Tag: Synthpop

THE BRIGADIER – Album Review: “Sailing the Seven Neuroses”

On By EclecticMusicLoverIn Reviews17 Comments
Boat photography by Ben Yates.

I recently learned about The Brigadier, the music project of singer-songwriter, musician and producer Matt Williams, when he reached out to me about his new album Sailing the Seven Neuroses. Originally from Wales but now based in Devon, England, he’s had music in his blood since his teens. He grew up listening to his parents and older siblings’ records that ran the gamut from rock and roll, country and bluegrass to 80s pop, new wave and rock, plus his dad plays guitar and banjo and was always in bands. Matt started learning to play guitar at the age of 13, and began playing in a series of bands. By the early 2000s he was living in Brighton, where he fronted a band called Brigadier, where he was the main songwriter and singer. Though they rehearsed for quite a while, the band never really took off, and when they eventually fell apart he kept the name as a solo artist.

In 2007, he released his debut album View from the Bath, and over the next 10 years he released another five excellent albums, as well as four seasonally themed EPs. Influenced by some of his favorite acts like Queen, The Beach Boys, The Beatles, Nick Lowe, The Divine Comedy, early Genesis and Pink Floyd, Steely Dan, Black Sabbath and Led Zeppelin, as well as country rock, 60s, 70s & 80s pop, and synthpop, his highly melodic music is a pleasing blend of power pop, rock, folk and synthpop elements, featuring relatable lyrics reflecting his life and relationship experiences expressed through his comforting low-key vocals.

In addition to his prolific music output from 2007-17, Matt also produced and recorded soundtrack work for documentaries and short films, and his music garnered both local, national and international radio coverage, including BBC Radio 1, BBC Radio Wales, BBC Southern Counties and Radio Devon, as well as performing live sessions and interviews for BBC Southern Counties and BBC Devon, and in USA and Europe, as well as magazine coverage. He’d intended to continue with his music, but life, family and jobs took precedence, leaving his time and energy for making music rather depleted. Now, after an eight-year hiatus, he’s back with his seventh album Sailing the Seven Neuroses, which dropped yesterday, June 18th.

Photo by Digital Horse Brasses

All songs on the album were written, performed and produced by The Brigadier, with the exception of drums on “The Purge” and “Hot Solace”, which were played by Emily Dolan Davies, “What about tomorrow?” by James Carmichael Dooley, and “It’s you I think about” and “Don’t go to bed with a bad mind” by 444. Mastering was done by Wayne Bassett (who’s also a member of Welsh electro/art punk band Head Noise, who I’ve featured several times on this blog) at Robot Recordings. And rather interestingly, like all previous albums by The Brigadier, Sailing the Seven Neuroses features 13 tracks.

I’m always a bit apprehensive when an artist I’m unfamiliar with approaches me about possibly reviewing their album, but my reservations were quickly put to rest as I listened to Sailing the Seven Neuroses, as there’s much to like here. The album opens with “Bleak Companion“, a marvelous power pop song that hooked me right from the start. The lyrics speak to dealing with the day to day routines of work and obligations that seem to get in the way of living: “I’m so tired of having to get out of bed to do the things I have to do, but there’s no other way.” In addition to the infectious driving melody and stellar guitar work, I love the airy synths and Matt’s exquisite layered vocal harmonies.

The song gently segues into the lovely second track “The Purge“, and as the song unfolds it’s clear Matt hasn’t lost a step during his long time away from music. In fact, his musicianship and vocals sound better than ever. This song reminds me of some of Todd Rundgren’s early work, though the harmonies seem to channel the Beach Boys in spots.

