I’ve been revisiting a lot of artists and bands lately on this blog, and today I’m featuring another one for the second time – the incredible Chicago rock band The Million Reasons. The band is comprised of Scott Nadeau (lead vocals), Ken Ugel (guitar), Mike Nichols (guitar), Colin Dill (drums) and their newest member Jason Cillo (bass). Following up on their outstanding 2017 debut EP The Runaround, they released their gorgeous single “Dizzy” in July, a magnificent song that went all the way to #1 on my Weekly Top 30 (you can read my review here). Today they return with another fantastic single “Battle of Sound,” which I’m pleased to review.
The song has a hard-hitting old-school rock vibe, starting off with punchy riffs of gnarly guitar that provide the driving force for the track. The song expands as layers of guitar are added, accompanied by a solid bass line and power drums, then suddenly erupts into a furious maelstrom in the bridge as the guys let loose on their respective instruments. It all makes for an exhilarating and highly enjoyable rock song.
Scott has a wonderful singing voice, with a raw power that’s perfectly suited to the music and biting lyrics that speak of a relationship that’s irreparably broken to the point that further communication is now impossible.
I didn’t know that we were fighting I didn’t know that the lines were drawn But here we are with our weapons at the ready And the sides have been decided upon
If it’s a battle of silence, I’m winning Never see me come around again If it’s a battle of sound, I’ll take the crown You’ll never see me come around again
You didn’t come prepared for battle You didn’t expect me to react You didn’t know that I own moments like this Where the lights go out and the power blows You’re in the black
Who do you think kicks the power back on?
The humorously charming video opens with the guys pulling up in a van, where they pick up a guy waiting by the curb who’s the new band member Jason Cillo. They hand him a bass guitar, whereupon he immediately gets into the groove as they all begin to play the song, heads furiously bobbing to the beat. As the video progresses, they’re shown alternating their seating positions and instruments, while the poor drummer Colin Dill gets tossed around a bit in the back as he tries to play his drums. The guys clearly had fun making this video.
More than two years ago, in June 2016, Kansas City, Missouri alternative rock band Lost in the City released their superb debut album Genesis. It’s a monumental work, with powerful, thoughtfully-written lyrics addressing the familiar subjects of love, relationships and break-ups, but also the travails of touring, anxiety and depression, delivered with blistering guitar riffs, thunderous drums and passionate vocals. (You can read my review of Genesishere.) Later that year, in the fall of 2016, they began writing songs for their new album Leaving Home, which drops today, October 12. Two years in the making, Leaving Home reflects the band’s growth and maturity, and the many life changes individual band members experienced, including graduating from college, changing jobs, relationships, and literally leaving home by moving out of their parents’ house for the first time.
Lost in the City is Shane Radford (Lead Vocals, Guitar, Keys, Synths), Dustin Proctor (Guitar), Cullan Wiley (Bass) and Kyle Constant (Drums). For Leaving Home, Bret Liber, who’s also a musician in his own right, with the rock band Young Medicine, played keyboards in addition to recording, mixing and mastering the album tracks.
The album opens with “The Battle of Schrute Farms,” arriving in a barrage of raging guitars, humming bass and hammering drumbeats. Shane is joined by Jordan Rebman on vocals, and together, they’re an emotional powerhouse as they belt out the biting lyrics about cowardice in a relationship: “I’m forgetting the way you play, but I don’t regret anything. You’ll move on and so will the sun. Just take me for granted. Despite your efforts, you can’t take this from me.” At least that’s my take on it after Googling the song’s title, and finding this definition: “Thought by many to be the Northernmost battle of the American Civil War, The Battle of Schrute farms was instead a code name for the refuge for cowards escaping the the drudgery and conflict of war.”
“From the Floor of an Attic in Portland” is an interesting song, with unusual chord progressions and instrumentation. Loud, fuzzy guitars, buzzing bass, piercing synths and complex percussion are dominant musical elements on this arresting track. Shane almost screams the hopeful lyrics “Tonight is the night to save a life. And I do believe that we all can change.” The soaring vocal harmonies in the chorus are wonderful, and I love the delicate piano riff in the outro.
As I continue listening to the album, one of the things that stands out is the sheer power and exuberance of the song arrangements, instrumentals and vocals. “Daylight” essentially captures the essence of the album – that embracing the inevitable changes that come our way is the key to surviving this thing called life. The jagged guitar riffs and thunderous percussion are a perfect match for the uplifting lyrics: “The biggest decisions, I’ve made without a plan. Growth is the key to finding your purpose. I feel like I’m wandering away from old notions. / Everything looks better in the daylight. I’m taking time to forget what I’m seeing. My life’s been changing for some time now.” The heartwarming video shows intimate scenes of the band just being themselves, playing, rehearsing and performing.
“You Stopped This Train” is a hard-hitting melodic rock song about someone who’s chosen to abandon a relationship the singer believed was strong and lasting. Musically, the track features Shane and Dustin’s gritty, shredded guitars and Kyle’s furious drums, all anchored by Cullan’s powerful bass. The screaming guitars at the end of the track are fantastic, and perfectly convey the pain Shane expresses in his wailing vocals “You stopped this train when everything was going great. You walked away as you let it all fall apart.”
With a barrage of jagged riffs and sweeping piano-driven synths, “Bangarang!” seems to call out the futility of war and conflict: “The tales of war aren’t exaggerated. The infighting ranks fall away./Revenge should be used in no situation. It brings no change, just cold isolation.” The raucous “Into the Dark” features tortured riffs of gritty, distorted guitars and industrial-strength drums pounding out an exhilarating beat. Shane fervently sings of an optimistic light at the end of the tunnel: “No matter the changes, we’ll push through. Lifting our heads as we move on by. We don’t have time to doubt. Time will tell if we made it.” This optimistic outlook continues with “The Light Inside My Head,” as Shane sings of moving forward and not letting past mistakes hold you back: “I’m taking time to take note of where I am. Progress is progress, no matter how hard. I’m holding my future in my own hands, Bright sides are a brand new cycle.”
