KIDSMOKE – Album Review: “A Vision In The Dark”

Kidsmoke album

Kidsmoke is an exceptionally talented indie dream rock band based in the city of Wrexham in northeast Wales. On June 19th, after many months of hard work, they released their debut album A Vision in the Dark via Welsh label Libertino Records. Like so many bands, they’d planned to tour over the summer to promote their album, but those plans were dashed because of the coronavirus pandemic. Nevertheless, they decided not to delay the release of their album, and just wanted to get it out so their fans would have some new music to look forward to. And what a beautiful album it is, featuring 11 superb tracks. Their lush and beautiful guitar-driven sound is strongly influenced by such bands as Joy Division, The Cure, Wilco and The National, among others.

Formed in late 2012 by Lance Williams and James Stickels, who’d been friends since their school days, Kidsmoke was named after a song by one of their favorite bands Wilco. They released their first EP Higher in 2013, followed by a second EP So Long, Emptiness in 2015. Various members came and went, but the band finally came into its own with the addition of Sophie Ballamy and Ash Turner in 2016. Since then, the lineup has been Lance on Lead Vocals & Guitar, James on Bass & Vocals, Sophie on Guitar & Vocals, and Ash on Drums. The band continued to release numerous singles, along with an EP Save Your Sorrow in 2017, and had the experience of a lifetime when they performed at SXSW (South By Southwest Film & Music Festival) in Austin, Texas in 2019.

Kidsmoke

A Vision in the Dark opens with “Passenger” a lovely, uptempo song that sets the tone for the album. Its sunny, upbeat instrumentals, highlighted by jangly guitars and snappy drumbeats, contrast with the rather poignant lyrics “I’m moving on to God knows where, I’m dressed to kill the time I’m moving on, I’m a passenger.” Lance explained that the song is “about losing your direction in life, being swept along with the crowd and feeling helpless to stop it.” The song was chosen for NPR’s Austin 100 playlist.

The warm, summery vibe carries over to the next track “Layla’s Love“, with its swirling guitars and dreamy, ethereal melody. Lance states that the song “is a retrospective story of a relationship, where one partner begins to dwell upon the many ‘what ifs?’ we all face.” The male character in the narrative ultimately realizes that, though not perfect, the relationship remains strong and they’re still together: “Baby, the sun won’t rise over you. But I know we are still together. Layla’s love is the only love I’ll never lose.” I love the interplay between Lance and Sophie’s enchanting vocals as they sing “You gave me everything I had (I hope I did). Everything I wanted (you know I tried). But sometimes everything just isn’t enough.” This beautiful song stayed stuck in my head long after hearing it, and is one of the highlights on the album for me.

Kidsmoke continue to deliver the breezy feels on “Colourfield“, with its chiming guitars and cheerful, bouncy bass line, “Higher“, a beautiful reworking of a song from their first EP, and “She Takes You Under“, where they seem to pay homage to The Cure with bouyant jangly guitars and sparkling synths. Lance and Sophie’s vocal harmonies are particularly wonderful here, as well as on the brief but enchanting “Kaleidoscope“. The track is a chorus from an old song the band had previously written but never recorded, and serves as an interlude between side 1 and side 2 of the album.

Another standout track is “Rising Sun“, a high-energy tune with a retro 80s new wave vibe. The fast-paced driving rhythms and exuberant guitars are fantastic, and as always, the vocal harmonies are sublime. The lyrics speak to pushing back against others’ expectations, even when they’re coming from people who are closest to you: “Your days are done. I turn the black to blue. I turn the night to day. I’m the rising sun. I feel your love, I don’t want to follow.

The hauntingly beautiful “Take Me to the River” is another re-imagining of an old song from their debut EP Higher. A fan favorite, Kidsmoke decided to re-record it for the album. The song was featured on an episode of the Netflix series Black Mirror, and is about being led astray from one’s path by negative influences. The bouncy, guitar-driven melody contrasts with the dark lyrics that seem to touch on a relationship doomed by the suicidal tendencies of one of the partners: “If I leave you, I’ll miss you, I’ll never make you mine. We’re sinking fast. We’re running out of time.” The richly layered guitars and pulsating bass are wonderful.

