Dizmation is the solo music project of Irish singer-songwriter and musician Joey Doyle. The talented Dubliner is also front man for the band Fiction Peaks, a wonderful alternative folk-rock group I featured on this blog a number of times in 2016 and 2017. He released his debut EP The Future is a Bubble in March, and followed a month later with the lovely piano instrumental “Paint Clouds”. Now he returns with a new three-track EP Who Are the Experts?, which dropped May 3rd. He’s also a pretty talented visual artist, and created the trippy artwork for the EP cover.
On his Instagram page, Dizmation offers a hint as to the meaning of the songs: “These are our identities being swallowed up by algorithms, to be homogenised.” Each of the three tracks has a completely different music style and sound. The first track “Render” features an urgent piano-driven melody, accompanied by soaring orchestral strings and pulsating waves of distorted synth bass that give the song a beautiful but rather unsettling vibe. Doyle has a lovely voice, which here sounds plaintive and somewhat distant as he sings: “No sense in making sense now / The time awaits all fools / That deeper stain behind us / The truth’s no longer the truth / But sail away so far away / For truth and darkness lies in the light.”
“Shadow Band” is an unusual instrumental track with a fascinating mix of scratchy, undulating lo-fi industrial synths, sharp percussive beats and somber piano keys, punctuated by brief moments of delicate glittery synths. The lovely but rather haunting echoed chorale vocals lend a mystical air to the song.
“Where Life Awaits” is a pleasing folk-style song that starts off with a strummed acoustic guitar and bold hand claps. The music expands to include moody horns and string synths that give the song a poignant feel. Dizmation softly croons the lyrics that seem to speak of trying to break through to someone he cares deeply about: “I tried to know you, to see inside. To light the path where the darkness lies.But every time I’m getting close, all I see is closing doors. But it’s not too far, And it’s not too late. We’re dying to be where, to be where life awaits.”
Who Are the Experts? is a fine little EP that provides a glimpse of Dizmation’s creative imagination and songwriting skills, as well as his strong musicianship.
Update: Dizmation subsequently deleted this music that I spent time reviewing.
Man, time flies when you’re having fun! It’s hard to wrap my head around the fact that it’s already been more than four years since I last featured Brooklyn, New York-based artist Yellow Shoots on this blog. (You can read my article here.) I remember being blown away by his soulful and sultry vibes, and it’s heartening to see his star continue to rise. He fuses R&B, soul, funk, jazz, psychedelic and hip-hop grooves to create his own unique neo-soul sound that envelops you in raw sensuality and emotion.
Yellow Shoots is the music project of singer/songwriter, producer and multi-instrumentalist Greg Matthews. His artistic name comes from his experiences with synesthesia, a neurological phenomenon in which stimulation of one sensory or cognitive pathway, such as sound, leads to an automatic, involuntary response in a second sensory or cognitive pathway, such as sight. He sometimes sees vivid yellow colors when hearing music (a common form of synesthesia is known as chromesthesia, for sound to color), hence his name “Yellow Shoots.”
He started releasing music after moving to Brooklyn from Philadelphia in 2014, beginning with his single “Pieces”. He’s put out a fair amount of music in the years since, including his marvelous Prince-influenced album everything in 2018. One of the singles “make it to the summer” has been streamed more than 446,000 times on Spotify. Now he’s back with a new single “Wonderful Day“, from his forthcoming EP Naked, due out in June. Released via LaReserve Records, the song was written, performed and produced by Yellow Shoots, mixed by Javon Gant-Graham, and mastered by Dan Millice. The track has already been featured on TIDAL’s official .WAV playlist.
Photos by Elijah Craig
About “Wonderful Day”, he explains: “This song combines my 90s rap and R&B roots with late 60s/early 70s records I dug as a teenager. It’s sorta like Nelly meets Zeppelin. It’s a trippy love song I wrote last Summer about being comfortable with the past.” The song has a languid and funky trip hop beat that forms a chilled backdrop for his strummed acoustic guitars, soulful bass, gentle percussion and hazy psychedelic synths.
Yellow Shoots electronically alters his warm, sultry vocals at various spots in the track by doubling and/or speeding up the pitch in a manner similar to what Prince was doing in the 80s. The result is quirky and utterly charming as he croons the sweet lyrics to the object of his desire, hoping she has similar feelings for him: “I put my cards on your table, throwing out the clues / If an apple or a pear, I need your divine / And I think about you every day. I’m hoping I’m the paper underneath your pen.”
9fm (short for Ninth Floor Mannequin) is the solo music project of New Jersey-based singer/songwriter and multi-instrumentalist Jarrod Pedone. Drawing influences from some of his favorite artists like Paul Simon, Fleet Foxes and James Blake, Pedone melds folk and alternative rock, injecting bits of synth pop here and there to create fascinating and pleasing songs. He’s also a big fan of the classic TV show The Twilight Zone, as well as the more recent Twilight Zone-influenced British sci-fi anthology series Black Mirror, and many of his song lyrics are based on particular episodes of those shows.