Those wonderful harmonies are on full display on the incredibly pleasing “Blessings“, which features some gorgeous jangly guitars and spirited piano keys over a lively, upbeat melody. The Brigadier admonishes us to appreciate what we’ve got and not compare ourselves to others: “Count your blessings before you mess things up reflecting on the stuff you haven’t got. Don’t compare and contrast, ’cause you’ll only take a fast track to feeling pretty down about your life.“

The great songs just keep on coming. “Peace within the Poison” has a delightful retro 60s vibe that calls to mind some of the great pop songs by the Lovin’ Spoonful and Beach Boys, but with a contemorary treatment. And once again, I must call out The Brigadier’s lush vocal harmonies, which are also nicely featured on the enchanting “Perfect Surprise“.

The Brigadier takes us into the 80s with the exuberant, synth-dominant beauty “Hot Solace“, a song about not letting petty problems and slights get the best of us: “I won’t let the melancholy come over me. I let the pouring rain wash away the pain.” Midway through the album is the title track “Sailing the Seven Neuroses“, a somewhat quirky but beautiful instrumental track with a bit of a tropical flair that ventures toward ethereal psychedelia at the end. Next up is “Man about the House“, a terrific power pop gem serving up grungy guitar work and insistent piano keys layered over a strong toe-tapping beat.

On “Heaven’s in my Heart“, he creates an enthralling otherworldly soundscape with a colorful mix of spacey and carnival-like psychedelic synths and resonant guitar work that seem to channel Pink Floyd in spots. His little symphonic flourishes and soothing breathy vocals are delicious. Those 80s influences are back on the irresistible love song “It’s you I think about“, featuring sparkling synths and warm guitar lines. And on the effervescent “Everyday an Ordeal“, vibrant piano and organ take center stage, fortified with arresting rock guitar chords and Matt’s joyful comforting vocals as he sings of wanting to find a bit of escape from life’s daily struggles: “Everyday an ordeal. Everyday the frustration is real. Everyday the struggle within. You just want to find a place to hide away.”

With it’s stomping beat, soaring choruses and exuberant blend of chiming, twangy and gnarly guitars, “What about tomorrow?” reminds me somewhat of “Hot Love” by T.Rex with a bit of Pet Sounds-era Beach Boys thrown in for good measure. And saving the best for last, The Brigadier closes the album with “Don’t go to bed with a bad mind“, a glorious five and a half minute-long tour de force that really showcases his impressive songwriting and musicianship. He seems to effortlessly pull together beautiful melodies, numerous time changes and fascinating musical textures from a dizzying array of styles and elements, yet it all works beautifully. And I know I’m beginning to sound like a broken record, but once again I must make note of those gorgeous harmonies that so strongly echo the Beach Boys. And in fact, in a recent interview with Aldora Britain Records, Matt responded to a question as to his favorite artist with “Queen or The Beach Boys depending on the day.”

Sailing the Seven Neuroses is a beautiful album that keeps sounding better with each listen. Every track is superb, with no weak ones that make me want to skip past, which isn’t something I can say about very many albums. The Brigadier is most definitely back!

The Brigadier’s socials:  Facebook / Instagram 

Find his music on Bandcamp / Spotify / Apple Music / YouTube

RONNIE THE BEAR – Album Review: “BASEMENTS”

On By EclecticMusicLoverIn Reviews5 Comments

Ronnie the Bear is the solo music project of Joshua Rukas, a strikingly handsome, silky-voiced singer/songwriter originally from Grand Rapids, Michigan and now based in Orlando, Florida. A talented and versatile musician, he was previously drummer for punk/emo rock band MUSCLEMAN, as well as a former member of alt-rock band Dancing On Pluto, whose music I reviewed a couple times prior to their splitting up in August 2018. I also reviewed a couple of his songs back in 2020 and 2021, both of which I really liked, but he later took them down because he felt they didn’t fit his vision for who he wanted to be as an artist.

He’s just released his debut album BASEMENTS, featuring seven tracks he wrote and recorded in his basement apartment in Eugene, Oregon, where he lived for two years between Grand Rapids and Orlando. Joshua played or programmed all the instruments and recorded, mixed and mastered the album by himself. I’ve always liked both his sound and warm vocals, so listening to this little album is a real treat for me. The album opens with “i thought you’d change your mind“, a short but sweet song of apology to a former loved one. I like the lively skittering beats, sparkling synths and his smooth vocals.

