Four Thousand Miles is a unique rock band with an international pedigree, in that each of its four members are from a different country, hence their name ‘Four Thousand Miles’. They started out as a collaboration over the internet, and grew to become a music project after finding that each of their own unique styles blended well together. The four band members are Alex Fearn from Liverpool, England on vocals and rhythm guitar, Lionel Pacreau from Bordeaux, France on lead guitar, Alex May from Atlanta, Georgia, USA on drums, and Liam Sibbald from Prestatyn, Wales on bass.
They’ve gathered together on a number of occasions in Liverpool to record music and film videos, and released their excellent debut single “Lonely” this past Valentine’s Day. The followed up in April with “Reflections”, which I reviewed, and are back with their third single “Demon on the Run” which dropped on Halloween. Like their previous singles, the song was mixed and mastered by Simon Jackman at Outhouse Studios in Reading, Berkshire, and delivers more of their outstanding hard-hitting melodic rock.
The guys are all terrific musicians, and really up their game with “Demon on the Run”. It’s a beautiful rock song, with stellar dual guitar work by Pacreau and Fearn, highlighted by gorgeous chiming guitars in the verses alternating with bone-crushing riffs in the choruses. Sibbald drives the powerful rhythm forward with a deep, pulsating bass line while May smashes his drum kit with impressive force.
The heartfelt lyrics are a plea for help from someone experiencing an emotional breakdown, feeling isolated and alone in their struggle to try and overcome their demons. Fearn’s powerful vocals rise to the occasion as he passionately wails “Do you know, do you know at all, what it feels like to lose control? Do you know, do you know at all, what it was like when I needed a miracle, to help myself. There was nobody, nobody else. I was lost and scared, but never running away. A miracle. Nobody else was saving me from myself.“
Los Angeles-based alternative rock band Disciples of Babylon were one of the very first acts to follow me on Twitter back in the fall of 2015 when I was just starting out as a new blogger. The four band members – Eric Knight on lead vocals and rhythm guitar, Ramón Blanco on lead guitar, Gui Bodi on bass and backing vocals, and Chris Toeller on drums – all of whom are gracious and kind, subsequently followed me too. I’ve had the pleasure of seeing them perform live three times at various venues throughout the L.A. region, so needless to say I have a special fondness for them.
I first featured them on this blog in January 2016 when I reviewed their debut EP Welcome to Babylon, and wrote about them several more times in 2017 and 2018. (You can read some of those reviews by clicking on the links under “Related” at the end of this post.) Now, three years after the release of their fantastic debut album The Rise and Fall of Babylon, which they premiered in October 2017 at the legendary Viper Room on the Sunset Strip in West Hollywood, Disciples of Babylon returns with their politically-charged new single “Liberty“, which I’ve chosen as my New Song of the Week.
Eric and the band feel quite strongly about the subject of social justice, and The Rise and Fall of Babylon forewarned us about the beginnings of civil unrest stemming from the growing toxic political divisiveness in America. In a previous interview, Eric explained the impetus behind the album: “These are precarious times we live in. The Rise and Fall of Babylon signifies something that I feel has been a long time coming. Babylon, meaning the USA, is slowly spinning out of control and entering into vast turmoil. I feel we are at the beginnings of a revolution. one of which the likes we’ve never seen before. As a nation, we are no longer viewed in the regard we once were. The title reflects this shift and quite possibly a prelude of what’s to come.”
Now, three years later, he explains the band’s inspiration behind their new single “Liberty”: “We have now entered the perfect storm. The great divide that this country is currently facing is deeper than ever before. We have a government that is corrupt and has run amuck with impunity, with a global pandemic that has just exacerbated and accelerated everything tenfold. Our mission as a band has always been to be a mirror and write about our observations on what the world is showing us, but at the same time being a beacon of hope, strength and unity.”
The lyrics were written by Eric, who wrote the music along with band guitarist Ramón Blanco. The track was produced and mixed by drummer Chris Toeller, engineered by bassist Gui Bodi along with Alan Sosa and Rup Chattopadhyay, and mastered by Joe Bozzi (U2, Van Halen, Imagine Dragons). The dramatic lyric video was conceived by Eric and created by Shane Richardson.
“Liberty” is a powerful anthemic battle cry from the band, urging us to stand up to injustice and divisiveness, and to resist those in power who continually work to tear us apart. To drive home their message, the guys unleash their arsenal of sonic weaponry to create a crushing monumental soundscape befitting the seriousness of the subject. Each band members’ strong musicianship is on full display here: Ramón rips through the airwaves with an onslaught of snarling grungy riffs while Chris smashes his drums with greater force than I’ve ever heard on their previous songs. And ever the master bassist, Gui drives the song’s explosive rhythm forward with a fearsome pummeling bass line that cuts straight to our cores.
