I keep featuring bands and artists from the UK on this blog, but there are just so damn many good ones! Another promising band I’ve been following for a while is a four-piece from the town of Bangor in northwestern Wales who call themselves Dying Habit. They play a highly melodic style of alternative rock influenced by such bands as Dead Letter Circus, Katatonia, Biffy Clyro, Therapy?, The Wildhearts and Karnivool. The band is comprised of Nathan Jones (vocals), Alan Hart (guitar), Aled Hughes (bass) and Mark Jones (drums).
Since forming in 2011, Dying Habit has been fine tuning their music style and songwriting, and performing in venues throughout Wales and northwest England. More recently, they’ve been recording songs for their forthcoming debut album Unrealities, and just released the fantastic lead single, also titled “Unrealities.” The band explained their inspiration for the song and it’s meaning: “We all have some kind of goal we aim for, be it a job, a passion or a style of life we really want. Hopes and dreams is what keeps us all going. Many of us do the shitty jobs we do to get us closer to whatever we want to achieve, whilst [others] are content with our jobs and feel content with who we are. Whatever the case, our ambitions are unrealities …an illusion in societies eyes. Our single “Unrealities” is about never giving up on your dreams, as unreal as they may seem. Unreal means failure and failure leads to success. Be true to yourself and never stray from the path your heart puts you on.”
Musically, the song is magnificent. It starts off with Hart’s haunting guitar note that expands into a somber riff, accompanied by Hughes’ humming bass and Mark Jones’ crisp percussion. At around the minute mark, the music explodes into a fusillade of wailing guitars and thunderous drums, before settling back down to the somber melodic riff that’s so arresting it bores right into your brain. Wow, it’s gorgeous and covers my body with chills! Nathan’s vocals, while not necessarily powerful, have a vulnerable, emotive quality that are perfectly suited to the music and lyrics. They’re especially moving and beautiful when they soar in the choruses. I love this song, and am so looking forward to their album.
The gripping, beautifully-filmed video shows a young woman struggling with her inner demons – her “unrealities.”
L.A.-based alt-rock band Disciples of Babylon are one of my favorite indie bands, and I’ve featured them numerous times on this blog. They’ve just released a superb new video for their fantastic single “Without You,” which came out almost exactly a year ago, at the end of July 2017. (You can read my review here.) The song was a huge hit on my Weekly Top 30, peaking at #1 for two weeks at the end of December into early January 2018.
The video shows the band performing the hard-hitting song in a warehouse setting, and really showcases the raw power and charisma of front man and lead vocalist Eric Knight as he belts out the biting lyrics. Making the music are Ramón Blanco on lead guitar, Gui Bodi on bass and backing vocals, and Chris Toeller on drums. The video was filmed by Marco “Toma” Tomaselli and edited by Knight.
I think everyone who loves music will agree that one of life’s supreme pleasures is hearing a song for the first time and having it move us in some powerful way – which could be to bring chills, tears, joy, laughter or make us want to dance with abandon. Chills were what I felt when I first listened to the new single “Dizzy” from Chicago rock band The Million Reasons, which dropped July 13. Wow, what a powerful and gorgeous song it is, and I was so moved that I had to feature it on this blog.
The Million Reasons is comprised of Scott Nadeau (vocals and guitar), Ken Ugel (guitar), Mike Nichols (guitar) and Colin Dill (drums). Their dynamic sound – which they refer to as “rock and roll for summer nights and long rides” – draws influence from such legendary bands as Led Zeppelin, Queen, Thin Lizzy, Aerosmith, The Beatles, The Who, The Rolling Stones, Lynyrd Skynyrd, Foreigner and Rush. The guys released their debut EP The Runaround in 2017, featuring six outstanding hard-hitting tracks that I highly recommend my readers check out. But with “Dizzy,” they’ve really struck sonic gold.