They continue to dazzle us with dreamy melodies and exquisite guitar work on “Still Dreams“, a deeply personal song Lance wrote based on his own experience having to come to terms with a life-changing event that made it hard for him to face the world. He elaborates “The song is about the expectations from family, friends or work to ‘get back to normal’ after something traumatic has happened. The overarching sentiment is about giving people the time they need to heal.”

Kidsmoke slows things down with “Little Easy“, a gentle song of thanks to someone for their love and support: “Little easy. You’ll never know how much you mean to me. You play the part, you play it right.” With its languid beat, mix of acoustic and electric guitars, and lovely vocal harmonies, the song has an early Fleetwood Mac feel, at least to my ears. About the inspiration for the song, James explains “I felt a little bit directionless at the time; I’d moved back home to Wales from Manchester for a job that didn’t work out and I was missing city life. I always aim for emotion in my music, but this one felt a bit more genuine…I just wrote how I felt.”

They save the best for last, closing out the album with “The Bluest You“, my favorite song of them all. Being a lover of music who cannot write a note of it, nor play a single instrument, I’m always awestruck at how people can create such gorgeous melodies, then bring them to fruition with various instruments. What Kidsmoke has achieved with “The Bluest You” is nothing short of spectacular, creating a song of such incredible beauty and depth that it renders me speechless. The glorious swirling guitars are as dreamy as they come, and James and Ash keep the spellbinding rhythm with their pulsating bass line and perfect drumbeats, respectively. Once again, I must make note of the stunning vocal harmonies delivered by Lance, Sophie and James. This song is honestly one of the most beautiful I’ve heard in a long while.

I’m not the only one for whom this song is a favorite. Lance said “This song is a live favourite of ours”, while James noted “This is my favourite track. I originally intended for it to be an instrumental – thankfully I soon decided against that idea. I knew from the moment it was written that it was destined to be the last track on the album.”

The song lyrics address mental health, specifically the effect someone’s issues have on loved ones around them. Lance explained: “It is a fly on the wall look into a household where one person’s depression is affecting everyone else who lives there. The song doesn’t address the feelings of the person suffering with depression, it is a sort of commentary from the viewpoint of the rest of the family.”

I’ve gushed about A Vision in the Dark throughout this review, so I don’t know what more I can say except that it’s an absolutely stunning album from beginning to end, and ranks among the very best releases I’ve heard so far in 2020. Listening to it is an immersive experience, as one gorgeous track flows into the next, keeping the listener in a continuous state of thrall. Other than for the minute-long interlude piece “Kaleidoscope”, the other ten tracks could all be hit singles, they’re that good.

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dizmation – EP Review: “Who Are the Experts?”

Dizmation

Dizmation is the solo music project of Irish singer-songwriter and musician Joey Doyle. The talented Dubliner is also front man for the band Fiction Peaks, a wonderful alternative folk-rock group I featured on this blog a number of times in 2016 and 2017. He released his debut EP The Future is a Bubble in March, and followed a month later with the lovely piano instrumental “Paint Clouds”. Now he returns with a new three-track EP Who Are the Experts?, which dropped May 3rd. He’s also a pretty talented visual artist, and created the trippy artwork for the EP cover.

On his Instagram page, Dizmation offers a hint as to the meaning of the songs: “These are our identities being swallowed up by algorithms, to be homogenised.” Each of the three tracks has a completely different music style and sound. The first track “Render” features an urgent piano-driven melody, accompanied by soaring orchestral strings and pulsating waves of distorted synth bass that give the song a beautiful but rather unsettling vibe. Doyle has a lovely voice, which here sounds plaintive and somewhat distant as he sings: “No sense in making sense now / The time awaits all fools / That deeper stain behind us / The truth’s no longer the truth / But sail away so far away / For truth and darkness lies in the light.”

