Ronnie the Bear is the solo music project of Joshua Rukas, a strikingly handsome, silky-voiced singer/songwriter originally from Grand Rapids, Michigan and now based in Orlando, Florida. A talented and versatile musician, he was previously drummer for punk/emo rock band MUSCLEMAN, as well as a former member of alt-rock band Dancing On Pluto, whose music I reviewed a couple times prior to their splitting up in August 2018. I also reviewed a couple of his songs back in 2020 and 2021, both of which I really liked, but he later took them down because he felt they didn’t fit his vision for who he wanted to be as an artist.
He’s just released his debut album BASEMENTS, featuring seven tracks he wrote and recorded in his basement apartment in Eugene, Oregon, where he lived for two years between Grand Rapids and Orlando. Joshua played or programmed all the instruments and recorded, mixed and mastered the album by himself. I’ve always liked both his sound and warm vocals, so listening to this little album is a real treat for me. The album opens with “i thought you’d change your mind“, a short but sweet song of apology to a former loved one. I like the lively skittering beats, sparkling synths and his smooth vocals.
Keeping with a similar theme, “2 months” speaks to missing a former romantic partner who’s moved on. The song’s infectiously catchy and exhilarating, with a frantic driving beat and a vibrant mix of jangly and gnarly guitars. Ronnie the Bear’s plaintive echoed vocals are sung at an almost shouting level, perfectly conveying feelings of exasperation and sadness over his unhappy situation.
“Maybe, Eventually” is an exciting track with more great jangly guitar work, accompanied by some interesting percussive textures. I like the urgent guitar-driven groove and how it slows down halfway through the song, allowing the guitar notes to really shine. His vocals are calmer and more introspective here as he wishes the best to a former romantic partner, while still feeling a bit melancholy about the loss of the relationship: “From what I can see, you look like you’re happy and that helps me cope a little bit, cause I don’t want to see you lonely. I wish we could be close.”
Squarely in the middle of the album is the delightful little instrumental piece “Tangerine (interlude)“, an energetic and pretty track featuring spacey synths and skittering beats. This is followed by the title track “Basements“, a terrific electronic song with dreamy otherworldly synths, spirited beats and some lovely piano.
“Spring24” is an enchanting track, with drawn-out gauzy synths, sparkling piano keys and lots of crashing cymbals. As always, his soothing vocals are very pleasing to the ear. The final track “Changes” is really pretty too, and I especially like the chiming guitars and dreamy flute-like synths. Ronnie the Bear’s smooth vocals are very low key as he ponders about how our perspectives on life evolve over time: “I’ve spent so much time waiting for things to change. But every time I look back, nothing is the same as before.”
BASEMENTS is a wonderful little album, serving up nineteen and a half minutes of sonic bliss. It’s bedroom pop at its finest.
As a now old man, I’m continually astonished at how time seems to fly by at an ever-faster clip the older I get. With that in mind, I can hardly believe it was over five years ago that I featured Welsh singer-songwriter and multi-instrumentalist GG Fearn on this blog when I reviewed her terrific EP Black Mirror. Only 18 years old at that time, she already possessed a level of talent and maturity beyond her years that really impressed me.
GG (short for Georgia) started writing songs and learning to play the guitar and piano at the age of ten, then began busking at 12, which gradually gave her confidence as both a vocalist and performer. Influenced by some of her favorite acts like Fiona Apple, Kate Bush, Radiohead, Kendrick Lamar and Melanie Martinez, as well as her love for pop music of all kinds, GG crafts songs that are not only melodic and catchy, but also lyrically compelling. Quite the wordsmith, she pens thoughtful and frank lyrics about life and the darker aspects inherent in many of us, which she expresses with a lovely voice brimming with character, sophistication and vulnerability.
In the five years since the release of Black Mirror, GG earned a law degree from Cambridge University, during which time she put her music career on hold. Now 23 and her intensive studies behind her, she can now concentrate on both earning a living and creating music again, and to that effect, she’s just released a new single “Permanent Record“, her first new music in five years. It was worth the wait, as the song is equal parts lush, captivating and dark. I love the dreamy atmospheric synths, luscious guitar notes, soaring orchestral strings and strong percussive beats, all of which create a hauntingly beautiful cinematic soundscape. GG’s smooth, vibrant vocals are seductive and lovely as she sings of the dangers of revealing too much about ourselves on the internet, all of which can become a permanent record of our thoughts and activities that might possibly be used against us.