One of my favorite tracks is “Metro Apartments,” with its haunting melody and grandiose instrumentals. Bret Liber’s guest vocals nicely complement Shane’s, and I love their vocal harmonies in the chorus. The lush, sweeping synths, thunderous drums and shredded guitars are positively spine-tingling. “The Upside Down” is a 48-second long interlude with dramatic piano-driven synths, and Shane’s repeated line “I’m sorry I grew up. I’m sorry I failed.” The brief track serves as an intro to the final track “Monsters Are(n’t) Real Pt. 2,” which is actually a continuation of the final track on their first album Genesis, “Monsters Are(n’t) Real.” It’s a very dark and hard-hitting song, with piercing, tortured synths, raging guitars and furious drums that seem to grab us by the throat. All the optimism expressed in many of the previous tracks has been replaced with a overwhelming sense of hopelessness and despair, resulting from a realization that the world is in fact a very bad place, and our futures are bleak (sort of how I’m feeling under our current presidential administration and Congress).
The world is worse than I thought it would be. Filled with hope, I ran to the sea. A sea of wanderers? Who could they be? Filled with anger, who are we?
I’m sorry I grew up. I’m sorry I failed. The monsters in our heads are so very real. The doubts that fill us are the truth. We’re just expendable pieces of youth. War cries are louder than we need. We take time to be free and see.
I’m sorry I grew up. I’m sorry I failed. The monsters in our heads are so very real. The sky is filled with dashed hopes and dreams. “If you work hard, you’ll be whatever you want to be.” We all know the truth as we march along. We’re a piece of the puzzle, alone not strong.
It’s interesting that Lost in the City would choose to end their album on such a somber note. Nevertheless, Leaving Home is a brilliant and provocative work – a coming-of-age of sorts for this talented and thoughtful group of guys. Their songwriting and musicianship is outstanding, and I’m happy to watch them grow and mature as a band.
Today I have the pleasure of introducing The Underground Vault, a fine rock band from London, England. They play a bluesy style of rock that’s hard and raw, with a bit of an old-school late 60s-early 70s vibe that calls to my mind such greats as Eric Clapton, Deep Purple and Ten Years After. Following up on the success of their 2017 debut EP Dawnbreaker, on September 15 they dropped their second EP In the Water, delivering six hard-driving tracks that solidify their status as a band on the rise. Making the noise are Blair Dollery on lead guitar & vocals, Jamie Dove on guitar, Pete Sadler on bass, and Dan Young on drums.
The EP opens strong with hammering drums and gnarly riffs announcing the arrival of “Colt.” Dollery snarls the dark lyrics warning an apparently very bad person that their days are numbered: “Got this gun in my hand. Gonna shoot you as fast as I can.” I’m not sure whether it’s Dollery, Dove or both who play the blistering riffs in the finale, but they’re fantastic. The guys rock and roll on “Everymans Fantasy,” a rousing song about a woman who’s driving him crazy with desire: “You’re in my dreams. I’m on my knees. You’re everyman’s fantasy.”
The band really settles into their groove by the third track “In the City.” This tune rocks the hell out, with an arresting melody that hooks us in from the get-go. Dollery and Dove set the airwaves aflame with scorching riffs of gnashing and wailing guitars, while Sadler’s humming bass and Young’s pounding drumbeats keeps things grounded. Dollery’s raw, passionate vocals at times are as fierce as the wailing guitars, raising goosebumps. “Heal the Wounds” delivers more hard-driving melodic rock with fuzzy riffs and lots of soaring vocal harmonies.
All the frustrations and angst seem to reach the boiling point on the hard-rocking “Love is Hate.” With exasperation in his voice, Dollery shouts the lyrics: “Going out, going out tonight. Getting drunk. Gonna have a fight. God you are getting on my nerves. It’s the end, it’s the end I suppose. Love is hate. Love is freedom. Love is hate. Keeps us human.” The fast-paced guitar work, deep bass and pummeling drums on this track are really terrific.
The guys save the best for last with the standout title track “In the Water” a beautiful song that’s also my favorite on the EP. It starts off with a more relaxed cadence than the other tracks, with layers of gorgeous multi-textured guitars floating above a solid buzzing bass line, and accompanied by a military-type drumbeat. Dollery’s vocals are heartfelt as he sings about loss, possibly of a relationship that’s broken beyond repair: “Reach for the sky. Truth can not lie. All our dreams will be dead in the water. Drifting at sea, only you, only me. All our dreams will be dead in the water.” A little more than halfway into the track, the pace quickens, cymbals crash and guitars wail for about a minute, then everything slows back down for a while before cranking back up for a dramatic finish. It’s an epic song, and a perfect ending to a stellar EP.
Guitarist/songwriter Will Thacker and singer/songwriter Jena Jones were both artists from small towns, each struggling on their own in the search for someone to work with to bring their songs to life and get them heard. After nearly giving up hope, Will almost jokingly posted an ad in his home town of Casper, Wyoming, and to his surprise and good fortune, Jena answered and Fieldcrest was born. (Jena is now based in Wyoming, and Will in Georgia.) Incorporating elements of their shared love of music influences ranging from 70s classic rock to grunge, they developed their own hard-driving style of modern rock, and began fleshing out songs Will had written, which they presented to the world with the release of their debut EP Meadowlark this past April. Building on the success of that EP, they continued writing and recording new songs, which are featured on their second EP Canvas, which dropped on September 14.
The songs address themes of self-identity, life changes and loss. First up is “Strange Girl,” a rather dark-sounding but optimistic song about female empowerment. Jena’s clear vocals are filled with urgency as she sings the lyrics encouraging a woman who’s marching to her own beat but unsure of her path: “You’re a little unconventional, strange girl. Don’t be discouraged, you are wonderful. I know you’re scared, but you will be OK. There is nothing in your way, except you.” Will’s guitar work is impressive as he delivers an array of textures ranging from delicate strums to jagged, gnarly riffs, all nicely layered over a throbbing bass line and anchored by a strong drumbeat. The track closes with a gently strummed guitar that gradually fades to quiet but, curiously, continues for another 30 seconds after the music ends.
Perhaps it’s to provide a moment of calm before the storm, which arrives like a thunderbolt in the form of the next track “Tuesday.” The song blasts through the gates with bombastic riffs of Will’s raging guitars and pounding drums. Jena emotionally sings of being stuck in a rut, feeling like she’s losing herself: “Sitting in the same place, same chair as I did last year. You’re in the same place. Hey do I know you? I don’t think so. Life’s too short for this.” The heavy modern rock goodness continues with the hard-hitting “The Silence,” a song about a couple who’ve gotten to the point where they’re no longer able to communicate with each other. I’m starting to sound like a broken record, but Will’s guitar work is so fucking good! He shreds and distorts his six string, coaxing riffs that sing, wail and soar, bringing goosebumps. The song has an Evanescence vibe, partly due to the fact I think Jena’s strong, passionate vocals remind me a bit of Amy Lee.