The track opens with an enthralling guitar riff that immediately pulls us in with the promise that something really beautiful is about to unfold. As the song progresses and the music expands with added layers of intricate guitars and percussion into a soaring anthem, we’re not disappointed. The guitar work is simply amazing, and by the time the chorus arrives with jaw-dropping riffs of screaming guitars and thunderous drums, we’re left gasping for breath.
With his raw, earnest vocals, Nadeau passionately sings about a relationship in which both are blinded by an obsessive desire for one another:
If you’ve got something to say I wanna hear you speak Because girl You’re gonna be the death of me
And you make me dizzy You confuse me And I make you dizzy Because you don’t know what to do with me
“Dizzy” is a magnificent song from start to finish, and even at 5:41 minutes in length, it seems over far too quickly. I love it, and I love this band! I also love the beautiful video that was directed and edited by Stephanie Battista. I usually prefer videos that show the band or artist performing the song, instead of an acted-out story that sometimes has little to do with the actual song.
Catch The Million Reasons at one of these upcoming shows:
Saturday, July 28 – House of Blues, Chicago w/Young Pioneer + 2 others Wednesday, August 22 – Emporium, Chicago w/Shiver + 1 other
If you like soulful, blues-soaked rock accompanied by raw, passionate female vocals, then you should be listening to the music of UK band CuriousHour. Formed two years ago, the London-based four-piece consists of guitarist Andy Grazebrook, vocalist Emily Grazebrook, drummer Wal Srankiewicz and bassist Aaron McIntosh. In July, 2017 they released their superb debut EP Explore, which I have the pleasure of reviewing today.
The first track “Lailah” arrives on sound waves of fuzzy guitars, strutting drums and a humming bass line. Then, Emily’s rich, bluesy vocals enter the scene and within seconds I’m blown away. Wow, what a voice she has! The kind of voice that demands your attention. She seems to channel the raw soulfulness of Tina Turner, the bluesy feels of Amy Winehouse, and the unrestrained passion of Janis Joplin. On “Lailah,” a palpable sense of tension and uncertainty simmers beneath the seeming coolness of her voice, occasionally piercing the surface as she croons about not knowing which direction to take: “Solo, solo, solo. Walking, walking walking. Don’t know, don’t know which way to go.” As the track progresses, Andy lays down some nimble guitar work, while Aaron gently strums his bass. It’s a great song.
The next track “Yield” is positively sublime. The guys are in perfect sync on their respective instruments, and Emily raises goosebumps as she fervently wails the lyrics expressing the depths of her hunger for another’s love: “I would do anything if you only lay your hands on me. / I’d cause a tidal wave to charge, wipe out all of humanity. Send them streaming from the land. Swallow them up into the sea. So that I could be with you. Oh I would give you the world if you’d love me.”
One of the things that strikes me as I listen to the EP is how beautifully each track flows into the next, sustaining the spell that CuriousHour have cast upon our ears, minds and souls. At times their bluesy sound reminds me a bit of Jefferson Airplane and Big Brother & the Holding Company. “Geraldine” is mesmerizing, and once again, Emily’s vocals are breathtaking. And no more so than on “Wanted,” where her jaw-dropping vocal gymnastics are on full display. She alternately seduces, snarls and wails the lyrics that speak to a detestable scoundrel: “You’re so quick on the draw, even your horse hates ya. Price on my head. Don’t stop til I’m dead. / You’re above the law but even your momma hates ya. How much to walk away?” The guitars, bass and drums on this epic track are all pretty amazing too.
The band dials up the energy on “Dark Surf,” a rousing rock’n’roll song with awesome fuzzy guitar work and thunderous drumming that make for an exciting listen. Two thirds in, the tempo slows to a languid, bluesy lull in the bridge, before ramping back up to full speed for an exhilarating finish. Emily’s refrain of “rise and fall” is an apt description of the song.