In an interview with Oxford University’s independent newspaper The Oxford Blue, GG touched on her inspiration behind “Permanent Record”: “I wrote it because I read Edward Snowdon’s biography, [which] I really enjoyed. I did Law so all the privacy implications and stuff like that were cool. I went down a horrible rabbit hole for weeks just watching documentaries about whistleblowers and surveillance – I was turning into a twitter conspiracy theorist! I think when people listen to it, whatever they feel or think about, that’s what I want them to take out of it. Liking it or not, agreeing with it or not, understanding what I’m saying or not, I just want them to get what they get out of it. I think that’s what’s really important about listening to music for me. Projecting me and my inner emotional landscape onto what I create. That’s all art really is.“
Start scaling the ceiling Start digging the hole Start peeling the paint from the walls Start paying the toll You got a visit from the debt collector Been a naughty boy Now they found out the company you keep And they know how to destroy
The world's ablaze, count the days Is anybody keeping score? A modern maze Andstill we stay in 1984
Start hiding your history Start secreting your spawn Start stashing your secrets Cause baby you're just a pawn Tangled in a web of our own making As the soldiers form And they tell us that we're doing fine Calm precursors the storm
The world's ablaze, count the days Is anybody keeping score? A modern maze And still we stay in 1984
Your whole life is up on a billboard Now you've got a permanent record Watch what you type on your keyboard Now you've got a permanent record The world's ablaze, count the days Is anybody keeping score? A modern maze And still we stay in 1984
Today I’m pleased to introduce Olivia Miceli, a talented young singer-songwriter and producer based in Staffordshire, England. In addition to her day job as a sound engineer for radio stations BBC 5 live, Radio 4 and The World Service, the hard-working artist has released an impressive amount of music over the past four years. Beginning with the release of her debut single “Fake” in March 2021, Olivia’s since dropped numerous singles and two albums – Road Signs in 2022, and Nostalgic Heartbreak in 2023 – which she quickly followed with her EP Times that were never ours. Last month she released her poignant Olivia Rodrigo-esque single “The Chaos of Growing Up”, and now returns with a cheeky and fun new single “Guys Like You!“.
Like all her music, Olivia wrote, recorded and produced “Guys Like You!” totally by herself in her little home studio set-up. Describing it as “bedroom-pop inspired by 00s rock and artists like Gwen Stefani and Chappell Roan“, she says it’s the coolest song she’s ever written. After listening to it, as well as a lot of her back music catalog, I wholeheartedly agree! The song has a lively toe-tapping groove, overlain with wonderfully melodic jangly guitars accompanied by a throbbing bassline, spirited drums and swirling synths. I like how Olivia’s sweet lilting vocals soar to a defiant croon in the exuberant choruses as she denounces a guy who’s an unlikeable louse: “Guys like you are why I’ve got trust issues / Guys like you should really get a clue.”
“Guys Like You!” is the perfect kiss-off tune, and I think it’s one of Olivia’s best songs yet.
For my latest edition of Fresh New Tracks, I’m thrilled to feature new songs by four confident, talented and lovely ladies with exquisite singing voices – Spanish and now England-based singer-songwriter and guitarist Alba, English singer-songwriter and musician A. Wake, Welsh singer-songwriter, musician and actress Caitlin Lavagna, and Malaysian singer-songwriter and visual artist Lyia Meta. I’ve previously written about A. Wake, Caitlin Lavagna and Lyia Meta, whereas Alba is new to me.
ALBA – “Are you really free?”
Alba is a singer-songwriter and guitarist who was born and raised in Spain, and began her musical career in her teens as front woman for Spanish band Sons of Rock. After relocating to London in 2016, she began recording and performing as a solo artist. She released her debut single “Lucky” in 2018, and has since followed with a number of singles. She also cares deeply about the environment and uses her music to make a difference and shed light on social and climate issues important to her.
On June 14, Alba released her debut EP Questions Unanswered, a concept work featuring four tracks, each of which poses a question on themes such as identity, purpose, relationships and social issues. In an interview with Marc Schuster for his blog Abominations, she explained “The idea was not necessarily to provide answers, but to invite the listener to reflect and engage with these questions on a deeper level to find their own answers. At the same time, this EP contains a little bit of everything in my musical palette. I’ve included undertones of R&B, pop, soul, rock, funk, latin, reggae and jazz, which I think should appeal to a wide audience.” Here’s my favorite track, the soulful “Are you really free?“, which features lyrics in both English and Spanish. Alba will be performing the EP at a release party in London on July 13 at the Old Blue Last, and a subsequent release party at Ateneo Cafe Universal in Burgos, Spain, on August 13.