Keeping with a similar theme, “2 months” speaks to missing a former romantic partner who’s moved on. The song’s infectiously catchy and exhilarating, with a frantic driving beat and a vibrant mix of jangly and gnarly guitars. Ronnie the Bear’s plaintive echoed vocals are sung at an almost shouting level, perfectly conveying feelings of exasperation and sadness over his unhappy situation.

“Maybe, Eventually” is an exciting track with more great jangly guitar work, accompanied by some interesting percussive textures. I like the urgent guitar-driven groove and how it slows down halfway through the song, allowing the guitar notes to really shine. His vocals are calmer and more introspective here as he wishes the best to a former romantic partner, while still feeling a bit melancholy about the loss of the relationship: “From what I can see, you look like you’re happy and that helps me cope a little bit, cause I don’t want to see you lonely. I wish we could be close.”

Squarely in the middle of the album is the delightful little instrumental piece “Tangerine (interlude)“, an energetic and pretty track featuring spacey synths and skittering beats. This is followed by the title track
“Basements“, a terrific electronic song with dreamy otherworldly synths, spirited beats and some lovely piano.

“Spring 24” is an enchanting track, with drawn-out gauzy synths, sparkling piano keys and lots of crashing cymbals. As always, his soothing vocals are very pleasing to the ear. The final track “Changes” is really pretty too, and I especially like the chiming guitars and dreamy flute-like synths. Ronnie the Bear’s smooth vocals are very low key as he ponders about how our perspectives on life evolve over time: “I’ve spent so much time waiting for things to change. But every time I look back, nothing is the same as before.”

BASEMENTS is a wonderful little album, serving up nineteen and a half minutes of sonic bliss. It’s bedroom pop at its finest.

Ronnie the Bear’s Socials: Instagram 

Find his music on Spotify / Apple Music / Bandcamp / YouTube

GG FEARN – Single Review: “Permanent Record”

On By EclecticMusicLoverIn Reviews2 Comments

As a now old man, I’m continually astonished at how time seems to fly by at an ever-faster clip the older I get. With that in mind, I can hardly believe it was over five years ago that I featured Welsh singer-songwriter and multi-instrumentalist GG Fearn on this blog when I reviewed her terrific EP Black Mirror. Only 18 years old at that time, she already possessed a level of talent and maturity beyond her years that really impressed me.

GG (short for Georgia) started writing songs and learning to play the guitar and piano at the age of ten, then began busking at 12, which gradually gave her confidence as both a vocalist and performer. Influenced by some of her favorite acts like Fiona Apple, Kate Bush, Radiohead, Kendrick Lamar and Melanie Martinez, as well as her love for pop music of all kinds, GG crafts songs that are not only melodic and catchy, but also lyrically compelling. Quite the wordsmith, she pens thoughtful and frank lyrics about life and the darker aspects inherent in many of us, which she expresses with a lovely voice brimming with character, sophistication and vulnerability.

In the five years since the release of Black Mirror, GG earned a law degree from Cambridge University, during which time she put her music career on hold. Now 23 and her intensive studies behind her, she can now concentrate on both earning a living and creating music again, and to that effect, she’s just released a new single “Permanent Record“, her first new music in five years. It was worth the wait, as the song is equal parts lush, captivating and dark. I love the dreamy atmospheric synths, luscious guitar notes, soaring orchestral strings and strong percussive beats, all of which create a hauntingly beautiful cinematic soundscape. GG’s smooth, vibrant vocals are seductive and lovely as she sings of the dangers of revealing too much about ourselves on the internet, all of which can become a permanent record of our thoughts and activities that might possibly be used against us.