In September 2018, I reviewed 9fm’s marvelous EP Little House, and am now happy to feature his latest single “First Blush” which dropped April 27th. The song is based on Season 3, Episode 4 of Black Mirror, entitled “San Junipero”. San Junipero is a simulated beach resort town where the deceased can live and the elderly can visit, all inhabiting their younger selves’ bodies in a time of their choosing. The plot involves two women, Yorkie and Kelly, who meet at a nightclub, and eventually become romantically involved. They meet up at different times over the years in both San Junipero and in the real world, where they face real-life complications. In the end, both are euthanised so that they can be together in San Junipero.
9fm wrote the music and lyrics, sang vocals and performed all the music on “First Blush”, as well as recording, mixing and mastering the track himself in his home studio. Starting with skittering percussion and assertive drumbeats, he layers lo-fi synths, humming keyboards, and what sounds like a bass guitar, though it could also be guitar that’s been fed though a pedal or some other device to give it a deeper tone. The result is a dramatic, fast-paced song that captures the sense of urgency and emotional intensity described in the lyrics about an unusual and logistically challenging love affair. His smooth vocals have an ethereal, almost otherworldly quality that’s quite pleasing and well-suited to the subject matter. “First Blush” is another fine effort from this talented guy.
A life in a place & time, we didn’t choose Abide by the rules we find, oh ’ til we’re through Then I decide on a place in a time to reside that I wished were true But who we are we can’t escape, so I wrecked that too
At first blush I came on way too strong I’d never known someone like you So I knew first, the path that I would choose I’d trade that life for one with you Please see it through You’re all I have to lose
A place in a time designed for our own use A place we can feel alive, in health & youth So I decide on a place in a time to reside that I wished were true So now here we are now free to stay, until we’re through
Without a doubt, the lives we learn to lead die out, & then, leaving us only to find out, the lives we’re meant to lead are found, not with, but without, stable ground
This past January, I introduced my readers to Surrija, the music project of the hyper-talented singer-songwriter Jane Lui, when I reviewed her marvelous single “Nothing Love”. The song was the lead single of her self-titled album Surrija, which dropped April 3rd. Born and raised in Hong Kong, and now based in Los Angeles, Lui began studying classical piano at the age of five, and that traditional training, combined with her love for the music of artists like Tori Amos, Kate Bush and Björk, helped shape her unique sound and music style. She has a gorgeous and unusual singing voice, and uses it almost like another instrument in her arsenal, seducing us with tender whispers one moment, then startling us with a feral urgency the next.
Recording under her given name, Lui produced three studio albums between 2004 and 2010, along with numerous singles and covers, which you can find on her Spotify, Soundcloud, and YouTube pages. Despite her success, however, she felt constrained, and wanted to make music that more closely reflected what she refers to as her “slightly feral tendencies.” It was with this new approach that Lui rebranded herself as Surrija. In 2016 she spent time in Barcelona, Spain, where she initially found inspiration from Picasso’s artistic output during his own years spent living there. But eventually, she became fascinated instead with his famous lovers and muses who he kept in the shadows, often preventing them from realizing their own potential. Wanting to tell their story, she began researching about some of them and writing songs for what would become her debut album Surrija. As a concept album, Surrija is a complex and remarkable work, with a lot to unpack. Not being a musician, I approach this review with a bit of trepidation, as I hope to adequately articulate at least some of its many nuances.
The first album cut and lead single “Nothing Love” actually predates her time spent in Barcelona, as it was written in 2013. The song – and the entire album actually – is a musical feast for the ears, with an impressive array of instruments, synths and sounds. Starting with a foundation of stuttering dubstep beats, Surrija and her team of musicians layer a rich and colorful kaleidoscope of sounds and textures to create a dramatic and rather chaotic soundscape that thrills and surprises at every turn. Surrija plays the Moog synthesizer, electric organ, piano and mellotron, Matt Chamberlain plays drums, mixed percussion and modular synths, Maxwell Gualtieri plays electric guitar, Sophocles Papavasilopoulos plays piano and clarinet, and Christine Tavolacci plays the enchanting flute that’s one of the song’s highlights for me. Lui told the webzine Clout: “‘Nothing Love’ is about the kind of heartbreak that hurts so much it feels absurd”, and her fervent vocals most definitely convey that kind of emotional intensity.
Albert Chiang, Surrija, Maxwell Gualtieri & Sophocles Papavasilopoulos
Next up is “Barcelona“, one of my personal favorites on the album. Like most of the tracks, it was co-written by Lui and Albert Chiang, and while the lyrics are ambiguous to me, the song’s arrangement and Surrija’s captivating vocals are incredible. The song starts off almost tentatively, with wobbly industrial synths set to a slow dubstep beat as Surrija’s softly croons. Subtle keyboards and haunting guitar notes enter as the song builds, soaring to a dramatic crescendo in the chorus as she passionately sings “I’ll be waiting in Barcelona”, covering me in goosebumps.
