here as he conveys a sense of sad resignation to a romantic partner at the end of their relationship: “It’s alright now. Waste your time now, you know it’s all the same. You’ll be fine now. Don’t forget how you gave me all the blame.” “alright” is a great song, and I’m looking forward to hearing their new EP.

Naive Nature’s Socials: Facebook / X / Instagram / Threads / TikTok

MIKEY J – Singles Review: “She’s So Fine/Fell So Hard”

On By EclecticMusicLoverIn Reviews13 Comments

Hailing from the fair city of Melbourne, Australia is singer-songwriter and multi-instrumentalist Mikey J (aka Michael Johnson), who humbly refers to himself as “just a dude who loves music“. Inspired by some of the great songwriters of the past, life experiences and his family, his songs are a mix of rock, blues, folk, funk and indie influences, all of which he performs and records in his simple setup at home. He’s been writing and recording music since his teens, releasing his first self-titled EP in 1999 at the age of 17 with his then band Blue Tracer. In 2011, he released a solo album Happy “​六​” Anniversary, inspired by and dedicated to his wife Ella. Nearly 10 years would pass until his next release ISO​-​Inspiration, an album inspired by the Covid lockdown, in October 2020. Since then, Mikey J’s been on a creative tear, dropping five more albums, most recently Muffet Way, a 14-track behemoth he released last May, as well as numerous singles.

Now he’s recorded his latest album Made in China, another ambitious work to be released in March that will feature 14 tracks inspired by the twelve years Mikey J spent living in Shanghai. The songs delve into love, growth and personal struggles, reflecting the people, places, and experiences – including a pet and a typhoon – that shaped his life during that period. In a recent interview with Marc Schuster for his Abominations blog, Mikey J explained “It’s where I became a man. I moved to China pretty much on a whim after leaving a pretty toxic relationship, for what was supposed to be maybe two years at most of fun! I then met the girl of my dreams, we got married, had a kid and all of a sudden it was twelve years later! It was such an exciting period of Shanghai’s development as well – 2005 was when it really started to develop in a big way and it was just so fun! I wanted to write an album that was a little more thematic than I have previously written and China seemed a pretty significant part of who I am. I had some ideas about people, places and events that were pretty memorable and it just kind of came together! Of course, there is a good smattering of my patented sappy love songs about my wife to boot!“

Last month, on December 5th, he released the first song from the album, “Where Do I Belong?”, and now returns with two more songs released as a pair, “She’s So Fine” and “Fell So Hard“, which dropped January 9th. Both songs are totally different in sound and structure, with straightforward and honest lyrics about meeting and falling in love with Ella, the woman who would become his wife. “She’s So Fine” opens strong with a gnarly, almost bluesy guitar riff accompanied by snappy drums and a thumping bass groove. Mikey J’s impressive guitar prowess is on full display as he layers multiple textures and riffs throughout the song, highlighted by a great solo in the bridge. Mikey J said that the song was somewhat inspired by The Easybeats, an Australian band from the 1960s, while “Fell So Hard was inspired by the Beatles.

“Fell So Hard” has a slower tempo, with a melody and instrumentation reminiscent of songs by the Beatles in their mid-career period of 1966-68. I really love the mellotron sounds as well as the jangly guitar work that nicely channels that of George Harrison. Mikey J doesn’t have a particularly strong singing voice, but his vocals are endearing and heartfelt as he sings of how he fell for Ella: “I met a girl who stole my heart, she snatched it clean away. I was alone, just drifting through life, but I fell for her that day. She looked at me, and the world seemed to stop. I fell for her so hard that fateful day.”

I like that “She’s So Fine” and “Fell So Hard” offer up a completely different vibe and sound from each other, and also that both sound different from “Where Do I Belong”, with its hard-driving beat. It’s a clear indication of Mikey J’s ability to cross music genres and styles in his songwriting and musicianship, which he puts to good use on Made in China, making for an interesting listen indeed.

Here are the songs on YouTube:

And on Spotify:

Mikey J’s Socials: Facebook / X / Instagram / Threads / BlueSky

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

BRIAN LAMBERT – Single Review: “Take This Heart”

On By EclecticMusicLoverIn Reviews15 Comments

Brian Lambert, an affable, talented and thoughtful singer-songwriter from Denton, Texas who describes himself as a “Friendly Neighborhood Rock and Roller”, is one of the most prolific musicians I know of. When Covid put a halt to playing live, he challenged himself to writing, recording and producing a new song every week for a year, an ambitious feat he went on to accomplish in 2021. Since then, he’s continued his prodigious output, writing and recording numerous songs both as a solo artist and in collaboration with a host of other musicians, including his frequent musical partner Marc Schuster (with whom he also has a side band called The Star Crumbles), Quizboy, Jr Moz Collective, Scoopski, Harmoni Kelly and As Particles Collide, to name some that come to mind.