A.Wake (short for Anita Wake) is a fascinating and innovative singer-songwriter and musician based in Sheffield, England who’s been actively making music for several years, both as a member of several bands (in which she played bass and sang backing vocals) and, more recently, as a solo artist. With a passionate interest in sound therapy, mysticism and the healing properties of music, she seeks to incorporate healing frequencies and modern music elements into her beautiful songs. Beginning with the release of her enchanting debut single “Lemuria” in July 2022, she’s since followed with several more singles, as well as her The Seed – Root Chakra Remix EP in April 2023, which I reviewed.
Today she returns with a mesmerizing new single “Like The Sun“, in which she’s embedded Crown chakra and Binaural frequencies to enhance creativity, serotonin boost and focus. A. Wake wrote the lyrics and co-wrote the music with fellow Sheffield musician Rob Cohen, and the track was mixed by Dave Sanderson. I love the mysterious and cinematic Eastern feel of the music and A. Wake’s beguiling atmospheric vocals. The beautiful video was created by Cohen using stock imagery and footage.
My favorite Welsh songstress is Caitlin Lavagna, who since the release of her marvelous debut single “How Not To Start A Fight” in 2021, has consistently put out an unbroken stream of outstanding singles. I adore Caitlin’s vibrant and sophisticated vocal style and honest, relatable lyrics drawn from personal experiences and heartache, and have liked every one of her songs. I’ve written about nearly all of them, most recently this past April when I reviewed her previous single “Gold”, which has spent the past nine weeks and counting on my personal Top 30 chart. “How Not To Start A Fight” and her next single “Night Bus” also appeared on my Top 30, the latter spending 20 weeks and peaking at #2, finishing at #28 on my 100 Best Songs of 2023 list.
Now she’s back with a terrific new single “Pretty Alright“, an uplifting song Caitlin says is “about breaking the cycle of negative thoughts that many of us feel about ourselves. It’s about overcoming self-doubt and body image issues, and understanding your bad habits and emotional trauma.” The song was co-written by Caitlin and Mark Liam Owens, produced by Alex McArthur, mixed by Joe Rodwell and mastered by Nick Lewis at Old Cottage Audio. The song has a bit of a retro 60s vibe, but with a fresh and exciting arrangement. I especially love the powerful driving rhythms, lush instrumentation, as well as Caitlin’s always commanding vocals and exuberant choruses.
One of my favorite female vocalists and all-around artists is Malaysian singer-songwriter Lyia Meta, an immensely talented and gracious recording artist with a marvelous singing voice. Based in Kuala Lumpur and of Creole Portuguese ancestry, Lyia’s a multi-faceted artist in every sense of the word. With her smoky contralto vocal style, she can literally sing just about anything and in fact, has recorded songs in a wide range of genres including blues, jazz, pop, country, rock and even metal, bringing her international recognition and acclaim. A prolific artist, she’s released an impressive amount of music over the past eight years, beginning with her debut EP This is Lyia in 2016. Since then, she’s put out two more EPs an album Always You in 2023, and scores of singles, many of which I’ve featured on this blog, most recently last March when I reviewed her wonderful cover of the Beatles classic “All My Loving”.
On July 5th, Lyia released her latest single “Easier and Easier“, a lovely but bittersweet adult contemporary song addressing the end of a relationship. The song was written by her frequent collaborator, Los Angeles-based songwriter Denise Dimin, and co-produced by Lyia and her frequent collaborators, Nashville-based musician and recording engineer Bob McGilpin, who played guitar, bass and drums and Gene Rabbai, who played the soothing orchestral arrangement of piano and strings. As with most of Lyia’s songs, “Easier and Easier” was recorded remotely, with music recorded at both McMusicSound in Nashville and Studio A in Rio de Janiero, Brazil, and her vocals recorded at Big A Productions in Kuala Lumpur. I love the song’s warm piano, lilting strings and jazzy horns, along with Lyia’s signature rich vocals that express a sense of sad resignation as she sings “Each time you leave, it gets easier and easier to let you go.” The song will be included on her upcoming second album NEXT, to be released July 26th.