A number of songs are named for Picasso’s paintings, muses or lovers, the first of which is “Sylvette“, which is also the title of Picasso’s 1954 painting of a young woman with a pony tail. The model for the painting was a young French woman named Lydia Sylvette David, who worked in a pottery studio near Picasso’s studio. Finding her appearance appealing, he ultimately created 40 works inspired by her. It’s been said that she was an inspiration for actress Brigitte Bardot and the Roger Vadim film And God Created Woman. Now 85, Lydia starting drawing to pass the time while she sat for Picasso, and became an artist in her own right. (Wikipedia) Musically, “Sylvette” has a throbbing synth-driven dance vibe with funky guitars and sharp drumbeats. Surrija’s soulful vocals remind of a bit of Madonna on this track, which actually sounds to me like a song Madonna could have sung in the 90s.
“Minotaur” is inspired by Picasso’s fascination with the mythical creature, which was a prominent and recurring motif in his artwork from 1928-1958. The bull is a significant element in Spanish culture, representing power and strength, as evidenced in the rituals of bullfighting and the running of the bulls. For the online art webzine Widewalls, art critic Balasz Takac observed that Picasso “apparently perceived himself as the Minotaur, a creature of huge physical power and sexual energy, which suited his need for expressing the male principal in all of its glory. He somehow saw the battle in corrida through the prism of his own relationships with women. On the other hand, it is also important to point out that the bull is a rebellious and durable animal eager to resist the attacker, which is relevant in the light of Picasso’s political engagement and reaction on the rising Fascism in the 1930s.”
I may be way off, but the lyrics “Behind the terror where the gentle lives / Breathing heavy always counting on the scars and open wounds / She knows those lilies and nightlight” seem to speak to how one of Picasso’s lovers would deal with him in the context of his identity as a Minotaur.
Another favorite track of mine is the enchanting “Dora“, highlighted by beautiful violin, deep, resonant piano keys, and Surrija and Albert Chiang’s exquisite vocal harmonies. The song is named for French photographer, painter and poet Dora Maar (aka Henriette Theodora Markovitch), who had a tempestuous affair with Picasso from 1935-43 (even though he was still somewhat involved with his previous lover Marie-Thérèse Walter). He painted many portraits of her, often depicting her as a tortured, anguished woman, which she did not appreciate. The most well known of these portraits is “The Weeping Woman.” Her sentiments are vividly expressed in the lyrics: “You introduced me to your war / I learned a lot keep folding it in / Take care of the dark / Knife between the roses on the table top / The blood I kept and promised / Like a dream come true / You’re a dream come true.”
Serial philanderer and overall louse that he was, Picasso dumped Dora for his next lover Marie Françoise Gilot, with whom he had a stormy affair from 1943-53, and subject of the song “Gilot“. She was also an accomplished artist, but her professional career was eclipsed by her involvement with Picasso. After they split up, he discouraged galleries from showing or buying her work, and tried to block the publication of her memoir Life with Picasso. (Still alive at 98, she later married Jonas Salk, developer of one of the first polio vaccines.) “Gilot” has a harsher, lo-fi sound, with a skittering dubstep beat and spacey synths, highlighted with some somber piano keys. With breathy, ethereal vocals, Surrija softly laments as Gilot, coming to terms with Picasso’s shortcomings and finally choosing to move on: “You could be here with history waiting / Keep still for a moment / ‘Cause I know you and all you want to take / I see you through your loops and endings / Sweet wreckage awaiting / It’s hard but i will walk away.”
“Turnstile Hostile” seems to address Picasso’s penchant for having a revolving door of lovers, and his mistreatment and ultimate discarding of them: “Turnstile hostile temperamental / We lined up for your blows / Arms up gun point my anger hollowed / Can’t feel the quiet it’s time to go.” The gnarly synths, gritty bass and punchy drums create a discordant vibe that suits the biting lyrics. “Semibelieve” is a rather haunting, ethereal song with ambient psychedelic synths, delicate piano keys and distant sounds of crickets. I can’t figure out what the lyrics are about, but Surrija’s soft, breathy vocals are lovely as she sings them.
“Mercy Street” is a beautiful and haunting cover of the song written by Peter Gabriel that originally appeared on his 1986 album So. Though unrelated to the subject matter of the other tracks, it seems to fit the album’s overall theme quite well, The album features two brief instrumental tracks, the first of which “She Learned to Not Be Scared” consists of a pensive but lovely piano melody accompanied by ambient sounds of rain and thunder, broken at the end by sounds of a tape recorder being turned on with some entirely different music playing before being abruptly shut off. The second is “H.U.M.“, which is essentially 30 seconds of deep synth bass.
The album closes with the beautiful piano ballad “Almost Time“, a bittersweet song that seems to speak to broken relationships and the pain they leave in their wake: “Well it’s almost time / Maybe you’ll get lucky / At least in my mind / No answers for I know I’d lose / But i can say ‘least I tried so I can hide.” The only sounds we hear are Surrija’s captivating piano and vocals that start off tender and heartfelt, then rise to an impassioned plea in the chorus that brings chills.
Surrija is a brilliant and innovative work, and one of the most fascinating albums I’ve heard so far this year. Though each track can stand on its own, I think the album should be listened to in its entirety from beginning to end to fully appreciate its beauty, power and nuance. Surrija and her fellow musicians have crafted a stunning work that should make them all quite proud.
