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

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

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

OCTOBERS – EP Review: “Summer Waste”

Octobers EP

Octobers is an alternative/dream pop/postpunk band from British Columbia, Canada who formed in 2015. Comprising the band are brothers Nick and Joel Ellsay (guitar, synths, vocals), Hayden Shea (drums) and Liam Rhynolds (bass). They released their excellent debut Misfits EP that same year to positive reviews, also garnering airplay on indie and college radio stations throughout Canada and the U.S. The band went on a brief hiatus in 2017 after a few major life changes, but are now back and better than ever with a new EP Summer Waste.

The EP kicks off with the sunny and upbeat “California“. The song opens with a blast of drumbeats, then settles into a pleasing soundscape of chiming guitars, sparkling synths and a humming bassline that evokes images of a summer day at the beach. The pace quickens in the choruses with an exuberant jangly guitar solo and pummeling drums. The song lyrics seem to have dual meaning, with the singer possibly expressing his love for both ‘California’ a girl and the state: “Hey California. Something about ya. You are the sweetest sound. California, always did love ya. You’re the summer all year round.”

Sunshine” has the singer pondering the love that brightens his world: “Are you my sunshine? Are you my starry sky? Are you these glowing lights, cause you burn so bright.” I love the thunderous jangly guitars and percussion, and the Ellsay brothers’ vocal harmonies are really marvelous. The sunny vibes turn darker with “Be Still“, a heartfelt plea to a loved one to try and meet him halfway, and salvage their damaged relationship: “Just be still, don’t say a word, cause you’ve been talking all your life. The tables turned, now tell me what that feels like. / Lay down your gloves, I don’t wanna fight.” Once again, the guitar work is fantastic, and the rhythm section nicely complements with pulsating bass, thumping drumbeats, and lots of crashing cymbals.

Summer Waste ends on a positive note with “Higher“, a jubilant anthem about not giving up, and reaching as high as you can to reach your goals: “Once you start you never can stop. You go higher and higher and higher. Oh yeah!” Their jangly guitars on this track sound a bit like The Cure, which is never a bad thing. Overall, it’s a terrific little EP, with a title that could be misleading as it’s anything but a waste. The lyrics, while not necessarily deep, are honest and heartfelt, and the instrumentals are all outstanding, as are Nick and Joel’s sublime harmonies. Nicely done guys!

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

DARKSOFT – Album Review: “Brain”

Darksoft Brain

Darksoft is the music project of Bill Darksoft, a smart and creative young artist from Seattle, Washington who’s produced one of the most interesting and brilliant concept albums I’ve heard in some time. Brain, which dropped in November 2018, is named after the very first computer virus to attack the internet back in 1986, with each track named after infamous viruses that followed.

He 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. About his inspiration behind the creation of Brain, he explains: “Distanced through haunted screens, we rely on spooky contact that we don’t fully understand. At times, dark forces lurk on the other end, with a motive to con. Always a silhouetted hooded presence, the hacker has become our modern portrayal of Death; captor to the mind and its web of memories. As we stare deeper and deeper into the glowing comfort of this synthetic deception, trust has become the challenge of our modern paradigm, and the cyberscape the new Great Unknown. At its core, Brain is a story not only of the brain, but of the heart, as both confront trust and deception, the real and the synthetic, the mind and the motherboard, and the dark web connecting it all where the matter of our endless identities can be created as quickly as it can be erased, infected, encrypted…or simply revealed for what it truly is, beneath the hood.”

Brain opens with “Mydoom” a pleasant track with gauzy riffs of jangly guitars, subtle bass and gentle percussion. The lyrics speak to the seemingly harmless but insidious virus that keeps a watchful eye on one’s internet dealings: “I’ll just pop up in your window to see how it’s going. From time to time I will drain your battery life… Track you close, I’ll watch your move. Mydoom A has put a bug on you to stayIt’s ok to be vulnerable if you’ve got nothing to lose.” Darksoft has a velvety smooth vocal style that’s incredibly pleasing, giving the track a rather dreamy vibe. On “Elk Cloner“, he first warns about a virus that works to take over our thoughts: “They will enter your world. They can infiltrate microchips. They will stick like glue. They will modify you.” But then it’s as if the virus itself tells us not to worry and just remain calm: “No cause. No cause for alarm. No harm. We just occupy thought. No cause for alarm. No cause, just be calm.” The track has a lovely, mesmerizing melody and his vocals are really soothing, belying the rather menacing message.

Darksoft quickens the pace on the bouncy “Conficker“, though it still has a somewhat moody undertone with a mix of fuzzy and jangly guitars, shimmery synths and a determined drumbeat. The lyrics allude to the algorithms that control what we’re fed on social media, shaping our world view in the process: “We choose what you feel. No view into reality. Your life is ours… permanently.