In an interview with Oxford University’s independent newspaper The Oxford Blue, GG touched on her inspiration behind “Permanent Record”: “I wrote it because I read Edward Snowdon’s biography, [which] I really enjoyed. I did Law so all the privacy implications and stuff like that were cool. I went down a horrible rabbit hole for weeks just watching documentaries about whistleblowers and surveillance – I was turning into a twitter conspiracy theorist! I think when people listen to it, whatever they feel or think about, that’s what I want them to take out of it. Liking it or not, agreeing with it or not, understanding what I’m saying or not, I just want them to get what they get out of it. I think that’s what’s really important about listening to music for me. Projecting me and my inner emotional landscape onto what I create. That’s all art really is.“

Start scaling the ceiling
Start digging the hole
Start peeling the paint from the walls
Start paying the toll
You got a visit from the debt collector
Been a naughty boy
Now they found out the company you keep
And they know how to destroy

The world's ablaze, count the days
Is anybody keeping score?
A modern maze
And still we stay in 1984

Start hiding your history
Start secreting your spawn
Start stashing your secrets 
Cause baby you're just a pawn
Tangled in a web of our own making
As the soldiers form
And they tell us that we're doing fine
Calm precursors the storm

The world's ablaze, count the days
Is anybody keeping score?
A modern maze
And still we stay in 1984

Your whole life is up on a billboard
Now you've got a permanent record
Watch what you type on your keyboard
Now you've got a permanent record

The world's ablaze, count the days
Is anybody keeping score?
A modern maze
And still we stay in 1984

GG’s Socials: Facebook / X / Instagram / TikTok

Find her music on Spotify / Apple Music / Amazon Music / YouTube / deezer

eLxAr – Single Review: “Nessuno Vede”

On By EclecticMusicLoverIn Reviews20 Comments

eLxAr is a fascinating electronic/synthwave act from Italy I recently learned of when they reached out to me about their latest single “Nessuno Vede“. They consist of Luca, a pianist, composer, producer and game designer, and Alex (short for Alexandra), a singer-songwriter, digital designer, illustrator and multi-faceted artist. Not only are both of them multi-talented, they’re also passionate about social justice and environmental issues.

With a focus on retro-flavored electronic music (synthwave/retrowave/synthpop) of the 1980s and 90s, their aim is to create art with a social impact and inspire positive change by addressing social issues through specific stories and emotional exploration. As they stated in a recent Facebook post: “If modern mainstream music is mostly used as a mass distraction, we try to use it to refocus people on what is the reality of this poor world, while maintaining a certain balance between positives and negatives, like in a sort of Yin and Yang.”

Initially formed in 2021 as a mostly instrumental act with guest vocalists on selected tracks, eLxAr have released an impressive amount of music, including three albums, Looking For The Sound in 2021, Beyond The Emotions in 2022, and Samsara in 2023, and numerous singles. Possessing a captivating voice in her own right, Alex began singing vocals for eLxAr in 2023, adding a richer and fuller dimension to their already marvelous sound.

Keeping with their goal of creating music that’s both entertaining and provocative, the duo began 2024 with a series of singles that will culminate in their fourth album Demons, due for release toward the end of the year. Each song will address “different ways that humans exploit and make other humans suffer.” The lead single “Dust”, released on January 17, touches on manipulation, whereas “Nessuno Vede” (Italian for “No One Sees”) is a scathing denunciation of cyberbullying that’s become far too prevalent today, sadly even in Italy.

About the song, the duo elaborate: “Nessuno Vede” is THE song against the plague that is cyberbullying. A plague that gains in destructive power the more our world revolves around the usage of cold and soulless technology, putting humanity aside. No one can truly know the pain and disappointment that victims endure because they no longer trust, and belittle the abuse they’ve suffered to appear strong or to avoid repercussions. It seems to be trendy on social media. In schools and workplaces they inform on what to do and what not to do without providing real support. News reports about it only when it’s already too late, and people wonder “why?”… and in all cases, no one speaks up, no one is punished, or the punishments are mild.”