Ben Priory is a talented young music producer and composer from the southern English coastal city of Portsmouth. Influenced by some of his favorite artists like twenty one pilots, Mike Shinoda and Only The Poets, he skillfully creates fascinating and compelling synthwave and synthpop songs having a level of maturity beyond his young age. Last June (2019), he released his stunning debut single “Here We Go”, a collaboration with fellow musician and singer/songwriter Charlie Pereira, both of whom were only 17 years old at the time. I reviewed the song and loved it so much it spent many weeks on my Top 30, and ended up on my Top 100 Songs of 2019. He followed up that October with “If Only”, an enchanting and trippy song with trap and Middle Eastern elements, and featuring vocals by Michael Lacroix.
Now Ben returns with his first EP Solent Side, a concept work of sorts with songs inspired by his having grown up by the seaside. The sea around the city of Portsmouth is called “the Solent”, and Ben told me “Solent Side is about the connection with where you grew up, where you feel you belong.” Once again, he collaborated with several vocalists and musicians on the songs. The EP was mixed and mastered by Philip Marsden.
The first track “Night Shift” features captivating vocals by Belfast artist Crash Helmet Kid, who also played guitar. Starting with a throbbing synth bass groove, Ben layers all sorts of delicate and spacey atmospheric synths and sound textures to create a beautiful otherworldly soundscape for Crash Helmet Kid’s angelic, ethereal vocals. I could listen to this bewitching track again and again.
“Burning” is a marvelous piano-driven track that transitions back and forth between a languid, rather moody vibe and an exuberant head-bopping dance beat. Ben’s keyboards are wonderful, as is the guitar work by Ollie Lowres and Charlie Pereira. We also finally get to hear Ben sing here, and his vocals are terrific. The lyrics seem to be autobiographical, speaking to his own coming of age as a musician and wanting to explore the world beyond Portsmouth: “There are dreams in my head, I have visions. Dancing on the stage, people singing my songs. I lie awake at night, simply thinking. You lie there too, simply aching. And we’re burning. / There’s a wide, wide world waiting for you. So get yourself outside and go find it. And we’re burning.”
Ben takes a pensive turn with “Fluoride“, a lovely track about growing up and learning to accept responsibility for one’s actions, particularly with regard to how we treat one another (at least that’s my interpretation of their meaning). The poignant lyrics are beautifully sung by English singer/songwriter Elisia Carter, who conveys a vulnerable sense of resignation about her friend’s immaturity, yet remaining hopeful that he will learn to value and respect her: “Rolling downtown in your white Mini Cooper / Playing around in a drunken stupor / You wonder what’s it like, life on the other side. / Fluoride, fluoride, can you light up the night? Can you call me by my name?” I love the song’s mellow hip hip beat, jangly strummed guitar, gentle vocal harmonies in the chorus, and the sounds of falling rain throughout that give the track a somber vibe.
The final track is a remix of Ben’s prior single “If Only“. The original version had a strong trap beat, highlighted by a simple but mesmerizing piano riff, accompanied by otherworldly synths. The remix is shorter, and has a slowed-down trip hop beat, with harsher, more industrial-sounding synths and ominous piano keys that give this version a darker feel. In the original version, Michael Lacroix repeated the lines “I wanna follow my dreams / If only you let me”, but in the remix his vocals are electronically altered to the point of being an unintelligible chant that nevertheless resonates with the listener.
Solent Side is a wonderful little EP that provides further evidence of Ben Priory’s impressive songwriting and production talents. He’s an imaginative guy, and I love that he not only explores a variety of music styles and sounds, but also collaborates with lots of musicians in the creation of his songs. I can’t wait to hear what he comes up with next.
James Bakian is an exceptionally talented, hard working and charismatic young singer/songwriter from London, England. He wrote his first song at the age of six, began studying piano at seven, and released his first EP By Your Side in 2016 when he was only 13. He followed up in late 2017 with his appropriately-named second EP Unstoppable, a really fine effort featuring six tracks. Since then, the prolific artist has released an astonishing 18 singles, his latest of which, “Find Me,” drops today, March 13th. I’m pleased to choose the soulful track as my New Song of the Week.
James writes all his lyrics and music, records all the instruments, and produces his own songs. I’ve been following him for over three years, and it’s been gratifying to watch him grow professionally. Now 16, his songwriting, music and vocals get better and better as he matures, and he’s grown from a cute kid into a teen heartthrob. (I’ve featured him three times previously on this blog, and you can check out those reviews, which are listed under ‘Related’ at the bottom of this page.)
“Find Me” is languid and sultry, highlighted by James’ sublime piano keys that have an almost jazzy feel. With his piano riff as a centerpiece, he adds warm, shimmery synths of strings and gentle percussion to create a romantic soundscape for his smooth and soulful layered vocals. As James has matured, his voice has likewise deepened quite nicely. The music, melody and vocals are all incredibly pleasing, resulting in an exceptional track.