“Transitional” is a lovely instrumental interlude consisting only of a simple piano movement, along with the sound of falling rain at the beginning and end. It’s sublime, and I’d love to hear more music like this from Fieldcrest, as one of them is a pretty good pianist.
The final track is the dark and mournful “Empty.” a powerful song about dealing with loss. Will’s jagged and wailing guitars, combined with Jena’s emotionally-wrought vocals, dramatically convey the heartbreak and desolation that remains after the death of a loved one. It’s a phenomenal song.
In my grief I just can’t accept this It’s a blow that knocks me to my knees In my grief I held you last night but then I woke up empty I’m gonna miss you forever I would have never pictured life without you You helped hold me together How can I be strong without you People keep talking at me about how God has called you home A Part of me hopes they’re right cause you had so little time It seems so unfair, I wasn’t ready to let you go
I will admit that it took a couple of listens for these songs to really click with me, but once they did, I was hooked on this band. Jena’s sultry and emotive vocal style is utterly beguiling and Will’s guitar-playing is positively badass! Canvas is a solid EP, and I look forward to hearing more from Fieldcrest very soon.
As all of us who use it know, social media can sometimes be a major source of aggravation, but it also has its rewards, one of which – for me at least – has been to connect with scores of musicians and bands from around the world. With some of them, that connection has run deeper and become more personal for a myriad of reasons, but most often due to the warmth and magnanimity of the artists themselves. One such band is a five-piece from Seattle, Washington with a delightfully quirky name – Strangely Alright. Not only do they play great rock music, they also project a strong message of love and acceptance in their songs, while clearly having a lot of fun in the process.
The band is headed by Regan Lane, who does most of the songwriting and sings lead vocals, Sean Van Dommelen (lead guitar, vocals), Ken Schaff (bass), Raymond Hayden (keyboards, vocals) and Jason Bair (drums). Their wildly-entertaining style of punk-infused rock is inspired by various generations of British iconoclasts such as David Bowie, T.Rex, the Jam, Suede, the Buzzcocks and Supergrass.
They’ve released a number of recordings over the past several years, including their terrific album The Time Machine is Broken in 2013, and a compilation album of singles All of Us Are Strange (The Singles) earlier this year. On September 20, they dropped a fantastic new EP simply titled Stuff. The band describes the EP as “six songs about love, working together, setting boundaries, the digital age and the change that’s coming.” The tracks were written in the wake of the 2016 presidential election, and speak to “walking the tightrope of acceptance and resistance, of not giving in to the overwhelming forces of hatred and turmoil.” I could sure use some pointers on that subject.
The opening title track “Stuff” speaks out against our materialistic ways, namely, our thinking that acquiring more things will bring us happiness when, at the end of the day, it’s the love and support we extend to others that will bring our lives meaning and a real sense of contentment: “And I have learned through the trials and the times. That I need to look inside if I want to stay alive. All of the things that I gather are things I will leave when I am gone. It’s all just Stuff. It ain’t enough. Without the love in my heart it’s all just Stuff.”
I love the silly opening with ukelele and a bit of jibberish, and how it then erupts into an explosion of gnarly and screaming guitars, set to Jason’s infectious hard-driving rock beat that grabs us by the hips and gets our asses moving! The guitar work is so good and, combined with the gritty synths, throbbing bass and Regan’s feisty vocals, “Stuff” is one hell of an awesome rock song!
“Building Bridges” is an admonishment for us to work together to build things up rather than fighting to tear things apart. The track starts off with a portion of the famous and moving speech given by Bobby Kennedy at the time of Martin Luther King Jr’s assassination: “What we need in the United States is not division; what we need in the United States is not hatred; what we need in the United States is not violence and lawlessness, but is love and wisdom, and compassion toward one another, and a feeling of justice toward those who still suffer within our country.” It then launches into a thunderous volley of gritty riffs, assertive keyboards and pounding drums that form a lively soundscape for Regan’s fervent, at times distorted, vocals.
The kiss-off song “Wave Goodbye” starts off with Regan saying in an almost smarmy voice-over “Dinner is served,” then organ synths and fuzzy guitars take over as he sneers: “I thought you were my friend but I can see you’ve been pretending from the snide remarks that drip from you tongue. Walking with a shovel, you’re surprised that you’re in trouble while you’re piling dirt on people you love./ Even when you say you can change. hey, we don’t trust you. Maybe you should just float away./ Wave goodbye.”
Strangely Alright takes on misinformation and fake news on “Information Game.” The track has a wonderful T.Rex glam rock vibe, with psychedelic synths and layers of distorted and wailing guitars. Regan’s vocals actually sound a bit Bolan-esque as he snarls: “Liars thieves and pretty faces. TV stars that run the nation. Maybe there’s a quiz at the end. Same old show a different station. Fairy tales and race relations. Cherry pick the good and the bad. The more I see the less I know. The less I know the more I see. It’s clogging up my brain.”
“Whatcha Gonna Do?” is straight-up rock’n’roll with an irresistible head-boppin’ beat, and one of my favorite tracks on the EP. Keeping with their penchant for quirky intros, the track opens with what sounds like a merry-go-round , symbolizing the circus-like atmosphere we now seem to be living in. Sean’s guitar work is fantastic, as are Raymond’s jazzy keyboards, Ken’s bass and Jason’s drums. And Regan seems to channel early David Bowie on this track as he croons: “Well I vote in the elections and I feel no real connections with the humans that we trust with our lives. Baby baby It just feels like lies lies lies lies. Who hoo hoo hoo. Whatcha gonna do? when it all just breaks in two.”
The EP ends on a upbeat note with the psychedelic-rock “Don’t U Know.” The lyrics speak to the optimism of youth, and that change for the better is coming, even though those of us who are older may feel cynical and pessimistic about it: “Well my children tell me that a change is gonna come. Hiding in the sunlight is the truth that we are one. Open doors of freedom. Doors of dialogue. Freight train and I feel it’s coming coming coming.”
I have to say that the more I’ve listened to their music, the more I’ve come to love Strangely Alright – not only for their uniquely quirky sound and impressive songwriting and musicianship, but also for their humanity and kindness. Stuff perfectly exemplifies all those admirable qualities that make them a very special band indeed.
