DVR is a studio project by singer/songwriter and multi-instrumentalist Olav Christensen. Originally from Denmark, Olav is now based in Brooklyn, NY, and writes, records, produces and masters all his music. He’s been recording music for a number of years, and began releasing singles in 2015, and dropped his first full-length album California in 2016. That work was inspired by memories collected by Olav when he lived in Santa Monica, and was a collaborative effort with bassist/synth musician Ancelmo James.
In late July, he released a new EP Down, which he describes as “five depressing songs for the kids, guaranteed to make you feel better.” While the songs’ themes do address the down sides of love and relationships, his wonderful music is generally upbeat, having the effect of softening the raw emotions expressed in his dark, poetic lyrics.
The first track “Precious Little Time” is a lovely pop-rock ballad that seems to be about regret over past transgressions that resulted in the loss of a loving relationship. The instrumentals are a pleasing mix of acoustic, electric and slide guitars, accompanied by gentle percussion, that perfectly complement the wistful lyrics:
Precious little time makes me lose my head It’s not that you did wrong, I’m just hanging by a thread Running out of time and I keep slowing down Beat and broken down, knees to the ground I’ll send you love from the great beyond To take the edge off breaking my bond
“Low” has an edgier rock sound, with fuzzy and psychedelic guitars, heavy bass and industrial synths set to a driving beat. DVR’s electronically distorted vocals give the track a bit of a Peter Gabriel vibe. It’s a brilliant song, and probably my favorite on the EP. “Another Year” is a soulful pop-rock track with some fine, intricate electric guitar and a strong thumping drumbeat. His smooth vocals are really nice, as are his own backing harmonies, which he very effectively uses on other tracks as well. He sings about his shortcomings and how he always fails to live up to his best intentions: “I won’t make no resolutions. There really is no point. Cause when it comes to execution I just disappoint.”
He speeds things up on “Your Shoes,” a peppy, upbeat-sounding rock song with great guitar work and decidedly dark lyrics. Spoken from the point of view of someone who’s completely cynical and emotionally dead, his words offer a bit of empathy to another who’s suffering, though from what we’re not told. His earnest, emotionally-charged vocals almost reach a falsetto level at times.
It’s a bitter pill to swallow But I’ve been dead for a while My spirit’s dull and hollow My soul is dark and vile But here Close to the ground Flat on my back Nothing to lose Here I realize what it’s like To be in your shoes
On “Undetected,” DVR employs a wide assortment of rich guitar textures, and layers them over a thumping bass line and strutting drumbeat to create an uptempo backdrop for his heartfelt vocals. With a sense of sad resignation, he laments about how the object of his desire doesn’t seem to care about him:
I’d like to be on your radar It’s my favorite place to be But all the while, here you are Not looking for me I’m always undetected As I drift across your scope I’ll always be neglected Here at the end of my rope
Down is a great little EP that left me wanting more from this versatile artist. Though he refers to himself as a “shitty” guitarist in his Twitter bio, I’d say he’s a pretty good one! And given his rather prolific output over the past few years, I’m sure we’ll be hearing new music from DVR soon.
Allen and Douglas are a singing & songwriting duo from Birmingham, UK who play an interesting and pleasing style of folk rock. They’re also two prolific guys, recording and releasing eight albums – containing an astonishing total of 128 songs – in under five years! (They pack a lot of tracks into their albums, with each containing anywhere from 14-20 songs.) Their latest offering is The Spider and the Phoenix, which dropped this past March. It’s an ambitious work with 17 tracks, and is essentially a concept album in two parts, though it flows beautifully as one large production.
Lifelong friends, Craig Allen and Steven Douglas began writing songs in their teens. In their bio, they expand a bit on their background and what the latest album is about:
“Strumming, singing and writing away in old railway stations and under canal bridges we developed our sound, harmonies and song-craft as young men through hard work and trial and error. Nowadays after several hiatuses due to differing work and travel paths, we practice and record regularly in a small bedroom studio in Birmingham, UK. We write primarily for pleasure, producing many genres of music. Our latest body of work ‘The Spider and the Phoenix’ is conceptual and charts a journey from depression to recovery.”
They also have a cheeky sense of humour (notice I used the British spelling):
“The Spider” kicks off the album, not only setting the tone on a musical level, but also establishing the overall theme of depression, represented metaphorically by a spider that spins its web inside our minds, gradually taking over our personality and poisoning our thoughts. The jangly, heavily strummed guitars and spooky keyboard synths lend an unsettling feel to the track, and the guys’ earnest vocals exhibit a hint of menace as they sing: “The Spider inside your mind spins and winds. The Spider deals in junk, what does he find? And I was doing fine.”
The melancholy “I Can’t Stand the Pain” speaks to a relationship that’s unraveling: “You scream it’s finished. And I feel diminished.” Listening to the album, one of the things that strikes me is the strong Pink Floyd vibe running throughout, and this song reminds me a bit of “Comfortably Numb” with it’s interesting use of keyboards and sweeping synths. And the even sadder “So Blue” finds the singer sinking into despair over his emotional abandonment: “So blue, so very blue. Drowning in memories. / Dissecting reality from dreams, I’m struggling upstream. / Rejection is a mother.”