Hailing from Cardiff, Wales is art pop artist Mr Bewlay, who on the strength of his singular creative talent, unorthodox musical approach, charismatic personality and flamboyant performances, has built a loyal following in Wales and beyond. He began his foray into the arts on the stage, honing his performance skills in such classics as West Side Story, A View From A Bridge and A Streetcar Named Desire. He later transitioned to music under the mentorship and guidance of the Forte Project, a highly respected Wales-based artist development program.
He self-released his debut single “Project Blue Team” in June 2019, and in the years since has dropped many more singles, as well as two EPs, Electric Reason in 2022 and Black Reason in 2023, the first two installments of his Reason Trilogy. Late last year, Mr Bewlay signed with the Welsh indie music label Dirty Carrot and began writing and recording songs for his forthcoming third EP of the trilogy, Against All Reason. The first single from the EP, the Depeche Mode-esque “Worst of All Women”, was released in March, and on June 21st, he dropped the second single “Honey“. When his label reached out to me about the song, I liked it instantly, and am eager to share it with my readers.
Recorded with Cardiff-based producer Lee House and guitars by musician Shish, “Honey” is a sweet pop song of love and adoration. Starting with a irresistibly sensuous and funky bass groove, Mr Bewlay and company layer breezy synths, lush piano keys and richly textured guitars, all of which create an intoxicating backdrop for his colorful emotive vocals. Sprinkled throughout the track are wonderful little touches like whistling and what sounds like a triangle instrument. I love the exuberant anthemic choruses in which Mr Bewlay’s vocals are backed by lilting female voices.
The cheeky lyrics are directed toward a romantic partner, describing the singer’s feelings of passion and desire with equal amounts of naughty and nice:
I’ll be your cardiac arrest
Steal the focus of your breath
Last night we danced in silver rooms
Spinning you round the open lights
Drowning in my eyes
I’ll be your prophet divine
Scream your feelings to the sky
Cos’ honey I like you
Honey the taste of you
Now call my bluff
And fall into my armsStart to lose your breath
Feel the world in our embrace
I kiss that part you said you like
Shockwave through your spine
Made you come into the room
The focus you instilled
Could push through ennuiAll that it took
Was this icy moment's look
You cast a penetrating thought
Vibrations through the void
And every woman, every man
Had a spell cast on their minds
Throughout the globe
Now call my bluff
Fall into my arms
And all of my love
Falls to dust
Let me lay
Lie, in your honey
Let me lay
And lie, in your honey
All that it took was a momentary look
Anyone having even a cursory knowledge of the music industry knows that the UK is blessed with a plethora of talented music artists and bands, ranging from legendary acts to independent ones known only to a local following, and everything in between. One of my personal favorites is London-based singer-songwriter Oli Barton, an exceptionally talented and creative guy who’s been making music for nearly eight years, both as front man of his backing band the Movement, and more recently as a solo artist. Oli’s music, released via his independent label Coke & Dagger Records, has been featured many times on BBC Radio, and he’s supported such acts as Starsailor, Kid Kapichi, and Baxter Dury. I’ve been following him since early 2017, and over the past seven years have featured him eight times on this blog, most recently in February when I reviewed his single “It’s Over Now”, which has become his most popular track in terms of streaming numbers.
Photo by Alice Denny
His eccentric yet sophisticated style of alternative rock is a colorful mix of post-punk and psychedelia, fortified with touches of funk, pop and grunge, and I can honestly state that I’ve loved every single one of his songs. Five of them have appeared on my Weekly Top 30 charts – the provocative 2017 single “Kinky”, which went all the way to #1, as well as “44”, “Martyr”, “Just Like Always” and “Paid Off”, all of which reached the top 5. Now the dangerously charismatic charmer is back with “You Just Played My Mind“, which is also being released as a B-side to “It’s Over Now” in a limited edition 7-inch vinyl pressing of 100 copies. The vinyl copies, which will become available on September 24th, can be pre-ordered from his Website.
For recording of the song, Barton was joined by former bandmates Jamal Aggoun on guitar, Marco “Fuzz” Paone on bass and Josh Needham on drums, all of whom he complimented “I really wanted to make a more aggressive, gnarly track and I think the lads smashed it out here.” The track was produced by Alex O’ Donovan, who also played additional percussion, arranged and tracked by Jules Gulon, engineered by Luke Ferrero, mixed by Cenzo Townshend and Robert Sellens, and mastered by Barry Grint.