Note: This EP has been removed from all streaming platforms by the artist, rendering this review meaningless and obsolete.
Chio is the artistic name of singer/songwriter Anthony Chiofalo, and this is his debut EP Unlearned Lessons, which dropped in August. The New York City-based artist plays rock music influenced by a whole assortment of alternative, grunge and garage bands, but with a style all his own. He recently had this to say regarding his sound: “People continue to ask specifically what artists my music sounds like. Fair enough, but I’m usually at a loss with that question. I had come up with some answers, but nothing that felt accurate. I also didn’t like to try to fit what I did into some other artist’s slot. That’s missing the whole point of writing original music. I have influences. Tons of them. But I never want to imitate, replicate or steer too close towards someone else’s creations. Otherwise I might as well just play their songs.”
Well, to these old ears of mine, I hear bits of the Gin Blossoms, Counting Crows (specifically the vocals of Adam Duritz), and Tom Petty – all great bands I really like, so it would follow I’d like Chio’s music. He wrote all the lyrics and music, arranged all the songs, and played guitar, keyboards and sang on Unlearned Lessons. Jerome Giancola played bass and Justin Hofmann played drums, and both guys produced, recorded and engineered the songs.
About the EP’s title Unlearned Lessons, Chio explains that it comes from a lyric in one of the tracks called “Into the Waves“: “We all still feel it, subtle heat. Unlearned lessons, always repeat.” It’s the final track on the EP, but I’ll discuss it first. He goes on to state: “The song… is about growing up and feeling the pressure of so many different aspects of life, and getting fed up to where you just want to get away from it all. In the chorus, I use surfing as a metaphor for escape, singing ‘I just want to jump into the waves.’ Surfing’s my metaphor, but the line itself represents anything that helps you get away from the seemingly endless challenges we all have to deal with. It seems that until we figure out how to remove ourselves from whatever cycle we’re playing out, and find a way to move past the continuous and familiar problems we face time and time again, there is only temporary escape in whatever you do to get through it. Until you understand why you’re going through the same patterns and what’s at the root of it, your ‘unlearned lessons’ will always repeat.”
Using layers of fuzzy and jangly electric guitars, Chio creates a palpable sense of tension, made even stronger with the addition of his own eerie electronically altered backing vocals.
The opening track “The Rebel Inside” touches on his self-image as a badass, at least while he was coming of age, but also that he has a vulnerable side, and his loved one’s hurtful actions may turn him away: “So maybe I’m not as hard as I thought I was at age 15 when I caught my first real buzz. But that don’t mean my mind won’t break when you put my pride at stake. But you seem to see right through me. You’re all that I’ve got and it’s gonna consume me. But I know it’s good to be choosy. Watch out maybe you’re about to lose me.” The track starts off with a gritty, reverb-heavy guitar riff and Chio’s earnest vocals setting a rather dark mood, then the music breaks open with gnarly guitars, humming bass and heavy drums and loads of crashing cymbals. It’s a great rock song.
“Out of My Head” is a hard-driving kiss-off song, and Chio’s terrific guitar work is on full display. With bitter resignation, he tells is ex he’s done with her: “I think I’ll take it easy on myself and keep you out of my head. We threw so many words upon each other. Petty things better left unsaid. Now I only feel peace in myself. This moment’s my only future, and there’s no time left for you.” And speaking of kiss-off, he really goes for the jugular on “Haunted“: “There’s a special place in hell for people like you. The ones that take my heart, but don’t see it through. And I’m just vulnerable if you look too close. A sheet in a dark room, but you think that I’m a ghost. Now I’m haunted. I’m haunted by your ghost.” It’s an interesting track, beginning with a funereal organ synth that seems to represent the feelings of being haunted by the death of the relationship. The song then blasts wide open with shredded guitars and heavy drums, intensifying the emotions expressed in the lyrics. I especially like the catchy little guitar riff Chio plays in the choruses.
Chio tackles obsessive, unrequited love on “Long Distance,” where he addresses someone who’s obsessed with a guy she’s never even met: “You know you love him, but you won’t say a word. And if you love him well, why hasn’t he heard. Know the reason why you keep your feelings inside. When you see him, you run and you hide.” I love the Tom Petty-like guitar work on this track.
Unlearned Lessons is a great little EP and an impressive debut effort from Chio that should make him proud. His honest, thoughtful lyrics are written from the heart, and his ability to set them to dynamic melodies and bring them to life with his skillful guitar playing make for some very solid rock songs.
no mad is a rather unique alternative funk-rock band. It was formed in 2017 by five nomadic professional musicians with the purpose of recording songs that would eventually become the album Motions in Black, which dropped in late May. They’re all pretty talented artists, as evidenced by their superb melodic, guitar-driven rock sound. Though based in London, UK, they refer to themselves as “nomads in a nomadic world.” The band’s songwriter provided some background information about no mad and how Motions in Black came to be.
“The band really started with the songwriter unearthing old songs from cardboard boxes in 2016. Some of these songs had been written 20-30 years ago but never recorded. He met a few friends, friends of friends, etc., and in 2017 the band was formed to record a first 10-song album (the repertoire has a total of 40-50 songs, so plenty for more albums to come!). The songs that were chosen for the debut album Motions in Black were some of the older songs and also some of the darker ones, perhaps with some 1990s nostalgia.
The five members of the band that recorded the album included the singer, guitarist, bassist, drummer, and the songwriter who did back-vocals and other bits. As modern nomads and London musicians, we came from very different backgrounds as well as music genres. The “D” in no mad is the “The Doctor.” He’s an incredible drummer and has been involved in lots of rock and metal projects, toured in Europe etc. In 2017 he became a father. His family settled in Lisbon and he had to leave London, so sadly, the band was down one.
The band members are not really trying to stay anonymous, but they like their privacy, and being all professional musicians, they are also busy on other musical projects of their own. Fans can probably figure out who they are by following the tags in some tweets or Instagram pictures. It’s just that no mad believe in the power of the songs, the melodies and lyrics. It’s not about who we are or how we look, it’s about the music and message. Having said that, we’re not hiding either. “The NO” came to England when he was 13. He’s a brilliant guitarist who lives for his music. “The M” is an amazing bassist who’s been involved in lots of rock and metal bands, is a reference on his instrument, and has also settled in London after coming over from Europe. Singer-drummer “The A” is a bit of a different case ’cause he thinks he’s an alien, and actually calls himself “Alien”. He won’t say which planet he’s from though…. your guess is as good as ours on that one!”