Eric’s an outstanding vocalist, with the ability to stir our emotions with his powerful unbridled passion, and he’s in fine form here. He sings the verses with a heartfelt fervency that beautifully conveys his anguish over the current situation, then launches into soaring impassioned wails in the choruses that, combined with the thunderous instrumentals, cover me with chills. I also love his and Gui’s soaring vocal harmonies.
I’m so happy Disciples of Babylon are back, and “Liberty” is one of their best songs yet!
This war has come into our doorstep The price for love of country There is no retreat Our chains are forged here The brave the bold is our decree
They’ll say, this is our destiny We’ll raise our hands for amnesty
We all want liberty We all want liberty I will fight for liberty Or give me death
Divide us and conquer Was that your goal You’ve got your wish How does it feel
They’ll say, this is our legacy United in arms till victory I will fight for liberty
We all want liberty I will fight for liberty Or give me death
We all want liberty We all want liberty I will fight for liberty Or give me death Oh I will fight for
If you can’t save me Heaven help us now The battle cries out
From humble beginnings in France as a folk pop duo making mostly acoustic music, Yard of Blondes have faced some of the same challenges and struggles as many young artists and bands experience since relocating to Los Angeles in 2014. Now a four-piece, they’re finally on an upward trajectory and making a name for themselves with their exciting and edgy style of alternative rock. The band is comprised of the hard-working French-born singer/songwriter and guitarist/vocalist Vincent Walter Jacob and bassist/vocalist Fanny Hulard, guitarist Burak Yerebakan, originally from Turkey, and Northern California native Forrest Mitchell on drums.
I’ve previously featured Yard of Blondes twice on this blog, first in July 2019 when I reviewed their marvelous bilingual single “Je veux danser tout l’été”, along with two alternative versions, then again this past February when I reviewed their single “Lowland”. (You can read those reviews by clicking on the links under “Related” at the end of this post.) Now they’re back with “Do You Need More?“, the third single from their forthcoming debut album Feed the Moon, due for release early next year. The single and album were produced by Billy Graziadei (Biohazard, Powerflo), mixed by Michael Patterson (Nine Inch Nails, Black Rebel Motorcycle Club) and mastered by Maor Applebaum (Faith No More).
In a recent interview with music blog TrueStyleMusic, Vincent provided some background on “Do You Need More?”: “It was one of the first songs we wrote for our upcoming album, and it’s the song we always play first at our shows. It’s a song that seems very straight forward, but it evolves into a more complicated piece as Fanny is adding more and more layers of vocals, and as we end up breaking the installed routine with some surprisingly heavy bridge. Regarding the lyrics, it’s also a tricky song. It feels like a love song at the beginning, but it’s actually a toxic love story where one gaslights another, and it ends up with kind of a Stockholm syndrome situation.“
The song is a rampaging beast, storming through the gates like a bat out of hell with furious riffs of grimy guitars and a thunderous barrage of explosive rhythms. Fanny’s throbbing bass line propels the song forward while Forrest keeps pace with his pummeling drumbeats. Meanwhile, Vincent and Burak are busy laying to the airwaves with their aggressive, intertwining guitars, delivering chugging riffs of shredded distortion that threaten to blow out the speakers. Vincent and Fanny’s expressive vocals rise to the occasion, becoming downright feral in the chorus as they wail “Do you need more? Do you really need more? Gimme, gimme, gimme some more! I want it all!” Finally, everyone spent, the song fades out in a hum of reverb.
If the three singles released thus far – “You and I & I”, “Lowland” and “Do You Need More?” are any indication, Feed the Moon is guaranteed to be a terrific album.
Like Tough On Fridays, who I wrote about a couple of weeks ago, The Metal Byrds are a female-fronted rock band from Texas. Based in the music city of Austin, the band formed in 2018 after a chance meeting between London-born singer-songwriter Suzanne Birdie and guitarist Sly Rye Dovey. Both were in other bands at the time, and one night, at the urging of a mutual friend, Suzanne sat in on Sly Rye’s rehearsal with his band. He asked Suzanne to sing any song she wanted and she began singing “Sweet Child O’ Mine”. That was all it took, and she soon joined his band and began performing with them. His band was having internal issues however, which ultimately led he and Suzanne to create their own project together as The Metal Byrds. They were later joined by bassist Kevin Kurts and drummer Alex Romanov to complete their lineup.