The lyrics speak of longing for a girl to the point of obsession, even though she barely knows that you exist:
Just leave me be I’m doing my own thing Didn’t suspect that you would notice me Tryna figure out if I still fit in my skin And I ain’t tryna change Take me back Back to the time when I didn’t have a care in the world and I knew I had a purpose I don’t wanna live in a world where I can’t share my life with somebody who is worth it
I think I’ve found a girl but she gotta find me Cause I know that one day ima call her baby and I’ll tell her what I want whispering it slowly When I look at that smile I keep going crazy
I keep dreaming ‘bout you Always longing for you Ain’t no reason not to And I’ve been meaning to let you know I keep dreaming ‘bout you Always longing for you Ain’t no reason not to Oh-oh-oh I’ll let you know one day as long as you find me I’ll let you know one day as long as you find me
Girl you got what I been needing Everything about you turns me on Do I gotta have an explanation I’m obsessed with you is that wrong? Tell me what I need to do If I wanna spend whole my life with you I’ve been all alone in my feelings Ain’t nobody who make me feel like you do
Ain’t nobody, ain’t nobody, ain’t nobody Ain’t nobody make me feel like you do Ain’t nobody, ain’t nobody, ain’t nobody Ain’t nobody make me feel like you do
A few weeks ago, I featured Cork, Ireland-based collaborative music project SomeRiseSomeFall when I reviewed their beautiful song “The Rain Came Down on Everything”. After reading that review, fellow Corkonian (I love that word) musician and singer-songwriter Cormac O Caoimh reached out to me about his new single “I’m in Need“, and I’m glad he did because I really like his music! He’s a skillful wordsmith and guitarist, writing sublime indie folk/pop songs overflowing with thoughtful, intelligent lyrics about the universal subjects of life, love, hope and loss, and delivered with subtle hooks, fine instrumentals and his pleasing vocals that sounds a bit like Paul Simon at times. His catchy melodies seem to effortlessly draw us in, then stay with us long after the songs end. I found myself humming “I’m in Need” long after hearing it. As Mojo Magazine so eloquently put it: “each song superglues to the memory“.
Cormac has released a substantial amount of music over the past 15 years or so, including four studio albums, the most recent of which was his marvelous 2017 release Shiny Silvery Things. (I strongly encourage my readers to check out his music, which you can find on most music platforms, some of which I’ve listed at the end of this post.) Now he’s putting the finishing touches on his forthcoming fifth album Swim Crawl Walk Run, due for release on May 15. “I’m in Need” is the album’s lead single, which Cormac released on February 21st. The single and album were produced by his friend and fellow musician Martin Leahy, a talented multi-instrumentalist who’s collaborated with Cormac on previous records, and also played drums, bass, keyboards and more on the new album. The lovely backing vocals on “I’m in Need” and other tracks on the album are by Aoife Regan.
Cormac gave me the opportunity to have an advance listen to Swim Crawl Walk Run, and it’s a stunning work. It’s obvious he poured his heart and soul into it, as he explained in his message to me: “It is the first album I actually enjoyed making. I have been playing live with Martin Leahy for over 8 years but this is my first time making an album with him. It was a joy. I loved the whole process. It was relaxed, exciting, calm, manic. Everything. And the end product is something I could not be prouder of. The songs morphed and moved and grew during the process and the end result is an album I’m not sure I can top. It is full of singles. I want to release them all and I can’t wait for the first one to get out there.”
About the song, Cormac states: “During the writing of ‘I’m in need’ I did have the simplicity and directness of The Beatles ‘Help!’ as an influence. ‘Help me’ as a lyric is so fragile and honest and sad…but the song isn’t. The song is catchy and poppy. It works on two levels. I wanted the same for ‘I’m in need’. I wanted it to have meaning but more so a groove and be catchy. The feeling of the song also evolves. What starts as vulnerable ends up as a celebration of our humanity. We are all in need at times. Our feelings can be shaped by our thoughts. Musically the chorus gets more emphatic and joyful as the song progresses musically demonstrating the power of positivity.”
“I’m in Need” has a mellow and catchy acoustic-guitar driven melody, but a deeper listen also reveals a slight jazzy quality to Cormac’s guitar work that’s quite marvelous. His guitar notes beautifully meld together with the gentle percussion and keyboards, resulting in a harmonious and captivating soundscape. His calm, smooth vocals are exquisite, and like the music, blend in perfect harmony with Aoife Regan’s backing vocals. I like the spacey little sound effects inserted into the middle of the song that perk up our ears. It’s a lovely and wonderful song.
Catch Cormac at one of these upcoming shows, all in Ireland:
Apr 27 – Mick Murphy’s, Ballymore Eustace May 02 – The Glens Centre, Manorhamilton May 15 – Album launch @ The Kino, Cork May 29 – The Dc Music Club, Dublin Jun 12 – The Weir Folk Club, Midleton
“You live / You Love / You Learn / And You Lose.” A pretty cynical observation about the nature of life, this, but these words were in fact an impetus for the man who wrote them to change his life going forward. So states the Chicago-based singer-songwriter and musician who goes by the moniker “The American Man”. Like a lot of musicians who choose to identify themselves with an artistic moniker rather than their given names, he desired to disappear behind the name and have his songs speak for themselves.