“Shadow Band” is an unusual instrumental track with a fascinating mix of scratchy, undulating lo-fi industrial synths, sharp percussive beats and somber piano keys, punctuated by brief moments of delicate glittery synths. The lovely but rather haunting echoed chorale vocals lend a mystical air to the song.

“Where Life Awaits” is a pleasing folk-style song that starts off with a strummed acoustic guitar and bold hand claps. The music expands to include moody horns and string synths that give the song a poignant feel. Dizmation softly croons the lyrics that seem to speak of trying to break through to someone he cares deeply about: “I tried to know you, to see inside. To light the path where the darkness lies. But every time I’m getting close, all I see is closing doors. But it’s not too far, And it’s not too late. We’re dying to be where, to be where life awaits.”

Who Are the Experts? is a fine little EP that provides a glimpse of Dizmation’s creative imagination and songwriting skills, as well as his strong musicianship.

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DARKSOFT – Single Review: “Cybersecurity”

Darksoft Cybersecurity

Darksoft is the music project of Bill Darksoft, an imaginative and talented singer-songwriter, producer and multi-instrumentalist from Seattle, Washington who I’ve featured twice on this blog in 2019. Inspired the by the high-tech industry of his hometown, he writes songs that address timely and relevant social and cultural issues related to technology. He also operates his own label and website Look Up Records (for which he also writes some pretty awesome reviews), and in addition to his music project, has played with many Seattle acts over the years.

Last February, I reviewed his brilliant debut album Brain, a concept work named for the very first computer virus to attack the internet back in 1986, with each track titled after infamous viruses that followed. Then in July, I reviewed his single “WannaCry”, which addressed the deep cultural and political divide in America, fed by our tendency to stay stuck in our own echo chambers. The enthralling song spent more than three months on my Weekly Top 30. Today. I’m happy to premiere his haunting new single “Cybersecurity“, where he touches on another thorny technological issue.

Like his previous tracks, “Cybersecurity” was written, performed and produced by Darksoft, and mixed and mastered by Mathieu Riede of L453RL4Dy Studios. Using a rich palette of cinematic synths as a foundation, Darksoft layers gauzy riffs of chiming and jangly guitars, along with a perfect balance of snappy percussion, to create a dramatic and sweeping backdrop for his captivating vocals. As I’ve stated in previous reviews, I really like his velvety, almost breathy vocal style, which adds a dreamy, ethereal quality to his sound. He also excels at writing beautiful, compelling melodies, and though I would not label this one as being “catchy”, it nevertheless stayed with me long after hearing it. It’s another winning song.

The lyrics cast doubt on the assumption – or is it really a myth? – that all our data floating around out there in cyberspace is somehow being kept safe. What’s more, it can even be used to control and manipulate us in harmful ways that we hadn’t imagined.

The past is dying
In saturation
Confusion breeds control
Two points for the man
One humanity
We’re digits in a dream
Cybersecurity

Who can hide the past controls The Now
Information Age playing mind games

There’s something wrong
This picture’s off
What’s under your profile?
Did I do wrong?
Who can tell
When truth is gone
There is no cybersecurity

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Stream his music on Spotify / Soundcloud / Google Play
Purchase on Bandcamp / iTunes / cdbaby

New Song(s) of the Week – TWO METERS: “The Nightmare//Bike Ride”

Two Meters 3

This past May, I featured Florida artist Two Meters on this blog when I reviewed his The Blue Jay EP, a remarkable work that further explored the dark themes of loss and death he first introduced us to on his debut self-titled EP Two Meters. Two Meters is the music project of Fort Lauderdale-based singer/songwriter and multi-instrumentalist Tyler Costolo. Starting off with powerful, often brutally honest lyrics – which he expresses through incredibly vulnerable, slightly off-kilter vocals that go from droning whispers to spine-tingling wails – he adds layers of intriguing guitar textures, harsh industrial synths, and other lo-fi ambient sounds to create deeply impactful songs.