The Metal Byrds play a dynamic style of rock infused with healthy doses of rock’n’roll and power pop, along with enough metal in the mix to give their songs a dark, edgy quality. They released their debut EP The Song Byrd in April 2019, then quickly followed two months later with a second EP Byrds on a Wyre. On October 2nd, they dropped their latest EP Life in 20, and listening to all three works, it’s clear that their songwriting and musicianship have gotten stronger with each release.
As the title would suggest, the opening track “The Ganges” starts off with Suzanne singing what sounds like an Indian chant, accompanied by jangly Indian instruments lasting around 15 seconds. Suddenly, the song blasts open with a juggernaut of Metallica-esque riffs, gnarly bass and pummeling drums that takes the song deep into hard rock territory. Sly Rye’s guitar work is truly impressive as he shreds the hell out of his six-string, laying waste to the airwaves with rapid-fire noodling and wailing distortion. Suzanne’s aggressively fervent vocals demand our full attention as she sings of feeling overwhelmed as if drowning, while making references to maharajas, brahmins and ghats.
“Dreamin’” is a full-on rock’n’roll banger, with furious riffs and explosive rhythms that really showcase what The Metal Byrds are all about. Suzanne emphatically implores a love interest to give her a little consideration: “Can’t you see I’m standing right here in front of you / But you don’t even notice.” Keeping with that theme, “Tell Me” is about coming to terms with the fact that, no matter how hard you’ve tried, the person you pinned all your hopes on just doesn’t feel the same toward you. Suzanne’s emotion-filled vocals convey the sad resignation expressed in the lyrics “Tell me I’m wrong, you’re not the one. I don’t need convincing.” Musically, the song starts off as a folk ballad but gradually transitions into a terrific Southern rocker, with lots of great twangy and distorted guitars. It’s my favorite track on the EP.
The rousing title track “Life in 20” has a Pat Benatar vibe, with a frantic driving beat and more of Sly Rye’s fantastic riffing. In fact, the song reminds me a bit of Benatar’s “Heartbreaker”. In their notes, the band states the song “is a generalization of what the year 2020 has been like. A diary of events and feelings, of sorts. The guitars wail, along with lead singer, Suzanne Birdie’s voice, to evoke feelings of struggle and inequities that we have experienced during the past year.” Suzanne mournfully laments “Everything could end, you don’t know. One step from letting go.”
“Impossible” is another excellent hard-rocking tune, with the kind of powerful driving beat that I love. Kevin and Alex deliver aggressive thumping rhythms guaranteed to get your blood pumping and hips moving, and Sly Rye layers a lively mix of staccato riffs and screaming distortion that would satisfy even the hardest metal head. Suzanne gives her lover an emphatic kiss-off: “I’m leaving tonight to get on this flight like a thief in the dark to protect my own heart / You’re impossible to love, and still too blind to see.”
Life in 20 is a great little EP that gets better with each listen. The Metal Byrds sure know how to rock, and I think this is their finest work yet. As I noted earlier, the quality of their songwriting, production and musicianship have gotten stronger on each release, and I’m confident they’ll continue on this upward trajectory.
Note: The version of the EP on Bandcamp features five tracks, however, the one on Spotify and Apple Music also includes a sixth track, a radio edit of “The Ganges” without the 15 seconds of Indian chanting at the beginning.
Since forming only two years ago, Dutch indie alt-rock band Morgendust have made quite an impression both at home and abroad with their superb music. The Zwolle, Netherlands-based quintet is comprised of Marco de Haan (lead vocals, guitars), Ron van Kruistum (guitars, backing vocals), Iwan Blokzijl (keyboards, backing vocals), Dario Pozderski (bass, backing vocals) and Job Noordmans (drums & percussion). All are talented and accomplished musicians with years of collective experience playing in other bands and as session musicians, imparting their music with a maturity and worldliness that comes from having lived on this earth for a while and experiencing the joys and pains of life, love and relationships. Through intelligent, thoughtful lyrics, they tell stories that everyone can relate to, and package them with exquisite dark-edged rock melodies and beautiful instrumentation.
In September 2019 they released their outstanding debut EP Storm Will Come, then followed up this past May with a powerful and timely single “Alien”, inspired by the story of band member Pozderski, who as a young man fled his war-torn homeland of Bosnia. (You can read my reviews of the EP and single by clicking on the links under “Related” at the end of this post.) In July, they released another great single “Sundays”, and now return with their latest offering, an inspiring and lovely new single “Hands“, which I’ve chosen as my New Song of the Week.