One of the prettiest tracks is “Set Sail Suite,” a mostly instrumental composition with hauntingly beautiful string and keyboard synths. The song is briefly interrupted in the middle with a sweet interlude of delicate acoustic guitar and the guys’ distant echoed vocals that sing “Set sail, set sail on your way. You never have the courage to sail.” “Dark Matters” is pure folk rock, and really channels Pink Floyd, especially in the vocals. The song has the singer lamenting his state of loneliness: “Since you left me I’ve been so lonely. / Dark matters swirling round my brain. Too much space drives me insane.” These feelings of loss are affirmed on “The Sun Went Out Last Night,” as they sing “I find myself crawling since she went away.”
“Nothing Comes Out to Play” and “Through the Eye of a Needle” wrap up the depression part of the album. Both tracks have some interesting music touches, thanks to a greater use of synths and organ. The latter is a somber but lovely piece, and finds the singer concluding that the one who broke his heart is not a good person after all, and therefore not worth wasting any more tears on: “You didn’t realize you were dead in the heart. Trampling innocent people filled with fear. You were so busy doing damage. You didn’t realize you would leave tears along the path.”
“Wrap it Up” is the first track of the 2nd half of the album “The Phoenix,” that represents recovery. It speaks of beginning the healing process by regaining your sense of sanity: “Catch your psychosis, wrap it up in cellophane. Don’t let it breathe. Squeeze out the pain. / Don’t bubblewrap your brain.” “And When All Hope is Gone” is actually a quite hopeful tune, with tentative piano and electric guitar notes that gradually expand into a pleasing melody that seems to evoke sunshine breaking through a layer of clouds: “The sun will shine again, and it will lead me from this pain.” This sunshine is celebrated in the cheerful “Rainbows in the Sky,” and the jangly strummed guitars on the track are especially nice.
“Yellow Blue” speaks to a brand new day, while the raw and bluesy “Quite Like You” has the singer extolling the virtues of a new woman who’s captured his attention and heart. The track has some great guitar and honky-tonk sounding piano.
“The Phoenix” is a declaration of survival and rebirth: “Found myself again. / Shook off the feathers. New feathers give me flight. I feel myself again. Same me, shining very bright. I feel I can fly, I feel I can soar holding hands with the sky.” The song is one of the more interesting tracks on the album from a musical standpoint, with a heavily-strummed guitar riff accompanied by xylophone and plucky electric guitar. At the break, the track transitions with an awesome psychedelic flourish of distorted guitar and organ that continues through to the end. The guys shout “Ha Ha, I am the phoenix!”
The guys turn their attention back to that exciting new woman who’s got their juices flowing on the bouncy, romantic tune “Overflowing.” And album closer “Sweet Sweet Dreams” ends things on an upbeat note, with the singer appraising his happy situation with his new love. It’s a pleasing ending to an expansive work that encompasses a broad range of emotions from pain, despair and bitterness, to acceptance, hope and, finally, joy. This was a terrific concept and theme for an album, and I applaud Allen & Douglas for their skill and success in translating their vision into a coherent and finely-crafted work of near-epic proportions. Their creativity, songwriting and musicianship are impressive, and they should be very proud of The Spider and the Phoenix.
I’ve mentioned it several times before, but it bears repeating that one of the things I love about Twitter is all the interesting people I’ve met and continue to meet. And since my account is primarily about music, I follow and am followed by several thousand musicians and bands. One that I’ve had the distinct pleasure of getting to know is a hard-working singer/songwriter who goes by the artistic name Def Star. Based in the Chicago area and born Mike Purcell, Def Star is an incredibly creative, talented and nice guy with seemingly boundless energy. In just the past couple of years, he’s recorded an impressive output of songs in a variety of genres, including hip hop, rap, rock, alternative rock, electronic, industrial, trap and pop. He’s also very supportive of other musicians, as well as his fans and followers, plus he has a wonderful sense of humor – all things I greatly admire in an artist.
I recently sat down with Def Star (well, we were actually sitting at our respective computers 2,000 miles apart) to discuss his love for music, what inspires him, and his creative process. I was blown away by his thoughtful, articulate and deeply honest responses.
EclecticMusicLover: Hi Def Star. Thanks for agreeing to an interview! We’ve followed each other on Twitter for a while now, but I don’t really know a whole lot about you. Tell me a bit about yourself and how you came to be interested in making music.
Def Star: First & foremost, thank you for taking an interest in my music! About me: both of my grandpas sang (one jazz/lounge & the other church songs). I witnessed the power song has over women at a very young age when I saw U.S. Navy pilots perform a very well-choreographed lip sync of The Righteous Brothers’ “You’ve Lost That Lovin’ Feelin’.” In middle school, girls would call me and ask that I sing “If I Ever Fall in Love” by Shai – great song! My tastes were and are in complete & utter disarray – the only file left up there in my mental rolodex is labeled chaos and I think it’s empty.
Really though, I remember absolutely falling in love with whole eras of music and the two that stick out most are grunge rock and gangsta rap. Comin’ up the outside of the track was always R&B. Regardless, ever since I can remember, there have always been songs that absolutely knock me over and latch their claws into my soul and leave these beautiful scars or bandage ones that were already there. Anyway, what I’m intending to get at is this: it never mattered what genre these great works of art were labeled, or what style or culture or anything else anyone could say right here… to me, I’m thankful that I was exposed to an incredibly vast variety of music by people who genuinely loved the music they love and that I’ve been fortunate enough to have had experiences that later on change from mere memory into what is recalled as these moments. I don’t know if they’re milestones so much as they are simply stars in the night sky we call our life; the point is they matter because the chords get struck and they run deep. Not only that but they’re like little shortcuts or portals straight to the heart – for better and worse.