He’s a massive Bob Dylan fan, and as such his music and sound is heavily influenced by Dylan, both musically and lyrically. His music consists only of his acoustic guitar and harmonica, and his lyrics are poetic, honest and heartfelt. And what’s more, his vocals sound alarmingly similar to Dylan’s, right down to their raspy texture and pitch.
In November 2019, he released his marvelous debut album Life & Times, featuring eight tracks that touch on aspects of life, love and loss identified in the opening words of this post. On February 14 he appropriately dropped his latest single “The Last Valentine“, an understated, yet magnificent song which I’m pleased to feature today. He explained the song’s background:
“The song was written four years ago this very week. Trump wasn’t yet in office, mass shootings were taking place, tension was in the air, and I was waking up in the middle of Chicago on Valentines day on the street. It was 15 degrees or so, and I walked across the city in the cold. My wallet was stolen and my phone was stolen and I was bleeding down my head. Halfway home I laid down in an alley and cried. But I wasn’t jumped; I was in the deep end of my alcohol and drug problems that stretched on relentlessly for five years. And then I got sober, let go of song writing, put this song on the back burner and had to do the hard work work of building my life. I spent three years off the internet, and a few weeks ago it dawned on me that I had this song tucked away. So I dug through several hundred pages of old lyrics over a few hours to find it, set up my iphone and hit record. Then I thought I gotta share it with the world, so I bought a lap top and made this video. I thought that the song was interesting because [even though] it’s four years old, it still holds up.”
“The Last Valentine” is inspired both melodically and lyrically by Bob Dylan’s 1962 song “Let Me Die in My Footsteps”, which Dylan wrote after he watched construction workers building a bomb shelter one day. He was struck by the insanity of peoples’ upside-down reasoning during the Cold War – that instead of us learning how to live, we were learning how to die. In that same vein, The American Man explores the similar irrational, hateful and destructive thinking occurring in America today:
I met a young boy who was free in his soul
They beat him so bad and left him dead on the road
But he stood up and walked led by his mind
He stumbles on home as the last Valentine
As he wars through the ruse
You live, you love, you learn and you lose
I watched all the red-blooded American folk Swallow their leader and violently choke And neath their red eyes was a heart filled with hate If you do not act soon it might be too late There a war without truce You live, you love, you learn and you lose
Outside the Trump rally Within the great wall A homeless man fell to all that he saw And with his stained shirt he wipes his watery eyes Some are learning to live, some are learning to die Oh young boy here’s old news You live, you love, you learn and you lose
All incredibly powerful and brilliantly-written words that deeply resonate with me! For the compelling and provocative video, he used footage of actual events and scenes and images from popular films and music videos (some of which may result in removal due to copyright infringement, though I certainly hope not). Take a look and have a listen:
Cayley Thomas is a singer-songwriter and guitarist born and raised in Edmonton, Alberta, Canada and now based in Toronto. With a beguiling singing voice and talent for writing songs with arresting melodies and compelling, heartfelt lyrics, she’s been recording some very fine music for the past several years, beginning with her debut EP Ash Mountains in 2013. She followed up in 2016 with the excellent album Weird Love, then dropped an enchanting single “Midnight Hours” in November 2019. She’s now back with a great new single “Blue Jean Baby“, which along with “Midnight Hours” will be included on her forthcoming album How Else Can I Tell You?, due for release on May 1.
About the song, Thomas explains “‘Blue Jean Baby’ explores the pattern of feeling responsible for the emotions or actions of others at the expense of our own wellness. It’s like when you’re on an airplane and they tell you to put your oxygen mask on first before assisting other passengers. The accompanying video takes a sobering look at this. I think we can become preoccupied trying to do someone else’s work for them as a means to avoid our own self reflection.”
Musically, the song has a languid, doo wop beat, and features a rich mix of instruments that produce an interesting and pleasing soundscape for Thomas’ sublime vocals. She plays the subtle organ work on the track, and has the assistance of several other talented musicians, including Connor Snell (who plays her boyfriend in the video) and Josh Beatty on guitars, Ben Whiteley on the terrific bass, Robin Claxton on drums, James Hill on synth, and Naman Cale adding an enchanting musical element to the song with his marvelous vibraphone. Josh Eygenraam and Aaron Parker provide the cool sci-fi sound effects that arrive at the end like an alien spaceship.
eyes closed against the passenger window everything in slow motion barefoot high heels in hand and i’m stumbling home to him
my blue jean baby don’t worry baby a love like yours will do me in
tv static and hazy a dreamer of pictures and moonlight everyone knows that you’re headline news baby but stumble back home to me
my blue jean baby don’t worry baby a love like yours will do me in
The brilliant video, which stars Thomas and curly-haired musician Connor Snell as her too-cute-for-his-own-good boyfriend, along with a number of her Edmonton friends, was also produced and directed by Thomas, and edited by Thomas and Ryan Gullen. It shows Thomas and Snell at a party with friends, where everyone’s drinking and having a good time – with a few of the guys, including Snell, drinking too much. The mood changes as Thomas and her girlfriends become sullen, staring coldly at their boyfriends who are getting increasingly drunk. Eventually, Snell passes out, and she now has to be the adult and carry him home and put him to bed. Disgusted, she goes out into the cold night and ponders her situation before going back inside. After the credits, she and Snell are shown sitting at the breakfast table the next morning, him trying to eat some breakfast while she quietly writes in her journal and avoids looking at him. Watch the video:
As a music blogger who’s been at this more than four years, I still marvel at the fact that artists and bands would want me to write about their music. I receive a continuous flood of music submissions every week to sift through, sometimes overwhelming me to the point of despair, but every now and then some of it stands out in the crowd. One such artist is Dunkie, the music project of Welsh singer/songwriter Anthony Price. Hailing from the town of Mountain Ash in the South Wales Valleys, Price has written and recorded songs for many years, and at the end of December (2019), he released his debut album Working to Design. It’s an exquisite and monumental work, featuring 17 tracks exploring the universal subjects of life, love, the passage of time, death and loss, but also healing, hope and rebirth.