The song is a tribute to all the craftsmen and women around the world who take care of us. About the song, Morgendust explains: “Making, building and creative hands. At work and at home. Helping, stroking and saving hands. By caring and loving in families and relationships. Hands can make what our eyes can see. Hands can make or break our relationships. We tell a story with our hands. Hands are valuable tools. For the makers who help shape and keep our society running and for all of us to support each other. Or the encouraging handshake as soon as the rules allow it again. Making, building, creating and connecting hands.
As a band we pay tribute to these crucial limbs by celebrating craftsmen from our hometown Zwolle. The stories of a chef, farmer, furniture maker, artist, motorcycle mechanic, baker and tattoo artist all come together in the new video clip shot by (Dutch 3FM / Radio 2) photographer and filmmaker Bullet Ray (Raymond van Olphen). The release of ‘Hands’ is accompanied by a fan contest, in which the fans participated by singing the chorus “build it with your hands” and doing something with their hands.”
“Hands” is an uplifting, celebratory song that just makes you feel good. It’s an affirmation that the world and the people in it are basically good and that everything is gonna be okay. To convey the sentiments expressed in the hopeful lyrics, Morgendust starts with an upbeat melody, then layers a mix of sunny guitars, humming bass, swirling synths and lively percussion to create a joyous backdrop for Marco’s warm, earnest vocals.
That Hidden Promise is the music project and alter ego of British singer-songwriter and multi-instrumentalist Wayne Lee. Based in Somerset, England, he’s been recording and performing under that moniker since 2011. The talented and versatile fellow writes his own songs, plays acoustic and electric guitar, and creates all his own music, including beats and percussion. He’s produced an extensive catalog of outstanding alternative and pop-rock music over the past nine years, often incorporating blues, post-punk, folk, electronic, psychedelic and shoegaze elements into the mix. The result is a varied and eclectic sound, delivered with exceptional guitar work and distinctive vocals that remind me at times of a young Bob Dylan.
I’ve featured That Hidden Promise on this blog a number of times over the last three-plus years, most recently just two months ago when I reviewed “You Can Have the World”, the lead single from his new album Who Knows Now?, which dropped October 2nd. The album is an ambitious and meticulously-crafted work featuring 12 tracks that, in Lee’s own words, “explores what it is to be in these times, through the joys, the frustrations, the anger, injustice and how do we even know what our place is in this world anymore?” The album was recorded and entirely self-produced, mixed and mastered by Lee between March-May 2020.
The album opens with “Intro“, an ominous instrumental track with a harsher and more psychedelic feel than any previous songs I can recall hearing by him. The spooky industrial synths and mix of wailing and distorted guitars set a darkly beautiful tone for what’s to come, and I love it. Next up is “You Can Have the World“, and as I wrote in my review of the song, Lee’s intricate layered guitar work is nothing short of spectacular as he delivers an explosive torrent of ever-changing textures that go from melodic to aggressive buzz-saw to screaming distortion. It’s an electrifying and powerful wall of sound for his plaintive vocals, driving home the urgency expressed in his biting lyrics that speak to finding strength through one’s confusion and rage over a corrupt and unjust system in order to survive and ultimately rise above it: “You can have the world if you’re gonna pay / Though have you got the nerve to fail again and again / Those who lead won’t keep you down / They may seek acclaim but it’s clear / If I win, If I fail in this world, Ain’t a damn thing to do with them.” I think it’s one of the best songs he’s ever recorded.
On “Your Own Enemy“, he urges us to live our own truths and forge our own paths forward in life: “Cut out all the voices, all the actions not working for you / Act free Act simply Act in your best interest / Forego your ego / Your shackles, release them / Construct your own self, not one projected for you.” Over a driving rhythm of throbbing bass and urgent toe-tapping beats, he layers a mix of gnarly and jangly guitars, all of which makes for a rousing and satisfying folk-rock song.
“Caught in Yesterday” is a breezy and pretty tune, with lots of great guitar work and pleasing horn synths. The lyrics are an assurance of unconditional friendship, acceptance and standing by someone,: “You’ve got nothing to prove to me / If the world should split in two I’d be on the side with you / If the world should break in four we’d belong for evermore.”