Explore is a wonderful EP that gets better with every listen, and every track is fantastic. There’s a lot of nuance in Andy’s intricate guitar work, Aaron’s subtle bass and Wal’s expert drumming, and each time I was able to detect something new I’d missed previously. Then there’s Emily’s mind-blowing vocals, which I could never tire of hearing.
CuriousHour have been gigging regularly ever since their inception, spreading their noise around London, the south of England and around the UK with plans to play in Europe. In the meantime, those of you in the UK can catch them at one of these upcoming shows:
JULY 11 7:30 & 10:30 PM CURIOUSHOUR @ THE DUBLIN CASTLE
I’ve been following Manchester, UK rock band Partisan for a couple of years, and I love their music. Like many bands, they’ve undergone a few personnel changes since their formation, but their music has remained consistently good. Partisan is now made up of Stuart Armstrong on guitar and vocals, Dan Albon on bass, and Leo Stanfield on drums. I previously featured their fantastic single “Juggernaut” on this blog two years ago, in the summer of 2016, and that October had the pleasure of meeting them when they performed at the legendary Whisky a Go Go on the Sunset Strip. They’ve released several excellent tracks since then, and in May they dropped their latest single “Oxygen.”
The new track nicely delivers more of their signature high-energy melodic rock. It opens with sounds of sirens in the distance, then Albon lays down a bass riff as Armstrong’s punchy guitar and Stanfield’s snappy drums enter the proceedings. Tasty intricate guitar riffs ensue along with heavier percussion, all the while anchored by Albon’s subtle bass line. Armstrong’s fervent vocals are positively sublime. I really love his distinctive tenor voice, which is a major component of Partisan’s unique sound that sets them apart from any other band.
My take on the song is that it seems to be about realizing that a relationship one took for granted is worth salvaging. That there’s enough oxygen – love – for two for the relationship to survive. “I was too blind to see. I was too drunk to feel. Denying ourselves the truth. There must be enough to breathe. Oxygen release. / Let me be the one that saves you. / Let me be the one to keep you breathing.”
The dark, brilliant video shows the band performing the song in a dank, filthy room in a decrepit old building. As the song progresses, dust and smoke permeate the room as the walls begin closing in on them, sucking out the oxygen. By the end, Armstrong is shown trapped and curled up in a tightly enclosed space. An interesting side feature in the video is that among the various photos on the wall is one of a smiling President Trump (who can suck the oxygen and joy out of a room like a Harry Potter Death Eater). His photo is eventually shown pierced with darts. That brought a big smile to my face!
Catch Partisan at one of their upcoming shows in and around Manchester:
June 5 Gullivers, Manchester June 30 Save the Children Charity event Sept 27 Sonder Festival, Manchester
Goodnight Japan is a three-piece band from Sydney, Australia with a distinctive sound they colorfully describe as “Shoegazy bedroom-pop dreamscapes to punchy post-punk laced with dirty whisky blues.” Formed in 2016 by singer/songwriter/guitarist Abel Ibañez and bassist Gemma Conroy, drummer Joel van Gastel joined the band a year later to complete the lineup. All three of these talented individuals are involved in other projects as well – Abel is founder and co-editor of ERRR Magazine, Gemma is also known as the international model Meluxine, as well as a science journalist, and Joel is also drummer for Australian rock band Jenny Broke the Window.
When I asked Abel about the band’s unusual name, he explained that he used to have a band with his brother in Mexico City, where they were born and raised, and his brother came up with the name. “It was a bit of a joke at the beginning, because we would fantasize (of course) playing to big audiences in big arenas or stadiums and starting the concerts with a “Goodnight America” or “Goodnight Russia” and then “Goodnight Japan.” And then he decided that Goodnight Japan was going to be the name of our band. And we played a couple of gigs in Mexico under that name. I later formed another band –also in Mexico– and used that same name but in Spanish and a bit modified: we were Adiós Japón (Goodbye Japan). Some years later, when I came to Australia and started playing with Gemma, I told her the story about the name and she just loved Goodnight Japan, so we took it back.”