Now he returns with a mind-blowing new double single “The Nightmare//Bike Ride“, which I’ve chosen as my New Song(s) of the Week. Once again, he delves into dark, introspective subjects, the first of which explores the paralyzing terror we’ve all experienced while having a nightmare, followed by an unsettling sense of relief when we wake up, realizing that awful thing we just went through was only a bad dream.

The song starts off with a somber little guitar riff and Two Meters singing in a hushed monotone “Alone gasping for air. Against the weight of the world.” Suddenly, we’re hit with an barrage of grungy guitar lasting around 25 seconds, then fading back to the somber riff and hypnotic drumbeat as he drones “Crushing down as shadows move. Faceless but with form. A mouth unable to cry out as the darkness comes.” The gnarly guitars return again, only this time accompanied by a distorted wail that conveys the terror of a nightmare. It all calms back down as he sings in just above a whisper “Just as fast life snaps back. The figure gone. The room is back in view. What was real is never clear.”

The second track “Bike Ride” is more experimental, epic and dark, with very gnarly guitar, fuzz-soaked bass and sharp percussive beats. His vocals heavily distorted, Two Meters screams the lyrics describing the sorry state of his bicycle, possibly a metaphor for a life hindered by physical or emotional pain and scars:

There’s a nail in my wheel
My pedals are broken
Left to grind
Into my heel

My helmets collecting dust
The brakes are out
I am
Crossing the street

With a pulsating spacey synth as a backdrop, the music eventually quiets down to a simple strummed guitar as he calmly sings “I make it to the other side, and I look back and wonder what could have been.” Wow, what a brilliant track this is, full of ever-changing sounds, volumes and textures taking us on an emotional roller coaster ride.

Connect with Two Meters: Facebook / Twitter / Instagram
Stream his music: Spotify / Soundcloud
Purchase on Bandcamp / iTunes / Google Play

New Song of the Week: ROADKEEPER – “Narcissistic Peoples”

Roadkeeper

This past April, I featured Texas band Roadkeeper on this blog when I reviewed their single “Old Man’s War”, a stunning song about anxiety and worry over things, both real and imagined. I loved the song so much it spent 18 weeks on my Weekly Top 30. Formed only a little more than a year ago, the Tyler, Texas- based four-piece consists of songwriter/producer John Hetherington (vocals, synths, rhythm guitar), Trevor Tull (lead guitar), Nick Cogdill (drums) and Daniel Griffith (bass), all long-time friends. Roadkeeper is completely independent and self-produced, doing their recording, producing and mixing in John’s studio – dubbed ‘Yacht Country’ – and releasing their songs on their own label Equal Temperament.

Blending dreamy shoegaze with dramatic psychedelic rock, Roadkeeper crafts exquisite songs that envelop us with complex melodies and lush soundscapes while delivering compelling and often socially relevant lyrics that give us a lot to think about. Since forming, they’ve released four outstanding singles, and now return to grace our eardrums with a beautiful new single “Narcissistic Peoples“, which officially drops September 6th. About the song, the band states: “This song was originally meant to be a satirical take on sci-fi future fascist recruitment propaganda but lyrically it ended up personal and political. It was inspired equally by the erasure of and actions against American indigenous cultures by the ruling class as well as the current refugee crisis at the southern US border.”

Musically, the song features exuberant layers of richly-textured guitars and shimmery synths, nicely driven by Griffith’s subtle bassline and Cogdill’s crisp, thumping drumbeats. It all provides a dreamy, melodic backdrop for Hetherington’s smooth falsetto vocals. The music feels light and breezy, belying the seriousness of the rather biting lyrics. Though brief, running scarcely more than two minutes, it’s an incredibly impactful song nonetheless.  “Narcissistic Peoples” is another in a string of perfect singles from this exceptionally talented band, and I’m delighted to make it my New Song of the Week.

If you could be someone else just for a day
Would you wash their cares away
Or does the thought that they have it worse
Make your feelings hurt because you like to feel
Like a warrior fighting to save the world

Do you feel it?