Following on that thread, “End Game” is pre-apocalyptic, and speaks to finding acceptance and peace of mind when the end does arrive: “As we reach the end game / As we near our time don’t let fear sweep over / Just learn to free your mind / So take me with you to paradise / Away from conflict Away from these times.” It’s a musically complex and stunning song, and a real testament to Lee’s impressive songwriting and musicianship. The song opens with an ominous-sounding drumbeat, accompanied by gentle industrial synths, then a lovely strummed guitar enters along with shimmery synths, softening the mood as Lee begins to sing. Eventually, the languid vibe is briefly interrupted by a flourish of screaming guitar, only to calm back down. This back and forth continues through to the end, punctuated by some really stellar guitar work. It’s one of my favorite tracks on the album.
As the album progresses, I’m struck by how really good every track is, as well as the variety of melodies, textures and sounds he’s used. It holds our interest from one track to the next, keeping the record from ever feeling monotonous or predictable. “One Day Other Than This” is a melancholy but lovely song with his heartfelt vocals accompanied by gentle string synths and beautifully strummed guitars, whereas the gorgeous “Stop Praying For the Sun” has a sweeping cinematic feel like a song you might hear in a Western movie soundtrack. Lee explained to me that lyrics are about not waiting for things that are out of your control to happen (praying for the sun), and also whether what you’re doing or where you’re headed is just delusion: “A new delusion of false design / If the best of times will come / Stop praying for the sun.”
“Not In This World (Or the Next)” has a folk/Americana vibe, with a bouncy, head-bopping beat and lively riffs of jangly guitars. That Hidden Promise seems to ponder about our purpose on this earth: “I’ve given more than I can take / How much longer should I have to wait? / There’s time to come, there’s time to try / You give your all, but is it right? Alright.” The hauntingly beautiful “What Lies Beneath” is another favorite of mine, thanks to its eerie melody, piercing synths, and incredible guitar work.
That Hidden Promise turns more hopeful with “Calling All You Seekers“, a poignant ballad about holding on to our sense of adventure and optimism, and never giving up: “Calling all you seekers / The places yet to go / The majesty of wanderlust forever taking hold.” And even more so on “In the Night Time“, a celebratory folk-rock song about grabbing hold of one’s dreams and trying to make them real: “In the night time I’m inspired, and I just can’t settle / On fire / And this fever burns inside.“
The closing track “Screaming in My Soul” seems to be somewhat auto-biographical, or at the very least, touches on some of the demons that plague musicians and songwriters if I’m reading these lyrics correctly: “Do you know what’s it’s like? To have a demon strip your soul / Well I know /All the songs that are trapped in my head / All the words that are lost in some black hole / I wish I could know how to bring them home / Got a screaming in my soul now.” Over a pulsating hypnotic groove, he layers swirling synths and a mix of intricate guitar riffs and textures to create a mesmerizing track.
With “Who Know Now?, That Hidden Promise has created his best work yet. It’s an exquisite album filled with exceptional songs, and his impressive songwriting, musicianship and production skills are evident on every track.
This is a guest post by fellow blogger The Alternative Mixtapes, who has a terrific music blog https://thealternativemixtapes.com/. Based in the UK, he’s an excellent writer with great taste in music. Like me, he features a lot of talented indie and up-and-coming artists, so do check out his blog.
Could this be the most overlooked rock band ever?
Twenty years ago, finding new music was much harder than it is now. These days, between social media, great music blogs such as EclecticMusicLover, and AI-generated playlists based on your listening patterns, it is actually difficult to miss anything related to your favorite music genres. Back then, websites dedicated to alternative rock were scarce, streaming over dial up connections was a joke, and the closest thing to social media was, perhaps, MSN. MySpace wasn’t even a thing yet.
Believe it or not, Amazon was a pretty decent source of new music those years because it could recommend you albums bought by customers who had purchased something you liked. This was how I discovered Radford, who almost instantly became one of my favorite bands. I remember the first song I heard from them was “Closer To Myself”, and I immediately got hooked on Jonny Radford Mead’s voice and the song’s innovative –at the time– bridge. And yes, the band was named after the middle name of its frontman.
The band was formed around 1998 in Los Angeles after Jonny emigrated there from Oxford, UK, and met guitarist Chris Hower, bassist Bobby Stefano, and eventually drummer Kane McGee. After signing with RCA records, they released their self-titled debut album in the year 2000, which in addition to “Closer To Myself”, featured other great tunes such as “Don’t Stop”, “Fly”, “How Does It Feel?” and “Fall At Your Feet”. The album had moderate success with some of the songs being featured in movie soundtracks (“Closer To Myself” was featured in Clubland and Never Been Kissed, and “Fall At Your Feet” in Teaching Mrs. Tingle). “Don’t Stop” even peaked at number 32 on the Billboard Modern Rock chart.