The album kicks off nicely with the funky and upbeat “Car Jam.” A delightfully funky bass line, snappy drums and jazzy organ form a solid foundation for layers of intricate guitar work and lively vocals. The lyrics are an admonition to a rigid, uptight person to just loosen up, quit being so judgmental and have a good time – get down with the funk and do the car jam baby! no mad takes a more serious turn on “Just Another Love Story,” a song about trying to convince yourself a relationship is over, but you can’t get over her and keep imagining you see her everywhere you go. “But each time I’m feeling blue. I fall into some freaking view. Over you.” The guitar work is awesome, continuously surprising us with new textures that go from chiming to funky to bluesy, and everything in between. The percussion is fantastic too, with flourishes of military-style drumbeats that seem to drive home the bitterness expresses in the lyrics. It’s a great track; guitar-driven rock doesn’t get much better than this.
The beautifully-filmed video shows “The M” walking around Camden, where he thinks he repeatedly spots his old girlfriend.
Another standout track, and one of my favorites, is the dark “To the Other Side.” The gorgeous haunting melody hits you right between the ears, and as always, the guitar work is splendid. The impassioned vocals of “The A” have a seductive, yet slightly dangerous quality as he sings the lyrics that could mean he’s about to die or is suffering from a mental breakdown. “You know I love you Donna. Don’t want to leave you now. You know I love you don’ya. I’ll never let you down.” I really like the play on the words “Donna” and “don’ya.” The backing female vocals are beguiling, and add to the song’s haunting vibe.
As the album progresses, I’m blown away by the band’s ability to write such beautiful and memorable melodies. “Anna” has a fantastic hook, along with plenty of rock grooves that make for a really nice track. The song’s about a women who seems lost in her own world, with the singer trying to break through to her. “Anna, Pretty Anna what do you see? When you’re waiting for a message but there’s nothing on the screen. How d’you feel?” Clocking in at nearly six minutes, “Sweet Loneliness” has an almost epic quality, with extensive lyrics that read like a long, deep poem: “Why did you have to go so soon. It’s like you left an empty room. You filled my life with your absence. Pronounced an unfinished sentence. Sweet loneliness, my old friend I’ve come to be with you again. You are my peace, my consolation. And I’ll be with you till the end.” The bluesy riffs and haunting melody are positively mesmerizing, and I can safely state that I’m head over heels in love with this album, even though I’m only halfway through it!
Next up is the gorgeous title track “Motions in Black.” The track starts off with “The A” singing “Da da da da da da da” to a jangly acoustic guitar, then the track opens up into an achingly beautiful melodic riff of jangly and bluesy guitars. The song was written in 1985, and speaks to a love that used to be: “If you wanta be anything to me. I’ll take no other feeling than your sentiment of love. And if you want a chat. Why don’t we talk it over. Motions in black.” It’s absolutely sublime, and another of my favorite tracks on the album.
The guys return to a funky mood with “Get Along,” essentially an anti-war song that urges us to stop fighting and learn to love and accept one another and get along: “We’re all sons of the World. On this I’ll give you my word. We’ve been waiting too long. Why can’t we all get along?” The bouncy and funky “Downtown” tells the saga of Betty, who went to the big city to try and make it on her looks and charm, but ended up in trouble and on the streets. “She’s not a bitch or a witch I realized. She’s just another human being. / I hear an angel crying. Down Town.”
“Mental Revolution” is an interesting track, with two completely different melodies. The song opens with a soaring anthemic chorus, then abruptly transitions to an uptempo funk-infused rock reminiscent of the kind the Average White Band played back in the 70s. The anthemic chorus is repeated halfway through, then the melody shifts back to the funky rock tempo. Album closer “Tonight” is an upbeat rock song of love and devotion: “Tonight, I want you to know. Wherever you go I’ll be there for you.” The track features some fine guitar and keyboards.
To sum up, Motions in Black is a fantastic album and stellar debut for no mad. It really showcases their skill for writing poetic lyrics and gorgeous, guitar-driven melodies, and bringing them to magnificent life. I eagerly look forward to them recording more of those already-written songs.
Agency Panic is an alternative/progressive metal rock band based in Wexford, Ireland, and in July they made an auspicious debut with the release of their powerful new single “Panic.” It’s the first song off what they are calling their ‘drip feed’ EP, which is being released one song at a time. Making the hard-hitting noise are J.D.K. on vocals, Tubs on guitars, Lee on bass, and Revsy on drums.
“Panic” is four minutes and 49 seconds of hard rock perfection. The track opens with a blast of crashing drums and fierce guitar, and never lets up. The guitar work is phenomenal – Tubs sets the airwaves afire with scorching riffs of shredded and wailing guitars that are pure bliss for those of us who love intense, guitar-driven melodic rock. Lee lays down a solid bedrock of heavy bass, while Revsy pounds his drum kit like a man possessed. J.D.K.’s strong, passionate vocals are chilling as he snarls the dark lyrics, becoming downright feral in the song’s finale when he screams the words alongside the raging guitars, sending shivers up and down my spine.
It’s an incredible song that leaves me wanting to hear more from this amazing group of musicians, and I cannot wait for their next single! The intense black and white video shows the band performing the song in a darkened room with ominous-looking shadows, alternating with scenes of a man stealing, then destroying, medical records and cutting off his fingerprints in what appears to be an attempt to hide his very existence. Later in the video are scenes of civil unrest and other disturbing images, juxtaposed with the band’s performance of the now almost violent music and vocals. Have a look and prepare to be blown away:
Reality Suite is a New Jersey-based rock band with a fresh sound defined by scorching riffs and anthemic melodies. The band was formed in 2009 by three life-long friends, Brian King (drums) Antonio Valenti (bass) and Joe Padula (guitars). After struggling through a string of male and female vocalists, the wonderful Kimmii Heart came to the rescue, and their winning lineup was firmly established. They released their debut album Skinn to critical acclaim in 2015, and followed a year later with the single “Bury Me Alive.” This May, they dropped their EP Awaken, which I have the pleasure of reviewing today.