It’s a concept album, with songs partially inspired by the books and works of author Richard Matheson, but also an ambitious and deeply personal labor of love. Price has spent the past two years of his life, toiling countless long hours writing and recording the songs and meticulously working to get each track just right, as well as making imaginative videos for a few of the songs. In advance of the album, he released four of the tracks that are featured on Working to Design, beginning with “Can a Song Save Your Life?” in May 2018, and subsequently dropping another single every few months.
The songs were all written by Price and flawlessly produced, engineered, mixed and mastered by Wayne Bassett at Robot Recordings in Aberdare, Wales. Besides Price and Bassett, who played numerous instruments on many of the tracks, more than 30 other musicians and vocalists performed on various tracks, making it a truly collaborative effort on a near-epic scale. Another interesting aspect of the creation of this album is the use of dramatic artwork by Welsh artist Michael Gustavius Payne. The album is dedicated to the memories and lives of many of Price and his family’s loved ones, including some of their beloved pets, one of whom (Flea) is named in a song title.
Just over a year ago, I wrote a piece on Dunkie which included a review of the first four tracks he released, which you can read here. But now that the album is out, it’s a revelation to hear it in its entirety, as it flows seamlessly from one track into the next like a journey through song. The album opens with “∼Introduction∼So Little Time∼“, setting the stage for the musical and lyrical beauty about to unfold over the next one hour and 14 minutes. It’s immediately apparent that Price put an incredible amount of thought and care into creating the stunning instrumental soundscapes for his thoughtful, and sometimes brutally honest lyrics. When he sings “So much to do, so little time. It’s nice to know you’ll wait a while“, we willingly follow him along on this journey.
With 17 tracks, there’s a lot to unpack on Working to Design, and I’ll try to keep my review as succinct as possible – never an easy thing for a detail-oriented writer like me. “The White Hole” has an alt-rock vibe, with layered electric guitars, psychedelic synths and a gentle drumbeat driving the song forward. To my ears, Price’s soft vocals remind me at times of John Lennon in tone and style, only a bit higher in octave. In fact, it sounds like a song The Beatles could have recorded in their later, more experimental phase. The song immediately segues into the lovely “Can A Song Save Your Life?“, an optimistic song about the healing power of music. Price explains his inspiration behind the lyrics: “The concept behind this song is trying to find a little hope; when all really seems a little lost. When the deepest, darkest moment seems to smother over you, when it suffocates you. But then the littlest gesture lifts, the smallest moment lifts, a piece of music, a film or song you love just lifts you.”
“Rabbit Hole” is a poignant song about coming to terms with the agonizing pain of the loss of a loved one. Price wistfully sings: “Tumble and fall, this rabbit-hole is funnel-webbed and soaring. I fear I’ll never reach this endless horror I fold upon myself… Another pill dissolves; I’m crawling faster to the edge. To the edge for you.” The track has a serene, rather bittersweet melody with gentle guitar, synths and percussion, and the vocal harmonies are really nice.
The beautiful and endearing video shows a large group of family and friends coming together for a picnic to remember a loved one. About the people in the video wearing rabbit masks, Price explains: “I wanted people to be wearing masks. I loved the metaphor of hiding behind many a mask. Oscar Wilde once said ‘Man is least himself when he talks in his own person. Give him a mask, and he will tell you the truth’. The ‘dunkie’ name and music is my mask. So I wanted to represent the mask in these videos. In particular I wanted to represent them by the use of Wintercroft Masks. Each mask is a downloadable PDF template, each mask has to be created individually, and each mask can take about 2-4 hours each to create (longer if you’re me!!). Added here was the decorative design I wanted to include by adding my own song lyrics, in multiple languages (and the entire pages of Crime and Punishment) upon each mask face.”
One of the more musically interesting and lyrically enigmatic tracks is “I Don’t Wanna Die in Minnesota (Part II)“. Though I’m not sure, the lyrics seem to be about not wanting to waste one’s life: “I don’t wanna die in Minnesota. All liberties lost and the walls move in closer. ‘When I need you to jump I’ll give you the order!’ Dead diaries day to day – for how long do I stay? I’m afraid to waste my life down in Minnesota.” “I Think I’ve Been Asleep (All My Life)” is a folk-rock song with a gospel vibe, thanks to the sublime organ work. The lyrics speak to sleepwalking through one’s life, barely connecting with those around you: “Never knew your life, never knew you long. Regretting all the silence now that you’re gone. What a fool to be. Blind faith and empathy.” I really like the soulful guest vocals of Lucy Athey and Cat Southall on this track.