Unfortunately, RCA went through some restructuring and Radford got dropped from the label, causing them to go on hiatus. Luckily for us, in 2004 the band returned with a sophomore album Sleepwalker, released by Universal Records. It was even better than the previous album, but due to a lack of promotion by the label, it sold poorly. The highlight of the album to me was “Fake a Smile”, a beautiful song with really outstanding lyrics, but the album had other gems such as “Dead Heart”, “Out of the Dark” and “Anything”.
After another hiatus, the band returned in 2006 with a digital-only 5-track EP called “Black Out Of The Sun”. The only defect this EP had was that it was like 10 songs too short. The first track “Stay With Me” is in the running for Radford’s best song, but other great tracks on this EP are “Open Your Eyes” and “Now It’s Over”. Unfortunately, these were the last songs Radford ever released, at least so far.
Jonny Mead Radford has a music studio in L.A. today and he is a member of two bands today: The Blind Love and Princess Princess, but he’s taken the backseat in both of them, so it doesn’t scratch the itch of wanting new Radford music. To make things worse, Radford’s discography is not available in any of the major streaming platforms, so unless you own the albums, it’s not easy to listen to them today.
I run a music blog in which I recommend songs and add them to my “mixtapes” (playlists) in one of those streaming platforms. I’ve been dying to include Radford in any of them but I’m unable to do so because their songs are not available (although their album Sleepwalker seems to be available only in the U.S. on Spotify and Apple Music). Fortunately, Jeff gave me the opportunity to talk about Radford here on this great website and I’m thankful for that.
Without a doubt, Radford was and still is one of the greatest overlooked bands. I wish they had been more successful at the time, maybe they would have released more albums had that been the case. In any case, I hope you enjoy their music as much as I do.
Ortario is an alternative hard rock band from the South Wales Valleys, a region rich in musical heritage, as I’ve written about several artists and bands from that bucolic corner of the country. I’ve been following Ortario for more than four years, and first wrote about them back in March 2017, when I reviewed their debut EP A Place Called Home for The Symphony of Rock blog. (You can read that review here.) Comprised of Chris Clark (vocals), Jamie Thomas (bass), Scott Lloyd (guitar), Mark Lloyd (guitar) and Nathan Lewis (drums), the band released their self-titled album Ortario in April 2018, followed that December by Live, featuring live versions of seven of their best songs.
On September 4th, Ortario returned with their second EP Playing With Fire, featuring five hard-hitting bangers that see them exploring a harder rock sound. As the title suggests, the songs address themes of duplicity and mistrust, and the damage it can cause in relationships. There’s an interesting little story behind the artwork for the EP, as explained by the band: “The matchsticks that appear on the front cover of the EP actually spell out ‘Ortario’. The lettering seen is taken from the old Welsh and primitive Irish alphabet called “Ogham”, which dates back to the 3rd century. The medieval inscription was primarily used on tombstones and stone monuments. Examples of this alphabet can still be found in Pembrokeshire, West Wales.”
The guys get right down to business with the opening track “Losing Control”, blasting through the speakers with a furious onslaught of thunderous distortion and pummeling rhythms. Chris has a perfect voice for their style of hard rock – powerful enough to keep up with the intense instrumentals, while retaining a heartfelt vulnerability that beautifully conveys the pain and despair described in the lyrics. He laments of having to lose a piece of himself along with his self-esteem in order to keep his deteriorating relationship alive: “So I guess I better swallow my pride. But oh, I just want one more go. I know I think I’m losing control. And I don’t want to see the end. Not long ago you were my friend. And everything that we shared, I would never think it’d end this way.“
Ortario continues on their relentless sonic rampage as they launch into “Save the Day”, delivering frantic riffs of gnarly guitars and smashing drumbeats. “The Fall” follows suit, as Scott and Mark’s dual guitars slice through the airwaves with a barrage of jagged, buzzsaw riffs, while Jamie drives the rhythm forward with his propulsive bassline and Nathan aggressively beats his drum kit into submission.
“Time and Space” opens with a melodic intro of gently strummed guitar, accompanied by measured percussion and vocal harmonies lasting around 30 seconds before the song erupts in a storm of shredded guitars and thunderous percussion. While I do love the guys’ hard-driving sound, I also like when they scale things back and show their softer side. I would have enjoyed hearing an entire song played in the more acoustic style that the song opened with. That said, “Time and Space” is a highly satisfying badass rocker with some fine reverb-soaked guitar work.