With gnarly guitars and spooky synths propelled by a strutting bass line, “Lamex” speaks to how easy it is to escape into an artificial online world: “If you want a lame existence. They will send you a virus or two. Lamerism is the name of the tool I use”, yet yearning to break free and think clearly and independently: “I need to get out…To free my mind…To quit this code and leave the app I knew behind. If you look away you’ll open your eyes.”

One of my favorite tracks is “Heartbleed“, with its enthralling melody, irresistible drumbeat and gentle psychedelic groove, thanks to deliciously eerie synths. The jangly guitars are marvelous, the bass line’s sublime, and I absolutely love Darksoft’s warm, captivating vocals. I honestly think I would be perfectly happy listening to him sing the yellow pages!  My take on the song’s meaning is it seems to compare the feelings of someone who’s emotionally dead inside to that of a computer – a machine who only does what it’s programmed and directed to do: “Matter is a thing. You focus it’ll bring you life and pleasure. Just wait and see. Let your lead heart bleed.  Silicon and hardware respond.  Nothing really matters when you’re a machine… You live to be used by others.”

Another favorite is “Cryptolocker“, a darkly gorgeous song with dreamy and sometimes eerie synths that create a lush atmospheric soundscape. The gently-strummed chiming guitars are exquisite, as are Darksoft’s ethereal vocals that are seductive, yet menacing, as he coldly warns another not to fuck with him: “You don’t know who you’re dealing with. You don’t understand who you’re messing with. Lock me away and I will pull the plug from under you.”

I distinctly remember the virus for which “ILOVEYOU” is named. Darksoft uses it as an allegory for the emptiness and futility that can result from using online dating websites: “Every fuckin day is the same. Can’t look up from the screen. Crushes breakin over the phone. Guess that I’ll be alone. Til I see your message titled ‘love confession’. Feeling’ tempted by a lie; it’s a misdirection. You were nothing more than spam. My little love connection. Engineered to phish my soul. Been spoofed again by a false confession.” The song has an infectious drumbeat and some fine, intricate guitar work.

Code Red” is a beautiful, languid song featuring Darksoft’s resonant, pulsating guitars and sublime vocals, backed by his own harmonic choruses.  The lyrics seem to speak of clearing one’s mind of self-destructive thoughts and behaviors: “Everyone has a code. Some write them, others they follow a worm. Everyday, take a chance. Decrypt all the bullshit and break from the trance.” The final track “NightShade” is a mellow, anthemic rock song with jangly guitars and humming bass, accompanied by snappy drumbeats. NightShade seems to be a metaphor for drugs taken to numb the pains of life: “Where you’re from, how you came as I take it all away with NightShade. / If I can survive maybe then so can you. Aren’t we all playing role games? Infect the database with NightShade.”

Brain is a great album, and I love pretty much everything about it – Darksoft’s clever lyrics inspired by each of the computer viruses, his beautiful melodies, outstanding guitar work, first-rate production values, and stunning vocals. He’s an amazing talent, and I eagerly look forward to hearing what he comes up with for his next music project.

Connect with Darksoft on Facebook / TwitterInstagram
Stream his music on Spotify / Soundcloud / Google Play
Purchase on Bandcamp / iTunes / cdbaby

FUTURE THEORY – Single Review: “Peace of Mind”

Piece of Mind

I’ve featured quite a few artists and bands from the UK on this blog, and one of my favorites is the astonishingly talented Future Theory. The Lincolnshire-based foursome consists of Max Sander on rhythm guitar and vocals, Chris Moore on lead guitar, Rex Helley on bass, and Rohan Parrett on drums. Drawing inspiration from Radiohead, Pink Floyd, Soundgarden, Audioslave, Queens of the Stone Age, Coldplay and The Verve – and how can you possibly go wrong with inspiration from those legendary bands? – they’ve developed a lavish sound built on elements of alternative and progressive rock, shoegaze, psychedelia and funk. I’m not exaggerating when I use the word ‘astonishing’ to describe them, as their outstanding songwriting and musicianship has a complexity and depth that’s impressive for such a young band. And Max’s amazing vocal style possesses a nuanced emotional intensity that seems mature beyond his years.

Future Theory4

Future Theory released their spectacular debut EP Fool’s Dream in 2016 (which I reviewed), then followed in April of this year with a brilliant single “Fractured Nation,” which I also reviewed. Today they return with a new single “Peace of Mind,” and it’s another stellar track with complex melodies, intelligent lyrics and dazzling instrumentation.