EML: I can identify with how you developed a passion for music at an early age. My much older brother loved artists like Elvis, Fats Domino and Little Richard when he was in his teens, so I got exposed to that music as a baby and danced to those songs as soon as I could stand up on my own lol.
DS: I love the magic that is music and its effects on every single person it touches from inception on. For some, that’s the name of this game, really: the best songs never die. In my experience, it can feed twisted delusions of grandeur not limited even to the absurd such as immortality. Flipside of that? Oh, but all of the rest about it – any which way ya cut it – music is escape, hope, consolation, companionship, love, hate, nothing, everything. I love how some songs can plant themselves firmly in one specific moment in time and other songs are ethereal, transcendent, and timeless.
I’ve said this from the very beginning: “Music Speaks, I Translate.” At the time that I first started saying that (whenever people would ask about how I write lyrics or develop melodies) I wasn’t trying to brand myself or come up with some sort of catch phrase. Today, it’s mine & I own it. It began because that’s how I feel it happens most of the time for me. I get an instrumental from one of a few incredibly talented producers I’m blessed enough to be close, personal friends with; it may be one of a handful of different genres or a unique mix of two or more; I like to consider what the emotion of the beat’s describing or even “saying.” Sometimes the producer says I hear this here or I kept thinking of that there, other times he or she says what they were thinking or feeling when they made it. Most often, I’ve been entrusted with free reign to build whatever I feel like building on the allotted real estate, whether only one verse for a collab or promo, or an entire track for a solo.
I started out rappin’ in 1999, singin’ in 2001, rockin’ in 2003 and from there, there have been mixtapes, groups, bands, shows, writing, recording and finally an artist who realized that if he doesn’t light the fire, no one will ever even have a chance to carry the torch. So now, I have a catalog of recorded songs somewhere upwards of the mid-300’s, I may or may not be currently working on an official album or two right now as I type this, there is always new promo material popping up like my first actual music video that came outta nowhere just last week on YouTube:
I’m all over Twitter & InstaGram like a fool, lol! Cliché alert: I figure we have this one life to live, just one. That’s it! So, do I really, truly, genuinely, whole-heartedly, sincerely believe that there’s something going on with my music that’s worth at least giving it a little air and a little light? Yes, I do. If it grows, maybe give it a little more food, air, and light? DEFinitely. Next question: what am I waiting for?!
EML: Well, shedding a little light on your music is my aim! You state that grunge and gangsta rap were the two genres you really felt passionate about – which makes sense as you came of age in the 90s – but I hated them back in the day. I’m much older than you, and in the early 90s I felt music quality had gone over a cliff. I absolutely hated all rap, and just didn’t get the appeal of grunge. I was in my 30s by then, and figured I was already too old and that music no longer mattered as much to me – something that seems to happen to a lot of people as they get older. Most of my friends are now in their 50s and 60s, and few of them have the slightest interest in hearing new music anymore. They think it’s great I have a music blog, but they’re not at all interested in reading it or learning about new music.
I’ve since come around about grunge, hip hop and rap, though I still don’t like gangsta rap. It’s just too much for me.
DS: Re: grunge & gangsta rap… A couple things (& I completely relate to where you’re coming from)… I, too, (now in my late 30’s) have felt like “new” or newer music, style, content (especially rap) has just fallen off & it’s all garbage… I have felt like that at times. But, that’s typically before I’ve given any of which I’m judging an honest chance. There’s usually something about it I like, or I might shockingly end up loving it, or at least then I have legit reasons I don’t like it. But that’s me.
I have since fallen madly in love with other bands & even genres entirely! My journey has seen so many chapters or phases & most often, even if I move on to a new thing, chapter, or phase, I don’t just stop having this place in my heart that a previous love carved out. It’s still there & feels good when filled again with that old love. But I crave the new, too! So, yeah, I went through Emo, Screamo, Hard Rock, Heavy Metal, Death Metal, Post-Hardcore, Electronic Rock, EDM, Pop, Pop Punk, and more. It’s been a TON of fun & I’ve picked up a lotta things along the way that have positively influenced my approach on music and just my overall enjoyment of life. There’s a few artists that are like guilty little pleasures of mine that I don’t talk about often but I love their albums too. Never thought I’d see these particular artists albums in my personal iTunes but they’re there & I’m happy about it, lol.
Gangsta rap today? Not so much. Strangely enough, though I myself am a rapper of sorts, I don’t listen to rap often. I don’t listen to much Grunge today either. Maybe some “classics” here & there or the Temple of the Dog album I absolutely love, but it is the exception rather than the norm.
Last thing I’d love to touch on & it sounds like you’ve experienced a bit of this: your friends have less interest in reading your blog than you’d hoped or expected. I can absolutely relate – simply switch out the words “reading your blog” with the words “listening to my music”… lol! My buddy I make music with and I have discussed how funny it is that people I don’t know at all will oftentimes support my work and my social media sites more than my own friends & family – I’m crazy thankful for any & all interested & supportive, for certain! THANK YOU ALL!!! But some of the people I just kinda expected to pick up some balls and run with ’em just haven’t. And even the whole family thing… some have come around, most haven’t given it the time of day, and some ask from time to time but very few have listened let alone tell others about it. Oh well! Living & learning. It really does take a village though & I do have the greatest family, friends, followers, and supporters.