They’ve just released a lovely new single “Rush,” a touching song with a pleasing mix of fuzzy guitar, humming bass and gentle percussion, all set to a toe-tapping beat. Abel’s heartfelt vocals have an earnest vulnerability as he sings the poignant lyrics that speak to someone who keeps resisting committing to a relationship, pleading with them to get off the endless cycle of indecision and just let love in:
You say you don’t want to rush You say you don’t want to break You say you don’t really care No you don’t give a damn People keep losing their minds Going ’round and around on this ride
But this time let go ‘Cause this time I’ve got you But this time let go ‘Cause this time I’ve got you
They’re currently recording more songs to be included on their upcoming EP, and I’m eager to hear them. In the meantime, you can catch them at one of these upcoming shows in New South Wales:
June 15 The Townie, Newtown, 9 PM w/Deep Space Supergroop & Trouble Cruise
June 29 Botany View Hotel, Newtown, 9 PM w/Jonas Nicholls & Deep Space Supergroop
July 28 The Record Crate, Glebe, 7 PM w/E for Echo x DARBY
I receive lots of submissions from artists and bands asking me to listen to their music or, hopefully, write a review of it. Most of the time the music is decent or better, and I rarely turn anyone down (which is why I’m always running behind schedule). But every so often, I’m immediately blown away the moment I hear their music. Such is the case with Malaysian singer/songwriter Lyia Meta, a lovely woman with a voice to match. Her rich, soulful vocal style is impressive, with a powerful arresting quality reminiscent of the legendary Shirley Bassey.
Lyia released her debut EP This is Lyia in 2016 to wide acclaim, garnering airplay on radio stations in Europe, as well as indie internet music radio stations in the UK, U.S., Germany and Australia, including Radio Wigwam (UK), Home of Rock Germany, LA Rocks Radio, Banks Radio Australia and many more. In August of 2017, she won the award for Best Female Artist from Radio Wigwam. In January of this year, she dropped a new single “Without Walls,” and it’s fantastic.
The track opens with soft, mysterious synths and Lyia pensively singing “I’m thinking of yesterday. She’ll find a way. And everything I remember, would stay. ‘Cause life without walls, feels like it’s love.” The music builds into a powerful soundscape of shimmering synths and a sensual, bass-driven dance beat, while Lyia’s smoldering vocals raise goosebumps as they soar to the heavens. Those moments of exuberance alternate with interludes of relative calm, where lovely synths with piano and strings dominate. She sings: “Forever in my mind, forever in my heart. Promises that came undone. We played it from the start. This life without walls. It feels like it’s love. We’re bending rules and skipping stones. Know your worth.” It’s a gorgeous song that I guarantee will have you on your feet dancing and hitting the replay button.
Lyia is also an accomplished visual artist. Check out her work on her art website.
I’m back in Milwaukee, Wisconsin (having just written about progressive metal band UNDER AEGIS) to shine my spotlight on Brave You, one of my favorite indie bands that I’ve also previously featured on this blog. In 2016 I reviewed their outstanding debut Six Songs EP, and now have the pleasure of reviewing their new full-length album Places, which dropped in late February. Released through Halloween Records, Places is a concept album. The band’s guitarist & lead vocalist Alex Meylink explains: “Places is entirely about addiction, but we tried to avoid ever mentioning drugs or alcohol. We focused primarily on how addiction interacts with one’s emotional state and relationships, so I think it’s applicable to anyone suffering a mental health issue. These are songs written across a few years: in the early stages of recovery, in relapse, at ‘the bottom’, and finally coming to a place of good mental health and sobriety.”