They close out the EP with the hard-rocking “Sunrise”, featuring more of their signature blistering riffs and massive, speaker-blowing rhythms. The chiming guitar and Chris’s echoed vocals in the bridge add a bit of enchanting beauty, quickly followed by a final blast of distorted guitar to close things out with a bang.
Playing With Fire is an explosive little fireball, delivering 17 minutes of unrelenting hard rock grooves. The five members of Ortario really know how to kick ass, and if you like rock music that’s heavy, aggressive and loud, you will enjoy this EP.
To learn more about Ortario, check out their Website
Strangely Alright is a wonderful and wildly-entertaining psychedelic-punk rock band based in Seattle-Tacoma, Washington. Referring to themselves as an “Eclectic Traveling Minstrel Magic Music Medicine Show”, they’ve built a loyal following not only through their great music, but also for the positive messages of humanity, love, kindness and acceptance in their songs. Their quirky and unique style of punk-infused rock is inspired by such iconic British artists as David Bowie, T.Rex, Pink Floyd, the Jam, Suede, the Buzzcocks and Supergrass. The band is fronted by Regan Lane, who does much of the songwriting and sings lead vocals, Sean Van Dommelen (lead guitar, backing vocals), Ken Schaff (bass), Raymond Hayden (keyboards, backing vocals) and Jason Bair (drums).
They’ve released a number of recordings over the past several years, including their debut album The Time Machine is Broken in 2013, as well as a compilation album All of Us Are Strange (The Singles) and an EP Stuff, both of which were released in 2018. Since then, they’ve dropped a number of terrific singles, one of them the brilliant and trippy “Psych Film”, which has been streamed nearly 75,000 times on Spotify. The song has also spent the past four months on my Weekly Top 30 list, peaking at #4. (You can read my reviews of Stuff and “Psych Film” by clicking on the links under “Related” at the end of this post.)
Now Strangely Alright returns with their marvelous new single “Maybe If“, a beautiful song of hope, love and gratitude. About the song’s message, the band states “In a world of pointing fingers, we have decided to look inside for the answers. And let’s be kind! It matters in ways we often never see.” Running nearly eight minutes long, the song has an epic, otherworldly feel reminiscent of some of Pink Floyd’s music. The intricate guitar work is fantastic, alternating between jangly, chiming and grungy textures, and accompanied by sparkling piano keys, measured percussion, and a colorful mix of spacey and sweeping orchestral synths. It all comes together beautifully to create a dreamy cinematic backdrop for Regan’s wonderful Bowie-esque vocals.
Feeling like an alien Who fell and landed here Maybe if I face my pride The answers will be clear Maybe if I ride a cloud Into the sun my darkness disappears
Everything I never had I’d give it all away If I have to steal a smile I’ll wear it for the day If I have to tell where I have been I have to sell there’s nothing left to win
Maybe If I look inside I’ll see the things I’ve always tried to hide
Maybe everything I have Is everything I need And I can’t control the world outside And I hate who I can be If I lose control will I disappear And will I fade away to the nothing In the mirror
Galaxies of brokenness that fabricate what I have missed Peculiar thoughts I died when I was young Can’t escape what might have been The atmosphere is getting thin I’m out of gas Maybe If
Maybe If my gratitude is greater than my faith If I see myself in everyone will I share a little grace And I want to trust all the things I see And I want to feel just a little peace There’s a million no’s deep inside of me If I let em go I just might end up free
Strangely Alright hit the ball out of the park yet again with “Maybe If”, further cementing their reputation for putting out stellar tunes with the power to both dazzle our senses and stir our souls.
One of the benefits (and challenges) of being a music blogger is discovering lots of music by an ever-expanding number of indie and up and coming artists, more than I could possibly ever write about, let alone listen to it all! There’s a surprising amount of real talent out there, and I’ve had the pleasure of writing about quite a few artists and bands who are making some truly great music. And every now and then, one comes along that stands out among the crowd, such as Australian folk-rock band Beating Hearts Club. Since learning about them this past April, they’ve become one of my favorite indie bands. I’ve already featured them twice on this blog earlier this year, when I reviewed their singles “Black & White Love” and “Round the Bend” (you can read those reviews by clicking on the links under “Related” at the end of this post). I’m now pleased to review their stunning debut album Freedom & Rebellion, which drops today, September 18th.
Based in Sydney, Beating Hearts Club is comprised of Duncan Welsh (lead vocals/rhythm guitar), Ciaran Loughran (lead guitar/backing vocals), Lukas Thurner (bass) and Trent Miller (drums), who joined the band a few months ago after their previous drummer left. With their shared love of rock, folk, country and blues, the talented foursome create exceptional music characterized by beautiful melodies, stellar arrangements and intelligent lyrics, and delivered with superb instrumentation and Duncan’s sublime vocals.