EML: Your songs encompass an eclectic mix of genres, including hip hop, rap, alt-rock, metal, trap and even pop. Who are some of the artists who inspire or influence you to create the type of music you make?
DS: Some of the artists that influence(d) me: Chris Cornell, Eddie Vedder, Lane Staley, Scott Weiland, Corey Taylor, Method Man, Mos Def, Tupac, Twista, Kurt Cobain, John Lennon, Aaron Lewis, Craig Owens, Biggie, Hayley Williams, Do Or Die, Joan Jett, Lynn Gunn, Eminem, I.V., Pistol Pete, Bogus, Chavi, J-Slay, Koncept, Ace, Halsey, Alan Walker, 112, Boyz II Men, Wretched, Tool, Eyes Set to Kill … I could go on & on, and the current list doesn’t even begin to think about beginning to scratch the scratch of the surface!
EML: When did you begin writing and recording songs? What is your process for creating new music?
DS: I began writing lyrics way back when I was in elementary school. I loved wordplay, puns, and especially rhymes. My first song? Not 100% sure but one of the first that’s coming to mind in the moment is freshman year high school, History class. Two of my classmates and I played a modified version of George Thorogood’s “Bad to the Bone” called “Bad History.” We shoulda just called it what it was: “Bad Song.” Ha! Seriously. I did have a sweet Fender Squier – the bumper car of electric guitars – but I did not invest the effort early in high school to learn it nor take the time to truly appreciate it.
EML: What, if any, instruments do you play?
DS: I wanna say vocals but part of me feels like that sounds pretentious. The other part of me feels that the first sentence of this response, along with this sentence, sound really pretentious already so we passed that point long ago. Now that that’s been established, I do not play any instruments. Sit me down in front of a keyboard or piano and I can wing some cool shit but I’ve been lucky enough to have this sort of relatively steady flow of instrumentals or other opportunities for collabs in multiple genres which has kept me very busy and growing through the challenges of constantly pushing the borders of my envelope and testing the limits of my comfort zone. I don’t know which it is but I either don’t have a comfort zone at all or my comfort zone is just that whatever-it-is to where I have yet to face a challenge musically that struck me as so uncomfortable or outside of any alleged comfort zone that I didn’t or couldn’t do it (and end up turning out something really cool in the process).
EML: I see that quite a few of your songs are collaborations with other artists, which I think is great. In fact, it seems that a lot of hip hop artists tend to collaborate with other artists on their songs. What do you find appealing about the collaborative process?
To me, I have held this view since day one: any way the music can reach ears that it wouldn’t have otherwise reached of my own accord, I’m in. Even if it means that I spend time or money of my own to get it out there, I’m in. I’m not currently in a position to demand nor expect money for my music. I will be. And it will be soon.. Until then, I will continue to post FREE MUSIC on MY YouTube CHANNEL!!! My apologies, I digress (as per usual). To answer this question directly, my goal with collaborations is three-fold: A) to reach not just my audience with a new song but the other artist’s audience as well. Then, sometimes, one plus one results in a sum greater than two. It’s funny what happens when a flash of excitement in the pan of good timing, for example, can ignite the whole skyscraper. And, B) the challenge of making an impression such that these new listeners want to find my stuff & hear more. Lastly, C) the ability to work with friends and have a damn good time along the way. One of the countless things I love about music is that, generally, the people I’ve known that have anything to do with music and its creative process from A to Z are really great people with a lot to offer the world but they’re not on that mission. They’re not out to take over the world or clutch at status for the sake of status. They have beliefs. They don’t fall for shit. They can typically see through the bullshit or at least have reasons they believe what they believe even after examining both sides of a coin. They’ve got their priorities straight. I need people like this in my tribe.
EML: What artists would you especially love to work with, and why?
DS: I already work with the sickest buncha straight-up artisans so I will respectfully pass on answering this question with names of popular, mainstream artists and provide a glimpse at a few names that are already poppin’ or are right around the corner: I.V. , WavRiders, J-Slay, Red Focus, Chavi, Koncept, Swilly.
EML: Ah, Swilly’s awesome, and I love the collaboration you did with him and guitarist Kevin Campbell on “Right or Wrong.” And “Change Your Life” with J-Slay and Koncept is another fantastic collab.
EML: What are your thoughts about the current state of music and/or the music industry?
I LOVE the state of music right now! I feel like this: whether we recognize it or not, and as much as many may complain about the lack of anything original and a void of any artists aiming at a new paradigm or even daring to shake things up for fear of public opinion and sales quotas, there are so many talented, unique, incredible artists and bands that are out there killin’ shows, slayin’ audiences, rockin’ mics, sellin’ merch, packin’ venues, puttin’ out EP’s and albums, promotin’ it on multiple social media platforms like crazies just like me … that ARE making music that sounds like nothing I’ve ever heard and moves me in new ways. And that’s a big goal with my music is to create a truly genreless, timeless product that is a cohesive album yet plays like a playlist of your favorite songs over many years and genres of music, all in one, ready to go from the point of purchase & play. An instant classic. A soundtrack to the movie that is your life.