Brave You plays alternative rock that’s highly melodic, but with an honest, post-grunge sensibility that gives them a distinctive style all their own. In addition to Meylink, the other band members are Noah Snyder on bass & backing vocals, and Erik Burtraw on drums & backing vocals. Outstanding, complex guitar riffs, aggressive drums, and really fine harmonizing vocals are the defining elements of their sound. Add their solid songwriting to the mix, and the result are songs of exceptional quality and depth. And if all that isn’t enough of a winning combination, they’re also pretty nice guys.
Places is aptly named, as each track title is about a specific location, whether it be a geographical one or simply a bedroom. The album kicks off with a distorted riff and voice over of a guy inviting his friends to go to the amusement park on “Lake Michigan.” Swirling guitars, Snyder’s humming bass and Burtraw’s crashing drums ensue, as Meylink earnestly sings of being in a precarious mental state: “So I’m safe for now. Even if it’s just one moment I could crack a smile, goddamn it.” Determined to make it, he defiantly sings “So I’m safe for now. So let’s burn that fucker down and build it up from better ground.”
I may be off base, but my take on “The Hospital” is that it’s about being depressed over the impending onset of winter, which symbolizes the possibility of having a relapse that would necessitate going back into rehab. The lighthearted video puts a happy face on a rather serious subject, namely trying to stave off winter, or preventing a downward spiral and keeping an upbeat attitude by having fun playing sports with friends. By video’s end, the band members are all wearing giant teddy bear heads, indicating they’re getting ready to hibernate, another metaphor symbolizing the inevitability of returning to the hospital for rehab.
One of my favorite tracks is “Mound St.” It starts off with Meylink’s echoed vocals and a gentle riff and drumbeat, then explodes with a barrage of wailing guitars and thunderous drums. Still in a fragile mental state and feeling pessimistic, Meylink sings: “I’d spent a few years treading water in stagnant pools. You asked me where my head had wandered off to. I’ve been lost. / If these are the best days of our lives then we are fucked. I am fucked. / On Mound Street, I let my losses pile up. Refused to claim stake in the rubble and the sum of the stories I told you and to myself: that I’m alright and getting by. So I coasted on hope or the concept of having it. Got myself dry as a bone til mine were cracking, but I couldn’t help but sink into quicksand and pits. A morass of “faultless” debt I could never hope to pay back.”
“Wind Lake” and “King Cross” are a couplet, with the latter being a precise continuation of “Wind Lake.” It’s interesting the band would create a separate track in “Kings Cross,” as it begins with the exact same riff that “Wind Lake” ends with. Both tracks feature Meylink’s gritty, screaming guitars and Snyder’s deep, droning bass line, sounding fantastic.
The guys’ wonderful harmonizing is well represented on “Washington.” The nimble guitars and bouncy drumbeat lend an optimistic tone for lyrics that speak to a resignation that though things aren’t going so great, we’ll just continue acting like they are: “So let’s just make it through this winter. Toss off the sharp and jagged splinters. No matter, all of this is fine.”
“Hometown” speaks to the depression that began while growing up, and wanting to escape that environment in the hope things will get better: “Always remember how you felt at this moment, in this place. Alone and inconsolable in the house that you grew up in. You wanted to burn that fucker down. Erase twenty years on solid ground.” The track has a great melody, and is filled with loads of jangly guitars and gritty bass. “South Milwaukee” is a short and beautiful track with chiming guitars and warm bass, but sad lyrics about feeling hopeless and alone. Meylink sadly sings “Overworked and underfed, in need of rest, I drove the twenty minutes to South Milwaukee instead, to you and your shitty friend. Towards a beacon of light in an otherwise meaningless night. / Selfish, I expected too much of your company. That just one night could fix me. It didn’t help me at all.”
“Bedroom” finds him trying to escape his demons by isolating in a safe place: “Me and these ghosts, still talking until I’m finally sleeping. I just want to stay home, stay in my bedroom alone. Me and these ghosts, still talking until I’m finally sleeping. I just want to be whole.” As always, the frenetic instrumentals and vocal harmonies are first-rate.