Drawing inspiration from doomed romances plagued by extreme incompatibility, Oli’s lyrics explore the conflicting emotions of two people who just don’t work together. “Well it’s been a while since I’ve seen a style that’s quite like yours./ Well the way you spoke, well it broke my heart. And you know that someday I’ll be calling you, and know that you just played my mind.”
Musically, the song is an exhilarating rock banger that’s every bit as good as “It’s Over Now”. I really like the opening dark and ominous reverb-drenched gnarly guitar riff, and how the song quickly explodes into a raging beast, courtesy of Jamal’s distorted guitars, Marco’s powerful driving bass and Josh’s explosive drums, before settling down to sultry verses, beautifully sung by Oli’s distinctive accented vocals that I adore. I’ve long admired the ace musicianship of the above-named musicians, but they really take things to the next level here. Jamal’s multi-textured guitar work is fantastic, and the strength and dexterity of Josh’s drumming are a thing of wonder. As always, Oli’s colorful vocals are incredibly satisfying, running the gamut from sensuous croons to spine-tingling impassioned wails. Also, I must compliment the engineers and producers who contributed their respective talents on this track for the outstanding clarity of the instrumentation and overall sound quality.
“You Just Played My Mind” is much more than your typical B-Side, and those who purchase the 7-inch vinyl copy will be getting two equally great songs in one package.
There’s so much musical talent in the UK, and one of my favorite artists to emerge from that crowded field in recent years is singer-songwriter, producer and sound designer Charley Hullah, who goes by his last name HULLAH. According to his bio, HULLAH’s musical creativity is “driven by a passion for nightlife culture, city-living and stories from the queer community, and inspired by artists such as Everything but the Girl, Real Lies, Christine and the Queens and Pet Shop Boys. Wrapped in electro, 90s dance and synth-pop, his work emulates a nocturnal spirit, and is complemented by themes of alienation, ambition and a sense of dejection.”
I first learned about the talented, thoughtful and silky-voiced London-based artist in early 2022 when I was a guest moderator for the BBC Music weekly song competition Fresh On The Net, for which he’d entered his gorgeous single “Chasing Trains”. It was love at first listen, so much so that it spent 20 weeks on my Top 30 chart, going all the way to #1 and ranking #13 on my 100 Best Songs of 2022 list. He followed that November with the hauntingly beautiful “Wild as the Wind” (which I reviewed), also going on to spend many weeks on my chart and ending up at #63 on my 100 Best Songs of 2023 list.
Now he returns with his long-awaited fourth single “What if i feel like this my whole life?“, a deeply moving song inspired by his personal experience of living with the inflammatory disease ankylosing spondylitis. The track is the lead single from his forthcoming debut EP, WAVESTATE, to be released later this year. Self-produced by HULLAH, the song features contributions by musicians Michelangelo on synth bass, Gabrielle Ornate on chorus bass and Efe Cavus on Roland synth. The track was mixed by Mat Catlow and mastered by Jasper Ward.
The song explores his feelings of being a millennial in a state of transition and change, dealing with emotional issues ranging from mental health struggles to ordinary anxieties over relationships and city life. HULLAH elaborates “Living with an illness, I often feel a disconnect between my mind and body, something I try to bridge in my music. Music allows me to express my uncertainties and worries and helps me learn more about myself. Some days I’m mentally ready to seize the day but my body won’t let me. Other days I can be well in my body but my mind can’t follow – and vice versa. These experiences leave me unsettled and unsure and means I go looking for bigger causes of my mental and physical pain. Often it’s just a flare up and nothing more, but sometimes I uncover darker sides of my psyche in the process. That’s where this song is rooted. ‘What if i feel like this my whole life?’ emerged from these struggles and blends introspection with objectivity and a touch of melodrama. Self-awareness and a sense of humor often evolve from those living with a disease and disability – the latter make the days easier to battle. This song has helped me to make sense of what’s going on.”