EML: Have you performed live very much?
DS: I have performed live and I love it! I wish I could say I’ve done it a bunch of times or been on tour before but I can’t yet. I’m that new – to the “scene.” As far as experience, the Romans would say I got a couple of X’s under my belt. Specifically, live performances of mine I could count on my hands. More importantly, I got miles traveled beneath my feet and even if they high now, the message is still deep. Plans to do more live performing? Absolutely. AB. SO. LUTELY!!! I made up this little diddy and I do believe it applies here: “Whatever lights your fire, rock it to infinity.” So, HELL yeah!!! I’m taking this thing as far as life allows, much of it is outta my hands but I gotta keep trying to do whatever I can. Hmmm, lyrical… “much of it is outta my hands… but I gotta keep – try’na do – whatever I can”… sweet, lol. Hashtag lit AF, am I right? rofl.
EML: You’ve recorded quite an impressive output of tracks, but haven’t released a full album yet. Why not? Do you have plans to release an album anytime soon?
I have a secret.
But first, thank you! I’ve said it before and I will happily repeat it ad infinitum: I appreciate that you have taken the time to even know enough to ask these great questions! This has been a serious trip & thanks for humoring me, I hope my tangents aren’t unbearably obnoxious. I’ll wrap it up here now, sorry! LOL! (I’m not sure if it’s because I’ve had some days upon which to think about this thing and it’s finally coming out now, or if I’m just in a zone, OR if I just think this is SO cool because your platform – the Eclectic Music Lover – it’s the most comprehensive music review site with these exquisitely written pieces on songs, albums, artists, bands… it’s an honor to be a guest, as it were.)
Now for the secret, and now that I think about it, I touched on this earlier too but here it is again and it’s really working in my favor: over the years, I may not have been doing much self-promotion but I have been writing, recording, and amassing a killer library of songs that I have at my fingertips to release here & there while I’m currently, possibly, confidentially, secretly, hypothetically, theoretically, not really but maybe actually, recording two albums right now concurrently. One or both of these maybe’s, if what I just wrote were true, will be out sometime during the Year of the Earth Pig.
EML: You are hilarious, and I’m really touched by your kind words about my blog! Is there anything I’ve neglected to ask that you’d like to tell your fans & followers?
DS: Great question, once again. And thank you for offering the opportunity for the interviewee to chime in with somethin’ he might’ve hoped to have show up in the piece – very considerate, I like your style my friend! I think we’ve really covered a good amount of ground here. I’m not sure if I’m ready for a full-blown commitment so we’ll just keep it casual for now, mmmkay?! LMAO jkjk!!! I have a broken machine in my head that plays with words, thinks it’s funny, and gets me in trouble cuz it never shuts off. A constant stream of comic genius; can you imagine?! The HORROR!!!
Nah, but on a serious note, I suppose I would love to just know that anyone who comes across this article and wants to find out more about me or hear more music, knows where & how they can do that. For me, I have my YouTube channel https://www.youtube.com/channel/UCExzLvLnZIgpzZ2Gfa4cXDA and they can connect with me on Twitter and Instagram. (Some of his music can also be streamed on Soundcloud.)
Thank you, thank you, thank YOU!
EML: And I thank YOU my friend for being such a great subject, and taking the time to share your detailed thoughts and perspectives with me and my readers. You’re awesome, Def Star, and I can’t wait to hear that album – or two!
Here are a few more of his songs I especially like that showcase the broad range of his music style:
I’m back in Wales (having just featured Welsh band Dying Habit), this time to talk about the lovely new single “We Should Be” and it’s delightful video from The Puss Puss Band. Based in Cardiff, and consisting of multi-instrumentalists Asa Galeozzie and Lee Pugh, the band is named for Asa’s cat Puss Puss. Both are accomplished musicians who’ve worked with numerous artists and bands in the UK and Welsh music industry over the last ten years as writers & session musicians. They perform every aspect of their music: songwriting, instrumentals, vocals, arranging, engineering, producing and mixing. Asa plays guitar, bass, percussion, piano and melodica, while Lee plays lead guitar, bass and piano, as well as sings lead vocals.
In April 2017, with help from seasoned musician John ‘Rabbit’ Bundrick, the guys released their beautiful debut album Echoes Across the Cruel Sea. I reviewed the album along with an interview with Lee, which you can read here. Over the past six months or so, they’ve been writing and recording songs for a second album, and “We Should Be” is the first single. It’s a wonderful song, delivering the pleasing jazz and folk-infused pop we’ve come to expect from these talented guys. And once again, Mr. Bundrick lends his expertise on the keyboards.
The bittersweet song is about missing someone and wishing they were back in love with you so you could be together. Layers of gently strummed guitar, crisp percussion and delicate synths create a sparkling backdrop for Lee’s smooth, breathy vocals that convey a sad resignation as he sings the poignant lyrics:
Lighted excited waiting in the rain
Two minutes ‘til I see you again
Near misses, longed for kisses
An everlasting wait
The magic word that is her name
We stole our days away
Wishing by the sea
Wrapped up in you
Wrapped up in me
The way you see the world
Is just the same
It’s just the way you feel about me that’s changed
But we should be….
We should be in love
We should be in love…
See you’re all I’m wishing on
Dying, just trying to find
The words to say
The few minutes that I’ll see you today
Near misses, longed for kisses
An everlasting wait
The tragic word that is my name
If the way you see the world
Is just the same?