The hard-driving, bittersweet “Your Bedroom” speaks to the pain and feelings of loss after the sudden death of a friend. “You’re no ghost, you’re a warmth. A ringing in the ears. A reminder. Stay in motion now. Make the movement matter. And this will freeze and crack, thawed only by the embers. You’re twenty seven forever.By the back door, your old pair of blue Tiger shoes we didn’t throw out, as if after a day or two like Lazarus you’d come from your room. We’d get a sandwich at Lulu’s. God, I’d do whatever you want to. I’d get clean. I’d sing loud. Just come on out.”
Places closes on an optimistic tone with the anthemic “Everywhere.” He’s now confident things will be OK: “I wanna take back this city from dead memories, take back my body. Call off the funeral procession for all these loves that built me. Those years searching for something greater than these homes. Well, I found it. Found it in my bones.” It’s a gorgeous track with layered guitars that start off as tender strums, gradually building to celebratory jangly riffs. Likewise, Meylink’s heartfelt vocals build along with the music, eventually soaring to a crescendo of spine-tingling harmonies. It’s a satisfying conclusion to a brilliant effort from a really fine band. I love Brave You and hope they continue making music for years to come.
CarbonWorks is not your typical band. It’s more a collective of talented session musicians, headed by its creator and guitarist Neal Barnard – who also happens to be a world-renowned medical doctor. Based in Washington, D.C., the band’s music is a unique fusion of rock, contemporary classical, jazz, blues and avant-garde, giving their sound an uncommon breadth and depth. With delicate melodies over driving rhythms, blues overlying classical strings, and frequent use of non-English lyrics, their songs defy categorization. As Neal Barnard explains, their unconventional time meters “tilt the song ever so slightly and give you that little jolt between the ears.”
The band released their extraordinary debut self-titled album CarbonWorks in December 2016 to rave reviews, and have been periodically releasing a new video for one of the album tracks. In May 2017, I premiered the video for their gorgeous track “Monaco,” and am now delighted to premier their new videos for “End of the World Suite Part 3: The End” as well as “End of the World Suite Part 4: Winged Victory.” As indicated by their titles, the beautiful tracks are the completion of an ambitious four-part suite.
“Part 1: The Beginning of the End” is a mix of contemporary classical and rock, while “Part 2: Love and Illusion” combines classical, folk and jazz elements. For “Part 3: The End,” progressive jazz is the predominant element. The generous use of strings, including violin, cello and bass, combined with the gorgeous jazzy saxophone, guitar and drums, result in a truly stunning track. Barnard describes the track thusly: “Part 3 (“The End”) launches with cool bebop bass played by Jeff Reed. Russell jumps in on sax, with Mike on drums and me on guitar. Then the strings come in bringing a baroque element that somehow works with the driving jazz.” Although it’s six minutes long, it’s so wonderful that it seems over far too soon.
The suite ends with “Part 4: Winged Victory,” a brief but lovely track with a complex mix of classical and rock overtones, and features the dan tranh, a traditional Vietnamese instrument that’s similar to a Japanese koto. It also features sublime vocals sung in Latin by Italian singer Naif Herin, who ends with the words ” Beati pauperes spiritu, Beati pacifici,” which translated means “Blessed are the poor in spirit, blessed are the peacemakers.”
Both videos show the band performing the songs, which I always enjoy seeing.
Dan Farrell is a singer/songwriter based in London, UK. A multi-instrumentalist who plays guitar, bass and keyboards, as well as produces all of his tracks in his own home studio, he refers to himself as a “one man band.” That said, in his bio he explains “My main instrument is guitar which I play left handed – but with the strings strung for a right handed person. Consequently all the chords I play are upside down. Strange, but true.” It sounds complicated to me, but Dan manages to coax some pretty phenomenal sounds from his six-string.