It eats you alive but you’re not alone
There are millions of people, bitter and selfish
Narcissistic people waiting on a future
Where everyone looks like them
Everyone has power
Everyone has religion
There’s no one left to conquer

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

New Song of the Week: DAVID VIVIAN – “Always”

David Vivian

Two months ago I featured singer-songwriter and guitarist David Vivian upon the release of his third single “Weekend”. Now the Santa Barbara, California-based musician is back with his beautiful new single “Always“, which I’ve chosen as my New Song of the Week. David states that “Always” is “about the idea of trying to find someone in one’s art when that can only ever be a mediation.”

The song opens with a haunting little guitar riff, then expands with pleasing keyboard, bass and percussive synths to create a dreamy backdrop for David’s silky, ethereal vocals. He lays down some fine, intricate guitar work throughout the track, and his solo in the bridge is really wonderful. “Always” is a fairly simple track, but has a quiet intensity that hits us in the feels. It’s a beautiful song, and another in a string of excellent singles from this promising young artist.

Dear love, sorry I hurt you
Please know I didn’t mean to
And know I’ll always want you
I can’t explain—I’ve just got to
And I just want you to know

That I was wrong
So wrong
Yes I thought I
Could find you in a song
But I was wrong
I took too long

Dear love, I don’t deserve you
Until all this pain has left you
I want you to have it all
Let’s throw a party, let’s have a ball
And know I’ll be here if you fall
Yes I’ll be here if you fall

Yes I was wrong
So wrong
Yes I thought I
Could find you in a song
But I was wrong
I took too long

Connect with David on Facebook / Instagram
Stream his music on Spotify / Soundcloud / YouTube
Purchase on  Bandcamp / Apple Music / Google Play

KILLER TAPE – EP Review: “Ghosts”

Killer Tape2

Killer Tape is the music project of young artists Ella Heaton and Luke Hudson. Originally from Leeds, England, Ella is currently studying in Rotterdam, The Netherlands, and Luke in Berlin, Germany. In June (2019) they released their debut EP Ghosts, featuring three stunning lo-fi tracks. Melding elements of shoegaze, ambient, electronic and psychedelia, the duo create mesmerizing soundscapes that transport us to dreamy, faraway places.

First off is the title track “Ghosts”, a haunting, ethereal song that opens with clicks that sound like a cassette tape being placed into a player, accompanied by a droning acoustic guitar and mysterious, sinewy synths that gradually build as the track progresses. With breathy echoed vocals that sound appropriately ghost-like, Ella gently croons “There’s a man on the ceiling, and he’s full of misdemeanour.

The dreamy “Scrimmage” features marvelous glittery synths and a fuzzy, reverb-heavy guitar that borders on surf. Ella’s echoed chanting can be heard in the distance, accompanied by a spooky organ riff at the end of the song. I love it!

The final track “May Day” is brief, lasting only 1:40 minutes, but is a wonderful composition, with more of that spooky organ and throbbing spacey synths that impart a fascinating otherworldly vibe. This time it’s Luke’s distant echoed chants that can be heard. The track ends with the same clicking sounds we heard at the beginning of “Ghosts”, signifying that the tape has been removed from the player.

Ghosts is a great little EP from this talented young duo, and my only criticism is that it’s too short, leaving me wanting to hear more.

Connect with Killer Tape: Facebook / Instagram
Stream or purchase on Apple Music / Google Play / YouTube

DAVID VIVIAN – Single Review: “Weekend”

David Vivian

David Vivian is a young graduate student and budding singer-songwriter and guitarist from the beautiful coastal California city of Santa Barbara. Writing and recording songs in his bedroom studio, David has released three singles over the past few months, the latest of which is “Weekend“, which drops today, June 14th.

The lyrics speak to how many of us seem to live for the weekends, yearning for the promise of thrills and the respite they bring from the routine and drudgery of our weekday lives, always aware that they’re doomed to come to an end way too quickly. David opens the song with a strummed guitar riff, sunny synth and perky xylophone, giving us a sense of hopeful optimism that another weekend is upon us. Abruptly, the music turns sour like a smile suddenly becoming a frown as reality sets in, but then it all perks back up to a breezy, upbeat tempo that continues through to the end of the song. Along the way, David lays down some fine guitar work, accompanied by pleasing keyboards, bass and percussive synths, and I especially like the horn synths he inserts after the final chorus.