Maybe there’s no need…
To hurt in vain?
Is it right?
To close up tight?
To feed this cold divide…
Between you and me?
Is it so hard to see?…
That we should be
We should be…
We should be in love…
We should be in love…
You’re all I’m wishing on
We should be….in love
The video is one of the most delightful I’ve seen in a long while. It shows a man in a cat suit (played by Lee) sitting or standing in various locations on a busy street in Cardiff, holding a large flip chart printed with words that are directed at his love interest. By and by, he walks past a busking musician (played by Asa) and throws a few pieces of dry cat food into his guitar case. I love the scenes where he’s chasing pigeons, riding the merry-go-round, and when he sits on the bench, offers some of his food to a man who politely turns him down, then proceeds to eat it out of the bowl. At the end, the busker sees him sitting forlornly on the ground next to the merry-go-round, offers his hand, and they walk off together down the street holding hands. What a sweet story, and I love both the song and video!
Brett Vogel is an immensely talented and hard-working singer/songwriter and multi-instrumentalist based in Los Angeles. We’ve followed each other on social media for nearly three years, and I find Brett to be a warm, kind and gracious guy. He was one of the very first artists I featured on this blog, way back in January 2016, and you can read that post here. Born and raised in Rockford, Illinois, he grew up listening to his father’s records and became a fan of music at a very young age – something that I closely identify with, as I was listening to my parents’ Frank Sinatra, Ray Charles, Fats Domino and Elvis Presley records as soon as I was able to walk.
Brett describes his passion for music: “Music is within every fiber of my being! I sincerely believe without music I’d be doomed. Music has kept me alive. Music, I believe, has saved my life. Music is love to me. Music helps people heal. It’s what connects people, and for that I’m grateful!” Blessed with a large vocal range and beautiful tone, Brett showcases his sweet and soaring falsetto in many of the wonderful songs he writes.
Brett released his first album Lonely Traveler in 2004, and subsequently moved to LA. He eventually became discouraged about the music industry and returned to Illinois, but after three years he decided to move back to L.A. and give music another go, and has never looked back. In 2015 he released his second album Never Giving Up, a superb effort featuring 11 beautiful tracks that are a celebration of his passion for – and dedication to – his dream of making music. Since then, he’s released several singles and remixes, the latest of which is his delightful new single “Superwoman Sway,” which dropped July 20th.
It’s an upbeat, happy tune with an infectious reggae/dance beat that aims straight for the hips. The carefree guitars, lively synths and snappy drums transport us to a sun-kissed tropical beach, making it a perfect song for summer. Brett’s earnest vocals are lovely as he sings of his devotion for a loved one who brings so much joy to his life:
There you go brightening up my day You wouldn’t know it but it’s true What you’ve got is that Superwoman Sway I wouldn’t have any other
Through the thick and thin when I’m dashed upon the rocks You stay close to me and give me all you’ve got Through the lightning clouds The sorrow and the rain You take away my blue, brighten up my sky To see the light again
Every little thing you do is so so you I couldn’t have it any better no Every little thing you do is so so you I couldn’t have it any better
Ben Wright is a singer/songwriter/guitarist from Manchester, UK – a city with a vibrant music scene, from which have come several artists and bands I’ve previously featured on this blog. I’ve also been a little amazed by the number of singer/songwriters in the UK that play folk or Americana music, some of whom I’ve also featured on this blog. But then I remember that American folk and country music has its roots in the music that British, Scottish, and later Irish settlers brought to America. In Ben’s case, his pleasing style of acoustic folk/pop is influenced by blues, rock, and even a little reggae. He released a wonderful debut single “Starry Nights” in October 2016, which I reviewed. Now he’s returned with a seven-track EP Lifeline, released in early June through Sound-Hub Records.
For the recording of the album, Ben played guitars and sang all vocals, the esteemed musician/producer Barrington Mole (White Moor, The Further, Ejector Seat) played bass, and Dan Williams played drums. The EP kicks off with the title track “Lifeline,” a lovely song about not letting fear of failure keep you from pursuing your dreams. Ben sings of his struggle to make it as a musician, though the lyrics could apply to any type of performance art. His smooth, calm vocals are incredibly pleasing as he sings: “Cause I’ve been waiting so many years to see this blurry silhouette coming through these tears. Cause I don’t want to be waiting for another lifetime. So I’ll throw these dreams a lifeline.”
The song’s arrangement and production are on-point, and Ben’s slide guitar work is positively sublime. I really like the video that shows him and his fellow musicians performing the song. For the video, the supporting musicians are Chris Bull on acoustic guitar, Dave Fox on bass, and Alex Bayley on drums.
Ben states that he was inspired to write the beautiful second track “Starry Nights” “whilst travelling and sleeping in the middle of nowhere in New Zealand.” The poetic lyrics describe the simple beauty of a starry night in the rural countryside, unblemished by the artificiality or pretense of urban life. “Looking down from high above, they’re flickering til the day is born. No artificial beams can reach the sky. No piercing sounds will break the night. Starry nights reveal innocence. There’s no delusions and no hollow men.” The song has a lovely melody and acoustic rhythm guitar riff overlying gentle percussion and bass. Ben’s soothing vocals convey a sense of tranquility – that everything’s alright with the world. The charming video, which shows Ben walking and/or performing the song by a lake, nicely complements the track.