As suggested by the title, the album’s theme seems to be about the ups and downs of love and relationships, and the eternal struggle between wanting freedom and wanting to belong to someone. The album opens with “Heroin“, the very first single the band released back in April 2019. It starts off as a gentle ballad, with Duncan’s earnest vocals accompanied by strummed and chiming electric guitars as he sings to a loved one who’s saving him from falling into a downward spiral: “You are my heroin, a shot to the veins / You’re my therapy, you’re the cure.” Then the song expands into a full-blown rocker, with rapid-fire riffs of reverb-soaked guitars, humming bass and thumping drums. Duncan’s vocals rise to the occasion, become more impassioned in their urgency, and Ciaran’s blistering guitar solo in the bridge is fantastic.
Next up is “Black & White Love“, a gorgeous love song that instantly became one of my favorites of the year. I love it so much it’s spent the past four months on my Weekly Top 30, recently going all the way to #1. The instrumentals are stunning, with some of the most achingly beautiful guitar work I’ve heard in a long while. Duncan’s plaintive vocals are lovely and heartfelt, and when the music builds to an anthemic crescendo in the final chorus, I’m covered with goosebumps. The moving lyrics speak of how finding true love in the right person can be a force for healing in our sometimes broken lives: “Could you be the reason? You know I need you, Seen my last chance die but I’m still breathing / Do you feel what I’m feeling? You know I need you shook me upside down and I saw meaning.”
When I didn’t think the guys could top “Black & White Love”, along comes “Crying Wolf” and I’m quickly blown away. What a magnificent song this is, with lush, intricate guitar work and beautiful layered vocals. I also love the mournful organ riff in the outro that gives the song a country rock vibe. The lyrics are about being stuck in a dysfunctional relationship with a partner who constantly complains and threatens to leave, but never does: “Thought I’ve heard, heard it all before / You got me shook, shaking to the core / Why am I the subject, why am I the cries? / Well everybody knows you’re the one who made you cry.“
Beating Hearts Club are adept at making both hard-rocking bangers and gentle ballads. A great example of the former is “First Sight of the Rain“, a dark rock’n’roll song about a romantic partner who’s afraid of commitment and wants to bolt from the relationship at the slightest hint of a problem: “You’re running from yourself, it’s you who won’t make a change and no one else / You gave it all to me, then turned and ran away.” The exuberant, hard-driving rhythms and fuzz-coated guitars that break into a scorching solo in the bridge are sensational. Likewise, “Homemade” and “Round the Bend” are rousing folk-rock tunes with resonant jangly guitars and galloping drum beats, punctuated by terrific guitar solos, pummeling drumbeats and ample flourishes of wildly crashing cymbals that make for a lively and highly satisfying listen.
Turning to the ballads, one of my favorite tracks is “Freedom Pt. 2“, a lovely Americana song with strummed acoustic guitar, beautiful piano and strings, and is that a didgeridoo I hear in the background? I may be way off, but the lyrics seem to speak of a man who’s been released from prison, and facing his newly-found freedom with some apprehension: “Heaven knows that I’ve paid my dues / Bring back a feeling, I forgot to use / And from here we’re going wherever I might choose / I know, it’s gonna take a lifetime.” “Olivia” is an equally beautiful song of love and devotion, highlighted by gorgeous strummed guitars and sparkling piano keys.
As the album continues to unfold, it’s clear these guys can do no wrong, as every track is perfect. I’m sounding like a broken record, but on “The Reaper“, the intricate guitar work is spectacular, and when combined with the organ at the beginning and the mournful piano later in the song, the results are breathtaking. Special mention must also be given to Lukas for his wonderful bass line that gives the song such incredible depth. Album closer “Stockholm” is a hard-rocking song about being in an unhealthy, co-dependent relationship similar to Stockholm Syndrome. I love the frantic riffs of grimy guitars and strong, driving beats that nicely convey a sense of tension expressed in the lyrics: “Stockholm Syndrome’s got a hold of me / She takes me down and she won’t let me breathe / I don’t believe in anything I see.”
What more can I possibly say to gush any further about this beautiful work of musical art? Freedom & Rebellion is easily one of the best albums I’ve heard this year, and I love every one of its tracks – something that doesn’t happen very often. It’s an impressive debut from this extremely talented band, and they should be very proud of their magnificent accomplishment.
ECLECTIC MUSIC LOVER 