The EP is a deeply personal work for the band, each of whom have experienced the death of a loved one in the past few years. In an interview with PopBreak.com, Brian explained: “During the writing for what became “Awaken,” Kimmii and I realized most of what we were writing about were losing loved ones. Each of us had lost someone close to us in the last two years. I lost my mother in 2016 to lung cancer – which spawned the song “Cut, Burn Bruise.” Kimmii lost a close family friend which inspired “Grave.” Antonio lost his mother and Joe had lost an Aunt in 2017 – so, as much as “Grave” and “Cut” are about missing a loved one, in the context with the other songs – “Awaken” becomes an album about recovery and rebirth…leaving the pain behind and moving on. The songs “Live Now Forever,” “Dead to Me,” and “Lust” drive that point home.”
“Dead to Me” perfectly exemplifies their dynamic, hard-hitting sound. Brian’s pounding drumbeats establish a sturdy foundation for Joe’s gritty riffs and Antonio’s buzzsaw bass lines, though the song also has moments of relative calm where glossy synths and delicate guitar notes dominate. Kimmii’s emotive vocals run the gamut from seductive purr to malevolent snarl to impassioned wail as she throws dark shade on someone she’s clearly had enough of: “I’m done playing nice with your sick little ways. Breaking my back just to keep you away. It’s over this time I’m losing my mind. You think that I’m blind well I’m feeling like – You’re dead to me!” The music and vocals ultimately build to a crescendo, with sweeping strings, wailing guitars and a soaring harmonic chorus that make for a dramatic finish.
“Grave” is a dark anthemic ballad with fantastic guitar work that wends its way amongst the crushing bass and crashing cymbals. Kimmii’s passionate echoed vocals are marvelous. The band dials things up a notch on “Live Now Forever,” a terrific head-banger with fierce riffs of fuzzy guitars and humming bass. I like the way Joe makes his guitar squeal, and his blistering riffs and Brian’s pummeling drums in the bridge and final chorus are fire. Kimmii’s vocal gymnastics are impressive as she matches the fury of the instrumentals note for note. It’s one of my favorite tracks on the EP.
Another powerful anthem, “Cut, Burn, Bruise” is about missing someone so desperately you’d do almost anything to have them back: “Can’t bring you back. So I drive through the night. Going fast makes me feel alive. You make me feel alive. / Love’s a cut, a burn, a bruise. But I loved you til I’m black and blue. Feeling broken, I am learning to live without you. But I’d die for another day with you.” Reality Suite keeps the hard-driving rock grooves coming with “Lust.” These musicians are really at the top of their game, delivering more of their signature fiery riffs, throbbing bass and tumultuous percussion, and Kimmii’s dazzling vocals raise plenty of goosebumps. It’s a great track, and Awaken is an awesome little EP that packs one hell of a mighty wallop.
I’ve mentioned it several times before, but it bears repeating that one of the things I love about Twitter is all the interesting people I’ve met and continue to meet. And since my account is primarily about music, I follow and am followed by several thousand musicians and bands. One that I’ve had the distinct pleasure of getting to know is a hard-working singer/songwriter who goes by the artistic name Def Star. Based in the Chicago area and born Mike Purcell, Def Star is an incredibly creative, talented and nice guy with seemingly boundless energy. In just the past couple of years, he’s recorded an impressive output of songs in a variety of genres, including hip hop, rap, rock, alternative rock, electronic, industrial, trap and pop. He’s also very supportive of other musicians, as well as his fans and followers, plus he has a wonderful sense of humor – all things I greatly admire in an artist.
I recently sat down with Def Star (well, we were actually sitting at our respective computers 2,000 miles apart) to discuss his love for music, what inspires him, and his creative process. I was blown away by his thoughtful, articulate and deeply honest responses.
EclecticMusicLover: Hi Def Star. Thanks for agreeing to an interview! We’ve followed each other on Twitter for a while now, but I don’t really know a whole lot about you. Tell me a bit about yourself and how you came to be interested in making music.
Def Star: First & foremost, thank you for taking an interest in my music! About me: both of my grandpas sang (one jazz/lounge & the other church songs). I witnessed the power song has over women at a very young age when I saw U.S. Navy pilots perform a very well-choreographed lip sync of The Righteous Brothers’ “You’ve Lost That Lovin’ Feelin’.” In middle school, girls would call me and ask that I sing “If I Ever Fall in Love” by Shai – great song! My tastes were and are in complete & utter disarray – the only file left up there in my mental rolodex is labeled chaos and I think it’s empty.
Really though, I remember absolutely falling in love with whole eras of music and the two that stick out most are grunge rock and gangsta rap. Comin’ up the outside of the track was always R&B. Regardless, ever since I can remember, there have always been songs that absolutely knock me over and latch their claws into my soul and leave these beautiful scars or bandage ones that were already there. Anyway, what I’m intending to get at is this: it never mattered what genre these great works of art were labeled, or what style or culture or anything else anyone could say right here… to me, I’m thankful that I was exposed to an incredibly vast variety of music by people who genuinely loved the music they love and that I’ve been fortunate enough to have had experiences that later on change from mere memory into what is recalled as these moments. I don’t know if they’re milestones so much as they are simply stars in the night sky we call our life; the point is they matter because the chords get struck and they run deep. Not only that but they’re like little shortcuts or portals straight to the heart – for better and worse.
EML: I can identify with how you developed a passion for music at an early age. My much older brother loved artists like Elvis, Fats Domino and Little Richard when he was in his teens, so I got exposed to that music as a baby and danced to those songs as soon as I could stand up on my own lol.
DS: I love the magic that is music and its effects on every single person it touches from inception on. For some, that’s the name of this game, really: the best songs never die. In my experience, it can feed twisted delusions of grandeur not limited even to the absurd such as immortality. Flipside of that? Oh, but all of the rest about it – any which way ya cut it – music is escape, hope, consolation, companionship, love, hate, nothing, everything. I love how some songs can plant themselves firmly in one specific moment in time and other songs are ethereal, transcendent, and timeless.
I’ve said this from the very beginning: “Music Speaks, I Translate.” At the time that I first started saying that (whenever people would ask about how I write lyrics or develop melodies) I wasn’t trying to brand myself or come up with some sort of catch phrase. Today, it’s mine & I own it. It began because that’s how I feel it happens most of the time for me. I get an instrumental from one of a few incredibly talented producers I’m blessed enough to be close, personal friends with; it may be one of a handful of different genres or a unique mix of two or more; I like to consider what the emotion of the beat’s describing or even “saying.” Sometimes the producer says I hear this here or I kept thinking of that there, other times he or she says what they were thinking or feeling when they made it. Most often, I’ve been entrusted with free reign to build whatever I feel like building on the allotted real estate, whether only one verse for a collab or promo, or an entire track for a solo.