His soft, echoed vocals have an ethereal quality, and mesh quite nicely with the lush instrumentals, giving the song a dreamy atmospheric quality.

[Verse 1]
How the hell’d it get so late?
Hold on, please wait
I’ll do, what it takes
Go all in, raise the stakes

Another weekend’s here
I’ll call you darling, call you dear

[Chorus]
Hey babe
That’s no reason to stay
I’ll come up w/ words to say
And we’ll always find a way to play
Come back and let’s do it right
We’ll get lost in the endless night
So come play just one more hand
I’ll take you to the promised land

[Verse 2]
How the hell’d I get this way?
Sun comes up, it’s another day
Time goes on, takes our pay
Doesn’t care what we have to say

Another week ends here
Oh I’ve felt freedom, I’ve felt fear

[Chorus]
Hey babe
That’s no reason to stay
I’ll come up w/ words to say
And we’ll always find a way to play
Come back and let’s do it right
We’ll get lost in the summer night
So come play just one more hand
I’ll take you to the promised land

Connect with David on Facebook / Instagram
Stream his music on Spotify / Soundcloud / YouTube
Purchase on  Bandcamp / Apple Music / Google Play

TWO METERS – EP Review: “The Blue Jay EP”

Two Meters EP art

While most musicians generally tend to express themselves through their music to one degree or another, Two Meters really bares his heart and soul on his songs. Based in Fort Lauderdale, Florida, Two Meters is the music project of singer/songwriter and multi-instrumentalist Tyler Costolo. Starting off with deeply personal and often brutally honest lyrics – which he expresses through vulnerable, slightly off-kilter vocals that go from barely a whisper to impassioned screams – he adds layers of heavily-textured guitars, harsh industrial synths, and other lo-fi ambient sounds to create impactful songs that elicit strong feelings from the listener. I’ve been replaying his songs for the past few hours and hear new details with every listen.

I asked Tyler how he came to call his project Two Meters. He explained “I have been playing water polo for about 15 years now. I did in college, and I was coaching too when I first started recording. Two Meters is a reference to the sport; it’s kinda similar to an offsides in soccer. I thought it sounded cool and was relevant to my life.”

Two Meters released his debut self-titled EP in June 2018, and now returns with The Blue Jay EP, which drops today. Released via the label Very Jazzed, The Blue Jay EP features five tracks that continue to explore the dark themes of loss and death that Tyler first introduced on Two Meters. He wrote and sang all lyrics and played all instruments on the EP (other than drums, for which he used sample loops or drum sounds from his  production software). Mixing was done by Yuuki Matthews and mastering by Warren Hildebrand.

The EP opens with “The Morning Train“, a brief lo-fi instrumental track consisting of dark, gnarly synths, pulsating bass and an ominous drumbeat that set a somber tone. This is followed by “Pools“, a powerful track that speaks to thoughts of drowning by suicide. Tyler explained: “I really was spending a lot of time by pools while I wrote that song and I was constantly having ‘call to the void’ type visions. I tend to gravitate toward darker themes in the music I listen to, so it makes sense that’s what I end up writing too.” The track starts off with a captivating twangy guitar riff, then moody, throbbing synths are added as Tyler sings in a morose tone “I spend a lot of time by pools. Looking deep in the water. Thinking how easy it’d be to slip under./ Just as dark sets in, it’s too late to swim back up.” Suddenly, we’re bombarded with an explosion of tortured, grinding synths and reverb-heavy distorted guitar that would make Marilyn Manson proud, as Tyler repeatedly screams “It’s too late!