He welcomed 2018 by releasing his third album Colliding Planets, an ambitious work featuring 15 tracks that dropped on January 12. Collectively, the songs on the album draw from a myriad of influences and genres, including rock, jazz, blues, country and pop, and a few tracks seem to include them all! Dan cites the Beatles, Rolling Stones, Tom Petty, Queen, the Bee Gees and Amy Winehouse as some of his favorites, whose influences can clearly be heard on several tracks.
He kicks things off with “Salt of the Earth,” a rousing, foot-stomping country rock track. I like the aggressive drum beat, and Dan’s spirited guitar work make for an incredibly upbeat song. “She’s Still Drivin‘” keeps the energy flowing with a lively rock’n’roll tempo and Dan’s jangly guitars. After hearing just these two tracks, it’s clear he’s a skilled axe man. The sounds of a racing engine are a nice touch.
Tom Petty’s influence is evident on “Dreams of a Dreamer.” It’s a great song, with heavily strummed guitar set to a slow drumbeat. I love the added keyboards and guitar riffs. Dan sings about a woman he desires, but circumstances prevent anything from ever happening:
You’re thinking about me, it brings on a sigh I’m wishin’ for something that we can never try The dreams of a dreamer are making you sweat Are making your heart beat a little faster
One of my favorite tracks is “Revealed in a Kiss,” a languid, jazzy affair with gentle guitars and sensuous horns that conjure up images of a romantic slow dance extending late into the evening. Dan’s smooth vocals are wonderful. “Don’t Blame Me” is a bouncy pop-rock track with jangly guitars and lush keyboards. Piano and keyboards take prominence on the lovely ballad “Get Inside Their Soul, and the bittersweet “The Blue Bar” has a country rock feel, and reminds me a bit of Bob Dylan’s “Knocking On Heaven’s Door.” Dan sings of the passage of time and how some achieve their dreams, while others watch theirs turn to dust: “I used to share the same dreams that made us all survive. I used to have the same hopes that kept us all alive. / Then the revolution took it all away.”
“Another great track is “One Like You,” a fun rock’n’roll song about wanting to stay home with the object of his affection rather than go to work: “Well you know I got to go and earn a buck or two. But I’d rather spend my time with one like you.” Like all of Dan’s songs, it has terrific guitar work, and the lively trumpet and keyboards make for a really upbeat number. Dan turns introspective on the country rock track “Let It Go,” a song about letting go of the dream of being with someone he can never have and just moving on.
“Just Because” is a mellow, upbeat song about not feeling guilty about indulging in the simple pleasures in life: “There doesn’t have to be an explanation for everything we do, every sensation. Sometimes it’s nice to do a lot a nothing. It’s good to go and treat yourself sometimes.” On the beautiful, uplifting ballad “I Tried,” Dan sings about believing in someone and encouraging them to take the right path in life. “I’ll always wish you well ’cause I believe in you. The road we choose is up to us, and sometimes life can make a fuss.”
“One in a Million” has a sophisticated vibe with jangly guitars, soulful keyboards and jazzy horns. Dan wistfully sings about how things in life don’t always turn out the way you’d hoped: “The higher you climb the further you fall. You think you’re doing well standing tall. But then your best-laid plans they come crashing down. That youthful innocence you had is on the ground. One in a million has that perfect sound. Went and lifted my feet right off the ground.”
The catchy “The Man I Want to Be” serves up bouncy riffs, and in his gravelly vocals, Dan sings about how’s he matured into a better man. “Leave My Mark” is a rousing guitar-driven rock song, with a riff that channels the Rolling Stones’ hard-rocking “Start Me Up.” Keeping with a Stones theme, album closer “You Only Know When You See” has a bit of a “You Can’t Always Get What You Want” vibe.
Colliding Planets is a fine, well-crafted album that showcases Dan’s exceptional guitar work and skill for writing catchy melodies and intelligent lyrics about life that we can all relate to.
ECLECTIC MUSIC LOVER 