I started out rappin’ in 1999, singin’ in 2001, rockin’ in 2003 and from there, there have been mixtapes, groups, bands, shows, writing, recording and finally an artist who realized that if he doesn’t light the fire, no one will ever even have a chance to carry the torch. So now, I have a catalog of recorded songs somewhere upwards of the mid-300’s, I may or may not be currently working on an official album or two right now as I type this, there is always new promo material popping up like my first actual music video that came outta nowhere just last week on YouTube:
I’m all over Twitter & InstaGram like a fool, lol! Cliché alert: I figure we have this one life to live, just one. That’s it! So, do I really, truly, genuinely, whole-heartedly, sincerely believe that there’s something going on with my music that’s worth at least giving it a little air and a little light? Yes, I do. If it grows, maybe give it a little more food, air, and light? DEFinitely. Next question: what am I waiting for?!
EML: Well, shedding a little light on your music is my aim! You state that grunge and gangsta rap were the two genres you really felt passionate about – which makes sense as you came of age in the 90s – but I hated them back in the day. I’m much older than you, and in the early 90s I felt music quality had gone over a cliff. I absolutely hated all rap, and just didn’t get the appeal of grunge. I was in my 30s by then, and figured I was already too old and that music no longer mattered as much to me – something that seems to happen to a lot of people as they get older. Most of my friends are now in their 50s and 60s, and few of them have the slightest interest in hearing new music anymore. They think it’s great I have a music blog, but they’re not at all interested in reading it or learning about new music.
I’ve since come around about grunge, hip hop and rap, though I still don’t like gangsta rap. It’s just too much for me.
DS: Re: grunge & gangsta rap… A couple things (& I completely relate to where you’re coming from)… I, too, (now in my late 30’s) have felt like “new” or newer music, style, content (especially rap) has just fallen off & it’s all garbage… I have felt like that at times. But, that’s typically before I’ve given any of which I’m judging an honest chance. There’s usually something about it I like, or I might shockingly end up loving it, or at least then I have legit reasons I don’t like it. But that’s me.
I have since fallen madly in love with other bands & even genres entirely! My journey has seen so many chapters or phases & most often, even if I move on to a new thing, chapter, or phase, I don’t just stop having this place in my heart that a previous love carved out. It’s still there & feels good when filled again with that old love. But I crave the new, too! So, yeah, I went through Emo, Screamo, Hard Rock, Heavy Metal, Death Metal, Post-Hardcore, Electronic Rock, EDM, Pop, Pop Punk, and more. It’s been a TON of fun & I’ve picked up a lotta things along the way that have positively influenced my approach on music and just my overall enjoyment of life. There’s a few artists that are like guilty little pleasures of mine that I don’t talk about often but I love their albums too. Never thought I’d see these particular artists albums in my personal iTunes but they’re there & I’m happy about it, lol.
Gangsta rap today? Not so much. Strangely enough, though I myself am a rapper of sorts, I don’t listen to rap often. I don’t listen to much Grunge today either. Maybe some “classics” here & there or the Temple of the Dog album I absolutely love, but it is the exception rather than the norm.
Last thing I’d love to touch on & it sounds like you’ve experienced a bit of this: your friends have less interest in reading your blog than you’d hoped or expected. I can absolutely relate – simply switch out the words “reading your blog” with the words “listening to my music”… lol! My buddy I make music with and I have discussed how funny it is that people I don’t know at all will oftentimes support my work and my social media sites more than my own friends & family – I’m crazy thankful for any & all interested & supportive, for certain! THANK YOU ALL!!! But some of the people I just kinda expected to pick up some balls and run with ’em just haven’t. And even the whole family thing… some have come around, most haven’t given it the time of day, and some ask from time to time but very few have listened let alone tell others about it. Oh well! Living & learning. It really does take a village though & I do have the greatest family, friends, followers, and supporters.
EML: Your songs encompass an eclectic mix of genres, including hip hop, rap, alt-rock, metal, trap and even pop. Who are some of the artists who inspire or influence you to create the type of music you make?
DS: Some of the artists that influence(d) me: Chris Cornell, Eddie Vedder, Lane Staley, Scott Weiland, Corey Taylor, Method Man, Mos Def, Tupac, Twista, Kurt Cobain, John Lennon, Aaron Lewis, Craig Owens, Biggie, Hayley Williams, Do Or Die, Joan Jett, Lynn Gunn, Eminem, I.V., Pistol Pete, Bogus, Chavi, J-Slay, Koncept, Ace, Halsey, Alan Walker, 112, Boyz II Men, Wretched, Tool, Eyes Set to Kill … I could go on & on, and the current list doesn’t even begin to think about beginning to scratch the scratch of the surface!
EML: When did you begin writing and recording songs? What is your process for creating new music?
DS: I began writing lyrics way back when I was in elementary school. I loved wordplay, puns, and especially rhymes. My first song? Not 100% sure but one of the first that’s coming to mind in the moment is freshman year high school, History class. Two of my classmates and I played a modified version of George Thorogood’s “Bad to the Bone” called “Bad History.” We shoulda just called it what it was: “Bad Song.” Ha! Seriously. I did have a sweet Fender Squier – the bumper car of electric guitars – but I did not invest the effort early in high school to learn it nor take the time to truly appreciate it.
EML: What, if any, instruments do you play?
DS: I wanna say vocals but part of me feels like that sounds pretentious. The other part of me feels that the first sentence of this response, along with this sentence, sound really pretentious already so we passed that point long ago. Now that that’s been established, I do not play any instruments. Sit me down in front of a keyboard or piano and I can wing some cool shit but I’ve been lucky enough to have this sort of relatively steady flow of instrumentals or other opportunities for collabs in multiple genres which has kept me very busy and growing through the challenges of constantly pushing the borders of my envelope and testing the limits of my comfort zone. I don’t know which it is but I either don’t have a comfort zone at all or my comfort zone is just that whatever-it-is to where I have yet to face a challenge musically that struck me as so uncomfortable or outside of any alleged comfort zone that I didn’t or couldn’t do it (and end up turning out something really cool in the process).