“∼Intermission∼an Ode to a Flea∼” is a lovely little song in honor of one of Price’s beloved departed pets. “(W.A.L.L.S.) Within a Little Love Song” is a stunning and heartfelt ode to a loved one, affirming that even though you may not say it as often as you used to, your love for them is as strong as ever: “(You know) yesterday I loved you. (Don’t forget) I have and always will. (But through) the years I spoke it lessened. (Know this) my love’s never subdued. So I’ve found these words to sing and they’re all for you, they’re all for you.” The chiming guitars and soaring vocal harmonies are gorgeous.
I think my favorite track on the album is “Ten“, an enchanting, mostly instrumental song. It opens with sounds of a bird chirping, followed by an acoustic guitar and lovely a cappella vocal harmonies. Gradually, an achingly beautiful flute (played by Tony Kauczok) and cello (by Isobel Smith) enter, accompanied by Wayne Bassett’s delicate piano keys and Price’s lovely falsetto vocals, transporting us to a dreamy state of mind. The only lyric is “I’m just working to design. Perfectly flawed…“, which Price repeats throughout the song. I’m guessing it’s his philosophy for his life, and the overriding theme of the album. The song is so beautiful and moving it brings tears to my eyes.
“1896” is an introspective look back at life, family and career, and of choices and decision made, for better or worse: “I’ve been a Father, and I’ve been a Brother. I know now that decisions may have been wrong. I have imploded and I’ve fought with self-control. I’ve seen my children grow. I’ve taken all I can from the love of this band.” The majestic orchestral instrumentals, highlighted by a trumpet played by Charlotte Jayne Goodwin and Mellotron by John Barnes, make this a spectacular song. “Sugar” is a sweet (no pun intended) love song of thanks to a partner who has stood by you through good times and bad, with unconditional love.
Another favorite track of mine is the haunting “71-41-11“, a deeply moving tribute to Price’s father, who passed away from cancer in February 2015. The song, along with the following track “The Memory Tree“, were an effort by Price to come to terms with his pain and loss, and help him to move forward. The song’s title consists of the age of his father when he died [71], Price’s age when his father died [41], and the age of his eldest son when his grandfather died [11] – each 30 years apart. The mournful, but beautiful song has an ethereal feel reminiscent of Sufjan Stevens.
A particularly poignant aspect of this song is how Price, through the help of another musician (Scottish musician BigRoundBaby aka Stephen McKinnon, who’d experienced his own grief over the death of his mother), managed to include his father’s voice on the track. Price recalls “During the 60’s I remember my Father and Mother made a spoken vinyl 7” ‘Record’ together when they were first dating. They went into a portable recording booth and just playfully and awkwardly sang, and coaxed each other to say words into the microphone. I remember as a teenager listening to the recording, it was very crackle but thankfully my friend was able convert the vinyl recording into a MP3 file. I wanted the song to have my Father’s voice, to keep him close by always, and I wanted it to be accompanied with my own children, his beloved grandson’s, to just create a time capsule moment.” Their voices can be heard at the end of the track. Also, McKinnon played electric guitar, bass and percussion on the track, and along with his daughters, sings backing vocals.
The gorgeous track “The Memory Tree” is a song of celebration about the power of memories, inspired by the book of the same name by Britta Teckentrup – Illustrator. An example of Price’s phenomenal songwriting are these touching lyrics: “From a child… you towered above me. You never once made me feel at all small. You’d fall to your knees, just so I’d feel the same size. And one by one these stories will climb through…A tree made of memories and full of love (for you).”
‘The Memory Tree’ by Michael Gustavius Payne
The final track “∼Closure∼1972∼” revisits the lyrics of “1896”, only this time told from a woman’s perspective: “I’ve been a mother, and I’ve been a lover. I know now that decisions may have been wrong.” It’s a gorgeous song, with lovely vocals by Jennifer O’Neill Howard, lush piano and mellotron played by John Barnes, acoustic guitar played by Price, an enchanting Glockenspiel played by Wayne Bassett and a stunning choral vocal arrangement by Matt Williams.
I cannot gush enough about this magnificent album. I realize the word sometimes gets overused, but I feel safe in saying that Working to Design is a true masterpiece in every respect. It’s quite honestly one of the most perfectly-crafted albums I’ve ever had the pleasure of hearing. Anthony Price, Wayne Bassett, and all the musicians and vocalists who assisted in the creation and production of this gorgeous work have much to be proud of.
Ben Priory is a talented young music producer and composer from the southern English coastal city of Portsmouth. Influenced by some of his favorite artists like twenty one pilots, Mike Shinoda and Only The Poets, he skillfully creates fascinating and compelling synthwave and synthpop songs having a level of maturity beyond his young age. Last June (2019), he released his stunning debut single “Here We Go”, a collaboration with fellow musician and singer/songwriter Charlie Pereira, both of whom were only 17 years old at the time. I 
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