The song kicks off with exuberant jangly guitars, crystalline synths and sharp percussion, all melding together to paint a rich tapestry of sound. Max’s sultry vocals have a raw, vulnerable quality that’s quite pleasing to my ears, though it’s sometimes difficult to understand some of the lyrics he’s singing. The instrumentals build to a turbulent mix of heavy bass, piercing guitars and crashing cymbals in the bridge, then break down to clear jangly riffs that seem to sparkle like glitter on the airwaves through to the end of the track. It’s a dark and beautiful song.

The lyrics speak to the struggle of maintaining a loving relationship by reassuring your significant other of your love and devotion in the face of her alcohol addiction: “Forget about your day and your worries now. Go back into the warmth and find your wants in supply. Cause I adore you and all the things you do for me.” But then he’s trying to hold on to his peace of mind while applying some tough love to convince her to quit drinking: “I gotta stay here. Piece of warmth. Peace of mind. Be so warm, be so quiet. Love factor aside, you need a kick in your behind. You try to make her realize the alcohol don’t fix inside.

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

GOODNIGHT JAPAN – Single Review: “Rush”

Goodnight Japan single

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

Connect with Goodnight Japan on Facebook / Twitter / Instagram
Stream “Rush” on Spotify / Apple Music / Soundcloud
Purchase on Bandcamp / iTunes

AFTER ARISTOTLE – EP Review: “A Guide To Open Minds”

After Aristotle album art

After Aristotle is an indie alternative rock band based in Austin, Texas, and in late January they released their debut EP A Guide To Open Minds. Formed in 2016, the band consists of Kera Krause on vocals & ukelele, Cam Lamother on guitar, Tyson Zaria on bass, Ethan Schrupp on guitar & synth, and Zach Melvin on drums. The title of their EP encapsulates their collective approach to making music. In their bio they state: “We’re all about open mindedness. With a wide range of influences, our sound ranges from soft, indie rock to in your face punk. We let the music decide where it wants to go. We make the music we feel like making and have a great time doing it!”

After Aristotle3

The EP has a rather heavy, dark theme. With their intelligent, thought-provoking lyrics the band takes on subjects such as depression, fake news and betrayal by both friends and our leaders, and our attempts to find solace through denial and/or self-medication. Setting the tone is opening track “I’ve Got No One to Brush My Teeth For,” a melancholy song about feeling lonely and depressed, unable to see a way forward. With painful resignation, Kera sings “It’s so sunny outside I don’t think I’m getting out of bed. All day under the covers that hope that the day goes away with all of my fear and self hate. Light up the medicine, kill my adrenaline. So scared I don’t know where I’ve been.” The melodic track has some excellent guitar work that goes from jangly to blistering and everything in between, and Zach’s aggressive drumming is on-point.

The hard-rocking “Fakes and Escapes” is my favorite track on the EP. Propelled by Tyson’s driving bass line, Cam and Ethan’s frantic shredded riffs and Zach’s thunderous drums make for a really exciting hard rock song. Kera spits the lyrics that speak of duplicity and betrayal: “Well did you ever bite the hand that fed? Last thing we need is another fake smile. But we’ve all been learning to not feel for a while.”

The band incorporates a bit of Americana on the poignant track “Substance,” featuring some lovely violin courtesy of guest artist Ethan Thayer.  Kera plaintively sings “We’re all pleading for a world we’ll never see, while the one where we live passes by like a dream. / We shouldn’t suffer to fuel their greed. And they wonder why we’re popping pills to get some peace. And they wonder why we’re drowning to feel clean. What dragon are we chasing?

The fast-paced rock song “Shallow Folk” is about having the courage to admit that the lies and stubborn false beliefs you shouted loud and often in order to convince others they were true has been a sham (if only a certain occupant of the White House would do a bit of this self-actualization):

Well what did I think I knew about the world or anything it consumes
Appointing answers as if I could back up my stances
If I shout it so loud will it earn me my chance now
Keep my head held high to combat the downspin of my selfish mind
Keep the crowd’s attention just until I believe in my own words
I’m still getting used to admitting when I’m wrong

You know what drives me crazy?
People who talk with nothing to say
See I couldn’t live another day with lips sewn shut, lungs black with regret
Mind shut so tight, I suffocate inside of it
But I’ve been shallow like water that’s two inches tall
It’s no surprise that I’ve been feeling so small

Escaping Handcuffs” ends the EP on a hopeful note. The lyrics speak to overcoming self-doubt and fear that are holding you back from achieving your potential and living a fuller, more satisfying life. “Don’t let the little things take up your time. Calm down your fight. Pull back the curtain. There’s a whole world and you’re acting so blind. Don’t be scared.” The horns are a nice touch on this soft rock tune.

A Guide To Open Minds is a strong debut effort from After Aristotle that showcases their skillful songwriting and musicianship. I’m curious to see what compelling topics they’ll set to music next.

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