EML: I see that quite a few of your songs are collaborations with other artists, which I think is great. In fact, it seems that a lot of hip hop artists tend to collaborate with other artists on their songs. What do you find appealing about the collaborative process?
To me, I have held this view since day one: any way the music can reach ears that it wouldn’t have otherwise reached of my own accord, I’m in. Even if it means that I spend time or money of my own to get it out there, I’m in. I’m not currently in a position to demand nor expect money for my music. I will be. And it will be soon.. Until then, I will continue to post FREE MUSIC on MY YouTube CHANNEL!!! My apologies, I digress (as per usual). To answer this question directly, my goal with collaborations is three-fold: A) to reach not just my audience with a new song but the other artist’s audience as well. Then, sometimes, one plus one results in a sum greater than two. It’s funny what happens when a flash of excitement in the pan of good timing, for example, can ignite the whole skyscraper. And, B) the challenge of making an impression such that these new listeners want to find my stuff & hear more. Lastly, C) the ability to work with friends and have a damn good time along the way. One of the countless things I love about music is that, generally, the people I’ve known that have anything to do with music and its creative process from A to Z are really great people with a lot to offer the world but they’re not on that mission. They’re not out to take over the world or clutch at status for the sake of status. They have beliefs. They don’t fall for shit. They can typically see through the bullshit or at least have reasons they believe what they believe even after examining both sides of a coin. They’ve got their priorities straight. I need people like this in my tribe.
EML: What artists would you especially love to work with, and why?
DS: I already work with the sickest buncha straight-up artisans so I will respectfully pass on answering this question with names of popular, mainstream artists and provide a glimpse at a few names that are already poppin’ or are right around the corner: I.V. , WavRiders, J-Slay, Red Focus, Chavi, Koncept, Swilly.
EML: Ah, Swilly’s awesome, and I love the collaboration you did with him and guitarist Kevin Campbell on “Right or Wrong.” And “Change Your Life” with J-Slay and Koncept is another fantastic collab.
EML: What are your thoughts about the current state of music and/or the music industry?
I LOVE the state of music right now! I feel like this: whether we recognize it or not, and as much as many may complain about the lack of anything original and a void of any artists aiming at a new paradigm or even daring to shake things up for fear of public opinion and sales quotas, there are so many talented, unique, incredible artists and bands that are out there killin’ shows, slayin’ audiences, rockin’ mics, sellin’ merch, packin’ venues, puttin’ out EP’s and albums, promotin’ it on multiple social media platforms like crazies just like me … that ARE making music that sounds like nothing I’ve ever heard and moves me in new ways. And that’s a big goal with my music is to create a truly genreless, timeless product that is a cohesive album yet plays like a playlist of your favorite songs over many years and genres of music, all in one, ready to go from the point of purchase & play. An instant classic. A soundtrack to the movie that is your life.
EML: Have you performed live very much?
DS: I have performed live and I love it! I wish I could say I’ve done it a bunch of times or been on tour before but I can’t yet. I’m that new – to the “scene.” As far as experience, the Romans would say I got a couple of X’s under my belt. Specifically, live performances of mine I could count on my hands. More importantly, I got miles traveled beneath my feet and even if they high now, the message is still deep. Plans to do more live performing? Absolutely. AB. SO. LUTELY!!! I made up this little diddy and I do believe it applies here: “Whatever lights your fire, rock it to infinity.” So, HELL yeah!!! I’m taking this thing as far as life allows, much of it is outta my hands but I gotta keep trying to do whatever I can. Hmmm, lyrical… “much of it is outta my hands… but I gotta keep – try’na do – whatever I can”… sweet, lol. Hashtag lit AF, am I right? rofl.
EML: You’ve recorded quite an impressive output of tracks, but haven’t released a full album yet. Why not? Do you have plans to release an album anytime soon?
I have a secret.
But first, thank you! I’ve said it before and I will happily repeat it ad infinitum: I appreciate that you have taken the time to even know enough to ask these great questions! This has been a serious trip & thanks for humoring me, I hope my tangents aren’t unbearably obnoxious. I’ll wrap it up here now, sorry! LOL! (I’m not sure if it’s because I’ve had some days upon which to think about this thing and it’s finally coming out now, or if I’m just in a zone, OR if I just think this is SO cool because your platform – the Eclectic Music Lover – it’s the most comprehensive music review site with these exquisitely written pieces on songs, albums, artists, bands… it’s an honor to be a guest, as it were.)
Now for the secret, and now that I think about it, I touched on this earlier too but here it is again and it’s really working in my favor: over the years, I may not have been doing much self-promotion but I have been writing, recording, and amassing a killer library of songs that I have at my fingertips to release here & there while I’m currently, possibly, confidentially, secretly, hypothetically, theoretically, not really but maybe actually, recording two albums right now concurrently. One or both of these maybe’s, if what I just wrote were true, will be out sometime during the Year of the Earth Pig.
EML: You are hilarious, and I’m really touched by your kind words about my blog! Is there anything I’ve neglected to ask that you’d like to tell your fans & followers?
DS: Great question, once again. And thank you for offering the opportunity for the interviewee to chime in with somethin’ he might’ve hoped to have show up in the piece – very considerate, I like your style my friend! I think we’ve really covered a good amount of ground here. I’m not sure if I’m ready for a full-blown commitment so we’ll just keep it casual for now, mmmkay?! LMAO jkjk!!! I have a broken machine in my head that plays with words, thinks it’s funny, and gets me in trouble cuz it never shuts off. A constant stream of comic genius; can you imagine?! The HORROR!!!
Nah, but on a serious note, I suppose I would love to just know that anyone who comes across this article and wants to find out more about me or hear more music, knows where & how they can do that. For me, I have my YouTube channel https://www.youtube.com/channel/UCExzLvLnZIgpzZ2Gfa4cXDA and they can connect with me on Twitter and Instagram. (Some of his music can also be streamed on Soundcloud.)
Thank you, thank you, thank YOU!
EML: And I thank YOU my friend for being such a great subject, and taking the time to share your detailed thoughts and perspectives with me and my readers. You’re awesome, Def Star, and I can’t wait to hear that album – or two!
Here are a few more of his songs I especially like that showcase the broad range of his music style:
ECLECTIC MUSIC LOVER 