Photo by Olivia Rodriguez

His lively, eclectic sound runs the gamut from rock’n’roll, indie folk and garage rock to grunge, punk and synthpop. In addition to a dizzying array of singles, he’s also released a terrific album Wild in September 2023 and EP Everything’s a Business in June 2024. I’ve featured him many times on this blog (you can read some of my reviews by clicking on the ‘Related’ links at the end of this post), and today I’m pleased to present his latest single “Take This Heart“, which he released on January 3rd. Inspired by the 90’s music of some of his favorite bands like Soul Asylum, the Goo Goo Dolls and Better Than Ezra, the song is a smoldering, foot-stomping banger. Brian wrote the music and lyrics, produced the track and played all instruments.

The song starts off with a snappy drum riff that’s quickly joined by rumbling bass, then a gnarly guitar enters and we’re off to the races. To my ears, the song almost has a bit of a 60s garage rock feel, but with a contemporary treatment. I love the chugging guitar riff and the insistent drumbeat that continues throughout the song, nicely complementing that grimy bass line in keeping the sultry groove moving forward. Brian dazzles us with all sorts of guitar gymnastics, highlighted by a blistering guitar solo in the bridge.

He’s also a fine singer, with a highly emotive vocal style that works perfectly on this song as he passionately sings of his fervor for a woman he loves: “Hey alright, the moonlight. I just wanna hold you in the middle of the night. Baby, do you want me? Baby, I want you./ Got this feeling inside I can no longer hide anymore./ Baby take this heart of mine.” I think it’s one of his best songs yet!

Connect with Brian:  Facebook / Twitter/X / Instagram / Threads

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

PYLON POETS – Single Review: “Temptation”

On By EclecticMusicLoverIn Reviews8 Comments

Hailing from the picturesque southwest England coastal town of Torquay, Devon are Pylon Poets, an alternative indie rock band comprised of Dan Hughes (lead vocals, guitars & synths), Nathan Hughes (bass, backing vocals), and Sam McIver (drums). (Dan and Nathan are not brothers, just both happen to have the same surname.) The guys have been putting out high-energy melodic rock since 2016, with songs featuring relatable lyrics touching on such issues as pop culture, love and politics. They’ve toured extensively and have played several music festivals throughout the UK, sharing the stage with such artists as Reef, Fun Lovin’ Criminals, Scouting For Girls, Republica and ASH.

Photo by John McGowan

I first featured them on this blog in May 2023, when I reviewed their single “In the End”. Today they return with “Temptation“, which follows their previous single “Echoes of Desire”, released in early May. Recorded and produced by Tom Jobling at Mill Farm Music studio in Dorset, “Temptation” explores the notion of wanting and needing to be led astray by giving in to our deepest desires.

One of the things I like about Pylon Poets is that no two songs of theirs sound alike, which is a testament to the versatility of their songwriting and musicianship. And though their music generally sounds nothing like Duran Duran, I nevertheless get strong Duran Duran vibes from “Temptation”.

Perhaps it’s the sensuous pulsating groove, or Dan’s electrifying jangly, bluesy and wailing distorted guitars, Nathan’s powerful thumping bassline and Sam’s muscular smashing drumbeats, all of which sound fantastic. And while Dan’s vocals don’t exactly sound like Simon LeBon’s on this song, he nevertheless captures a similar smoldering soulful quality perfectly befitting the torrid lyrics describing unbridled sexual desire. It’s all absolutely marvelous, and I think “Temptation” is my favorite Pylon Poets song yet!

Do you know what you need,
Taking things as you please,
Do you want to believe or do you want to succeed,

It has all been conceived,
The making of your dreams,
Is this the time, is this your mind,
Are you the loving kind,

What would you take me for,
Your graces are your flaws,
Whatever you need you're going to receive,

I know you'll take me there,
Desires all laid bare,
Is this the time, is this your mind,
Are you the loving kind,

Tempting me, Tempting you,
Leading me, Leading you,
Dreaming me, Dreaming you,
Hand in hand, Heart in heart,
Tempting me, I'm tempted,
Leading me, I'll be lead,
Dreaming me, I'm dreaming,
Hand in hand, Heart in heart,

So close we're touching,
It's just a matter of time,
It's just a matter of time,

Come here and tear me apart,
Lend me your heart,
Give me the spark,
Make me the loving kind,

Tempting me, Tempting you,
Leading me, Leading you,
Dreaming me, Dreaming you,
Hand in hand, Heart in heart,
Tempting me, I'm tempted,
Leading me, I'll be lead,
Dreaming me, I'm dreaming,
Hand in hand, Heart in heart,

Temptation
Temptation
Temptation


Pylon Poets Socials:  Facebook / X / Instagram / TikTok

Find their music on Bandcamp / Spotify / Apple Music / Soundcloud / YouTube