To drive home his message, HULLAH and company have created a captivating soundscape of haunting atmospheric synths, crisp percussion and lush otherworldly textures layered over a sensuous synth bass groove. His beautiful vocals run the gamut from heartfelt sultry croons to unsettling electronically altered lamentations as he questions whether he’ll ever really feel good:
I wake in the morning Turn on the TV But it’s the same old channel “Nobody needs me”
I feel sorry for myself But then again I always do I’ve been like this for so long I don’t know what else to do
What if I feel like this my whole life? What if I never get it right? I don’t wanna take shots in the dark all the time I don’t wanna feel like this my whole life
I know I’m not easy But nobody can please me It’s just the same old story I been this way since I could speak I seem to do good things Then I turn them sour But it’s hard living in the gutters we put ourselves
What if I feel like this my whole life? What if I never get it right? I don’t wanna take shots in the dark all the time I don’t wanna feel like this my whole life
But what if I don’t What if I do? What if I never come through? What do I do? What’s the truth? I don’t know
My mind ain’t kind to me most days (Says he’s gonna change) My thoughts they down like crashing planes (But everything stays the same) I think I might’ve been wired wrong (No nothing ever changes) ‘Cos my head don’t feel like my home (He’s tried, he’s tired)
I know I’m gonna change (Says he’s gonna change) I wanna change my life (Says he’s gonna change) I know I’m gonna change (So when is the time?) Now is the time
What if I feel like this my whole life? What if I never get it right? (I never seem to get it right) I don’t wanna take shots in the dark all the time I don’t wanna feel like this my whole life
But what if I don’t What if I do What if I never come through What do I do? What’s the truth? I don’t know
What if I feel like this my whole life? I really wanna, really wanna know will this feeling ever let me go? I don’t why I have to feel like this all the time
“What if i feel like this my whole life?” is another outstanding and sonically stunning release by HULLAH, keeping his record of strong releases fully intact. I cannot wait to hear what he has in store for our listening pleasure!
Here’s the song on Bandcamp:
The faces shown on the single cover art are of legendary actress Marlene Dietrich.
One of the more versatile and talented artists I’ve come across in my many years of writing about music is Shimmer Johnson, a singer-songwriter and musician from Edmonton, Alberta, Canada. Not only is she a gifted songwriter with a beautiful and resonant singing voice, she’s also a fine guitarist and pianist. She began her music career singing Country songs, but eventually branched out into adult contemporary pop, rock and even dance music, all of which she handles with ease. She’s recorded music both as a solo artist and in collaboration with other songwriters and producers, creating an impressive repertoire of outstanding songs. I’ve featured her numerous times on this blog over the past six years, and two of her songs, the terrific 2021 dance single “Starts With You” and “Essence”, a 2023 collaboration with Danish composer and producer Refeci, have reached #1 on my Weekly Top 30, the latter also ranking #7 on my 100 Best Songs of 2023 list.
5ilas, aka Shane Roberts, is a musician and producer based near San Francisco, with a diverse music portfolio ranging from rock to classical. In 2003, he met fellow musician John Preston while serving in the U.S. Marine Corps, and the two became close friends who’ve been making music together ever since. Both have also worked with numerous charities and foundations for Veteran suicide awareness over the years. Shane’s wife was diagnosed with stage 4 breast cancer in 2021, which inspired him and John to create a project called Godmagick to help bring increased awareness for cancer. As part of the project, they produced a compilation fundraiser album God Magick in early 2023, featuring songs by several artists. He also has 10 year old triplets, two boys and a girl, who he says are a constant inspiration for his music, which he records in his home studio. More recently, 5ilas has been collaborating with Shimmer Johnson on numerous songs, which culminated with the release of their six-track EP The Colors of Impossible this past February.
Their latest collaborative effort is the new single “Vices“, which drops today, May 24th. Shimmer wrote and sang the lyrics, while 5ilas wrote and recorded the music. As with most of their other collaborations, the track was created remotely, with Shimmer recording and producing her vocals in Canada, and 5ilas recording the music, as well as mixing and mastering the track, in California.
“Vices” is an uplifting piano ballad touching on the power of resilience, and not letting one’s problems get the best of you. Shimmer elaborates “Its about not losing yourself in whatever crisis you’re in. We all live through difficult times but you can’t lose yourself. You need to own your scars and move through them. I know sometimes it can be hard to get through stuff. But you can.“
The song opens with Shimmer questioning her faith in herself “Why am I so discouraged? Why do I feel down when I’m so far up? I work so hard, found the courage. But even then I don’t feel I am good enough“, accompanied by 5ilas’ somber piano keys. The music gradually expands with haunting synths and dramatic percussion, creating an arresting backdrop for Shimmer’s impassioned, heartfelt vocals as she laments “Can’t lose myself, I’ve lived through hell. Made some choices I’m not proud of. Know my vices. Learned to stand out. Can’t lose myself.” It’s a powerful and stunning song, and I think it’s their finest collaboration yet.