“Visions of You” is an upbeat folk song about celebrating the love he feels for his girl, while the cheerful “My Hometown” has a peppy reggae vibe. One of the things I like about this track are all the different guitar textures, including the wobbly little riff that can be heard throughout.
A favorite track is “She’s Leaving Town,” a bittersweet song about the end of a relationship that leaves him blindsided: “She’s leaving town tonight. The boy has no idea what it’s all about./ That smile is just an illusion.” The track has a bluesy feel, and the funky guitars and bass are really terrific. “Home Beyond the Pines” is another great track – oh hell, they’re all great! It starts off with a a bewitching little guitar note that expands into a pleasing acoustic riff, set to a happy toe-tapping beat.
As I listen to each track, I’m struck by the serene beauty of Ben’s voice, and no more so than on the gentle folk song “Fight Against the Tide.” His vocals are tender and heartfelt as he sings the inspirational lyrics about not letting self-doubt and the setbacks that life sometimes throws our way keep you from moving forward and living your own truth: “Wash away your pride. Don’t neglect your mind’s eye. Trust the strength you have inside, and fight against the tide.” It’s another favorite of mine.
Lifeline is a marvelous, well-crafted EP filled with songs that make you feel good, even when the subject matter is not particularly happy. Ben’s songwriting, musicianship and vocals are all first-rate, and he should be very proud of this work. An accomplished musician, he also teaches guitar lessons on his YouTube channel, which you can check out here.
Darren Campbell is a talented and hard-working 24-year-old singer/songwriter from Scotland who’s now based in London, UK. He’s been making music since his teens, releasing his first single “Find My Way” in January 2012. He followed with the EP Days to Come later that year, and has released a great number of fine singles in the years since. His latest is a beautiful song “Wherever You Are,” which dropped in May.
The track opens with a delicate jangly guitar riff and ambient synths, immediately enchanting our eardrums. Fifteen seconds in, the guitars and synths expand into an exuberant and gorgeous wall of sound, accompanied by a joyous toe-tapping beat. Darren’s strong, earnest vocals convey the optimism, hope and love expressed in his lyrics:
Wherever you are, wherever you go Always watch the stars unfold The love you wanted you could know The lives we live are wonderful When you think about me when you think about us I don’t want you to fear babe I want you to trust
In an interview with music blog Music Musings & Such, Darren explained his inspiration for writing the song: “‘Wherever You Are’ is inspired by the need to travel and see what’s out there in the world. I have older brothers in the States, great friends living in different countries and my parents back home in Scotland. With this song, I captured the feelings I had regarding the need to get out of your comfort zone and experiencing life whilst still feeling close and connected with the ones you love, even if they may be half the world away!”
The gorgeous music video for “Wherever You Are” was filmed and edited by Patrick Zangl, and follows Patrick and friend Christina Canek, accompanied by their beautiful husky, in their exploration of South Tyrol in northeastern Italy.
Teisan is an exceptionally talented and prolific young singer/songwriter from Mannheim, Germany who I learned about when he followed me on Instagram. He started playing guitar at the age of 14, and quickly began writing songs in a predominantly ambient acoustic style. His songs tend toward a more introspective side, with heartfelt, personal lyrics. In his bio, he states “I like to make music about things I experienced in my life. What I write down in the lyrics helps me in dealing with past events.” In early 2016, when he was only 17, he released an excellent debut album Different Point of View. He followed up with an equally impressive second album Impatience in October 2017, and I strongly encourage my readers to check them both out.
Teisan has been writing and recording new songs for his forthcoming third album From Ten Thousand Miles Under the Ocean, and recently dropped a new single “Anchor Pt. 2,” which will be featured on that album. The song is a second part to “Anchor,” one of the tracks on Different Point of View. “Anchor” is a bittersweet song with simple lyrics that speak to a loved one who’s letting her fears of the unknown drag her down, the anchor representing those fears. On “Anchor Pt. 2” he’s come to the realization that she’s now dragging him down too:
I write a song, rip out my heart You didn’t care and laughed That’s the reason we’re apart You think gossip makes you smarter Heavy on my shoulders, I couldn’t swim to the surface But time made me bolder Ain’t the one that I need You’re the anchor bound to my feet
Musically, the track is built around a wistful but pleasing acoustic guitar riff. Delicate, airy synths are layered over the riff, along with sounds of snapping fingers, gentle percussion and added subtle guitar chords to create a serene and beautiful soundscape. Teisan has a smooth, lovely voice, and sings with an earnest vulnerability that’s calm yet quite touching. It’s a wonderful song.
Having no musical talents whatsoever, I’m always impressed by people who do, and especially when they’re also quite young. Needless to say, I was blown away when I listened to the debut album Perfect on Paper by Welsh artist Georgia Fearn. Only 17 years old, the singer/songwriter from Carmarthen has a remarkable artistry and maturity far beyond her years. She writes all her own songs and plays guitar and piano, with session musicians playing the other instruments.
Released in March through Grapefruit Records, Perfect on Paper sounds like the work of a seasoned artist, which is actually the case in a sense. Georgia began writing songs at the age of nine, and at 17 she’s an accomplished wordsmith, penning thoughtful and frank lyrics about the joy, pain and complications that arise when we enter into relationships. She’s already performed in many different venues, most notably the famous Cavern in Liverpool, and her songs have received airplay on BBC Wales, and other radio stations in the UK.