Next up is “Ground“, a song about feelings of worthlessness. Tyler explained its meaning:  “At the time of writing the EP, I was feeling incredibly worthless. The idea being that in the grand scheme of everything, my life was the same as the poor bird I saw that died overnight.” The track opens with layers of heavily-strummed guitars and Tyler’s somber humming, followed by him singing in a monotone, as if to convey his emotional ennui. Then, with the introduction of distorted guitar notes, the tempo abruptly shifts as Tyler refrains the line “I am the bird, alone on the ground” in dual voices – one a dispassionate monotone, the other a desperate wail. Man, it just rips at your soul!

The appropriately-titled “Intro to an Attack” is another brilliant instrumental track. Like many Two Meter songs, it starts off with gentle synths and a bucolic strummed guitar, but 30 seconds in, the calm is shattered by that promised attack of glorious bone-crushing industrial mayhem and distortion. The final track “In the Wake” is a decidedly more hopeful song, despite its rather bleak vibe. Tyler said it speaks to his problems with panic attacks and anxiety, and how having his girlfriend Margo Dellaquila (who real life sings the reassuring vocals to him on the track) around really helps to keep him grounded.

The Blue Jay EP is a brief but astonishing work of incredible nuance, contrast and emotional honesty. Two Meters is skilled at lulling us with soothing melodies and vocals one moment, then punching us in the gut with brutal ferocity at others. The more I listened to this EP, the more I loved it.

Connect with Two Meters: Facebook / Twitter / Instagram
Stream his music: Spotify 
Purchase on Bandcamp / iTunes / Google Play

ROADKEEPER – Single Review: “Old Man’s War”

Roadkeeper

It always makes me happy when I discover a new band and instantly love their music. I was so impressed by the beautiful songs of the band Roadkeeper that I had to write a review of their latest single “Old Man’s War“. The Tyler, Texas- based group was formed less than a year ago by producer/vocalist John Eric Hetherington and drummer Nick Cogdill, who both previously played in the post-punk group Knifight, as well as guitarist Trevor Tull and bassist Daniel Griffith, all of whom are long-time friends. Roadkeeper is completely independent and self-produced, doing their recording, producing and mixing in John’s studio – dubbed ‘Yacht Country’ – and releasing their songs on their own label Equal Temperament.

Blending dreamy shoegaze with dramatic psychedelic rock, Roadkeeper crafts exquisite songs that envelop us with complex melodies and lush soundscapes, while delivering compelling lyrics that give us something to think about. Beginning in the fall of 2018, they released a series of singles, starting with “God in the Light of the Bar”, a laid-back song with shimmering guitars, horns and breezy synths, and “The Creeps”, a beautiful, anthemic song about emotional manipulation and abuse. In February 2019, they released their mesmerizing third single “Gushers”, which the band explains “deals with recent years’ murders of unarmed black people by police officers, and the way law enforcement and apologists reframe the job of police officer as a war or conflict between the just and unjust. Also how privileged people are starting to reframe their own lives and minor struggles as heroes journeys.”

Now the band follows up with their fourth single “No Man’s War” a melancholy but beautiful song about anxiety and worry over things, both real and imagined. The song starts off with a mix of both chiming and strummed acoustic guitars, as John sings in soft, breathy vocals of his fears:

I’m afraid of so many things
What the hell am I doing
Waiting for a change
People never change
And I’m stuck inside my heart
Waiting for someone to pick me up
And tell me everything’s OK
That it’s only just a dream
Wait and see

The music swells with lush shimmery synths, fuzzy bass and chiming guitars as he tries to convince himself that all is right with the world and he’s got nothing to worry about:

No disease is coming for me
And no conditions waiting to take you from me
And the world is happy
No one is dying
The ice isn’t melting
And everyone can be themselves

The dramatic sweeping synths continue during the bridge, then abruptly end, leaving us with just a simple strummed acoustic guitar as John reaffirms his anxieties and feelings of pessimism in the final verse:

I’m afraid of so many things
Every time I read
What’s breaking in the world
I lose a piece of me
To an old man’s war
They won’t be around to pick it up
When everything falls down

With “No Man’s War”, Roadkeeper continue to bat a thousand, delivering their fourth consecutive win in the form of a perfect song. I’m happy to be following this talented group of guys, and excited to hear what they come up with next!

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