Hailing from the Fraser River Valley, east of the cosmopolitan city of Vancouver in beautiful British Columbia, Canada, is Western Jaguar, the music project of singer-songwriter and multi-instrumentalist Jeffrey Trainor. Skillfully blending indie rock, dream pop and shoegaze, he writes songs exploring common themes of life, love, emotional well-being and loss, expressed through poetic, relatable lyrics which he delivers with pleasing low-key vocals. I’ve been following him for nearly six years, and have featured him and his music three times on this blog, most recently in July 2023 when I reviewed his beautiful album Oblivion. Two of his songs, “Disappear” (2019) and “Darling” (2023) have reached #1 on my Top 30 chart.
Trainor formed Western Jaguar in 2012, and since 2013 has released two EPs and four albums as both a solo artist and a band made up of an evolving lineup of musicians. His most recent album, released March 1st, was Ranges: 2013-2023, a sort of greatest hits album containing ten tracks Trainor describes as “a quintessential crash course of the first ten years of Western Jaguar.” Now he’s back with a terrific new single “Repossess“, which will be included on his forthcoming album Vacationland. For the recording of the track, he sang vocals and played guitars, bass, synths and percussion, and fellow musician Ted Kim played drums. Trainor produced and mixed the track, while Ryan Niklas handled mastering.
About “Repossess”, Trainor says it’s “about growing up and the struggles that go along with the pressures of being an adult. It reflects on losing the joys and carefree nature of adolescence, while also bemoaning the constant weight, and pressure adulthood provides. In the end, we all want someone to walk along side us in this life; someone to help “repossess” the joy we once had and lost.”
Musically, the song serves up the signature mellow shoegaze vibes we’ve come to love and expect from Western Jaguar. His intricate guitar work is lovely, with a colorful mix of shimmery strummed notes and edgier riffs layered over a gentle, pulsating bassline and accompanied by Kim’s spirited drums that nicely complement the other instruments without overpowering them. As always, Trainor’s earnest vocals exude a heartfelt vulnerability that’s quite endearing as he laments “Feeling like a jerk in a tropical shell. I can’t keep throwing back pill after pill. I’m swimming to a future, but drowning in my past. I just want to prove that I can make it last.”
DeltaWulf is the music project of English singer-songwriter, producer and engineer James Booth. Based in Lancashire, his lively style of rock is influenced by the music of artists like Tom Petty, Eddie Money and Bryan Adams, as well as R&B rhythms and hooks. He’s previously toured with such artists as The Struts, The Pigeon Detectives and New City Kings with his former band Titans Troubadours, and in late 2018, decided to pursue his own sound by forming DeltaWulf. From what I can tell, he records all the instruments himself, and has released a handful of songs on and off over the past six years, including the lovely and heartfelt “You Came at a Time” in 2021 and the hard-driving “Game Changer” this past March.
His latest single is “I Will Do The Same“, a dynamic rock song about falling out of love, with bitter lyrics describing two people who’ve made the painful decision to split up and go their separate ways. It appears DeltaWulf originally released the song back in November 2018, but decided to re-release it on May 19th. The song is both catchy and melodic, and to my ears has a compelling guitar-driven indie rock vibe reminiscent of some of the great songs of the 90s by acts like the Gin Blossoms, Toad the Wet Sprocket and Goo Goo Dolls.
Booth’s guitar work is really outstanding, featuring a vibrant array of textures running the gamut from beautifully-strummed twangy notes to shimmery guitar runs to reverb-soaked gnarly riffs, all of which are accompanied by driving bass and lively percussion. His earnest vocals are pleasing, yet imbued with a rawness that conveys feelings of exasperation and a sad resignation expressed in the lyrics:
Back here, where we have been before I open up the door, and you come rolling in There was a time when I would have been glad To give everything I had just to lay beside you
A dignifying feeling, elevated breathing, anxiety decreasing, freed you from me I watch you from the ceiling I'm no longer breathing Now's the time for leaving Would you not agree?
Absolution from the chaos in my brain Finally I find some shelter from the rain There was a time I thought of giving you my name But you can't take your part that I will do the same
ECLECTIC MUSIC LOVER 