Georgia incorporates a myriad of music styles, including pop, rock, jazz, hip hop and even Celtic folk, to create songs that are surprising, unique and always compelling. The superb opening track “L’Amour” beautifully illustrates what I’m talking about. The song features all sorts of interesting sounds and instruments like accordion, banjo, horns and strings, and the result is delightfully saucy track with a sophisticated French vibe. As if all that weren’t enough, she injects a bit of a Celtic feel in the chorus interlude. Didn’t I say that she likes to surprise us?
The lyrics describe a relationship doomed from the start: “You told me you were leaving ’cause I smoked too many cigarettes. I broke the bad habit, and I drove straight to your address. I saw you pressing your lips to someone new. It’s time to break my other bad habit. You.” Bloody brilliant.
Perfect on Paper is an ambitious work with 12 tracks, all of them suberb. “Catch Me If You Can” is an infectiously catchy number that had me humming the melody long after hearing the song. “Misty Mae” was inspired by a character in the TV series American Horror Story. A beautiful mandolin riff and flute lend a bit of a gypsy flair to the rousing track, while distorted electric guitar adds an edgy feel. “Does It Make You Wonder” is a sweeping ballad featuring a haunting piano riff, mournful violins and a military drumbeat. Georgia’s heartfelt vocals are extraordinary as she croons: “I’m living in a glass house, where the person I used to be, she’s buried six feet under. She’s trying to scream. She’s blocked out by the thunder. Does it ever make you wonder, what could have been?”
“Sharp Objects” is a dark rock song about the proverbial town without pity. The track opens with what sounds like helicopter blades and men shouting in the distance. Georgia snarls the biting lyrics about hypocrisy and evil that lie beneath a rosy exterior: “Home is where the lies are. Pretty quiet village, that’s where all the scars are. Tiny little village, that’s where all the hate is. / Ooh I’m gonna drown. Something about this nuclear town. Toxic.”
And speaking of dark, one of my favorites is the dramatic, searing title track “Perfect on Paper,” about a woman serving prison time for killing the man that done her wrong: “I know he never loved me. He just loved the thought. He thought there was a girl out there who’d do what he wants. She’d smile in a loving manner to her man perfect on paper. Not knowing soon she’d see every awful heartbreaking, sickening, ugly thing he could be.” Wow, those are some of the best lyrics I’ve seen in a while!
Another great track is the bluesy “Master of Jazz.” The sensuous song speaks of the cool allure of a jazz musician who can sweep a girl off her feet: “Heart on his sleeve and mic in his hand. I heard he was a part of some out of town band. He liked to think he was the king of swing. And the king of swing would have you hanging by a string He’s a master of jazz, when he sings you come alive.” The melancholy “Emptiness” is a piano-driven track with mournful violin. The lyrics address the feelings of pain and loss when love has gone: “We judge people for judging, ’cause judging is wrong. The only way to stay OK is writing a song. Food has lost it’s taste. Get me out of this place. If you cut me open, I would bleed his name. It hurts so much.”
Georgia injects a hip hop beat and lots of distorted guitar into “No Need to Hide,” while “Always Be Yours” is a lovely, uplifting ballad about how she was saved by another’s love and devotion. The Latin-infused album closer “You Wouldn’t Do This if You Did” is a kiss-off to a lover with a chronic drinking problem: “How am I supposed to love you, when you only see me through bottled eyes. And every time I smell the liquor, a little part inside of me dies. You’re not who you were when I first met you. / I know you don’t love me. Cause you wouldn’t do this if you did.”
Perfect on Paper is a brilliant album, and an outstanding debut from this gifted and promising young artist. I expect – and hope – we’ll be hearing more great music from Georgia Fearn before long.
James Bakian is a majorly talented and charismatic young singer/songwriter from London, UK. He’s only 14 years old, but possesses a phenomenal vocal styling with a maturity beyond his years. He writes all his own songs and music, and records all the instruments. He’s also a hard-working and prolific musician. James released his second EP Unstoppable – a really fine effort featuring six tracks – in late 2017 (which I reviewed), and in the first three months of 2018 he’s already dropped five new singles, the latest of which is “Ice Cold,” which debuted on March 30.
The new song is a bit of a departure from his usual soulful pop sound. James states that he’s been exploring R&B and lo-fi hip-hop, and boy does he deliver! The track is mesmerizing, starting off with sounds of static and a hesitating synth chord, then unfolding into a gorgeous soundscape of shimmering keyboard synths floating above a languid hip hop beat. James’ smooth vocals are captivating, and sound better than ever. He can seduce us one moment, then raise goosebumps with impassioned pleas the next. It’s a fantastic song, and it’s wonderful seeing his music and vocals continue to mature so nicely.
“Ice Cold” speaks to not allowing self-doubt and past mistakes to turn you into a bitter person:
Build up strength to live a day yeah All you want is to escape yeah Don’t let words intoxicate you We all get deserted sometimes
We get disappointed with what we’re assigned Can’t go without a complaint in your mind Losing your patience is turning you blind You need space to rewind
Cause you’re ice cold And it’s making you bad but you deserve a chance And we all make our mistakes but they are just mistakes We don’t catch the message so we all get sad
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