“Nessuno Vede” is a darkly beautiful synthwave track, with an arresting, almost haunting soundscape highlighted by gauzy atmospheric synths layered over a languid hypnotic beat. Although sung in Italian, Alex’s emotive vocals still convey a strong sense of bitter frustration and resentment expressed in the biting lyrics, which they’ve kindly translated to English:

In the dark
Of your silences
You look at the screens
They are barriers

You have fake friends
Lots of virtual ones
Only messages as blades cutting edges

You look for a way out but hatred, contempt, haunts you
It becomes useless to ask for help
No one will ever stop them

Lots of scars
Made invisible
And secrets kept tight

No one sees
No one listens
In the network your voice is lost

You look for a way out but hatred, contempt, haunts you
It becomes useless to ask for help
No one will ever stop them

And you often think you're going to end it
Pain suffocates you
Poison in their words, slowly, sinks into your soul

Days go by
Like faded pages
You hide
And avoid stares
Fake Smiles
You say you're fine
But then...

Calls
Messages
You suck
I hate you
No one loves you
Go away
You're ugly
But how fat are you
You're pitiful, loser
Why don't you disappear?

This life is unbearable
Their hatred consumes you
It was useless to ask for help
The light inside you has gone out

You often think you're going to end it
Pain suffocates you
Poison in their words, softly, sink into your soul

Connect with eLxAr: Facebook / X (Twitter) / Instagram 

Find their music on Bandcamp / Spotify / Apple Music / Amazon Music / Tidal / YouTube

THE OCEAN BENEATH & LIZ MANN – Single Review: “Dream Tonight”

On By EclecticMusicLoverIn Reviews2 Comments

Today I have a terrific new dance single to share with my esteemed readers – “Dream Tonight“, a collaboration by British artists The Ocean Beneath and Liz Mann that dropped yesterday, February 9th.

The Ocean Beneath is the music project of Leeds-based electronic musician, composer and producer Matt Burnside. Influenced by bands such as Gunship, HVOB and Talk Talk, he combines 80’s synthpop elements with modern recording techniques, analogue synthesizers and huge melodic grooves to create music that sounds retro, yet fresh. Like many electronic artists, he often collaborates with other musicians and vocalists, and has released a substantial amount of outstanding music, some of which I’ve reviewed previously.

Liz Mann is a silky-voiced synthpop artist from Manchester who, in her own words, “mixes 60s pop melancholy with a synth-based vintage style”. Thus far, she’s released two wonderfully sultry singles, “Chocolate” in 2022 and “COOL” in 2023.

As is typical with The Ocean Beneath’s collaborations, he composed the music and beats and produced the track, while Mann wrote the lyrics and sang vocals. The track was mastered by Tony Dixon, with additional vocal production by Grant Henderson. The beautiful single artwork was conceptualised by Jack Loxham.

About the song, Liz explains “I’ve been such a big fan of The Ocean Beneath’s work since he remixed Purple Thread’s track ‘Something Good’ a few years ago. So this was a special collaboration in the making. It’s a bit of a departure from my usual sound, but we hope you’ll join us on a dark disco pop journey through the realms of dreams and desires, exploring the yearning to connect with a special someone in the ethereal landscapes of the subconscious mind.”

I’m a sucker for dance music of all kinds, so “Dream Tonight” fills the bill quite nicely. I love the hypnotic, thumping dance groove and enigmatic synths, punctuated by spacey and funky flourishes that call to mind some of the great 70s euro-disco music by artists like Cerrone and Alec Costandinos. Mann’s sensuous vocals perfectly complement the track’s dark and sultry soundscape as she croons, “Come close to me, come close to me, want you in my dreams tonight.”

Connect with The Ocean Beneath: Facebook / Twitter / Instagram

Connect with Liz Mann:  Facebook / X (Twitter) / Instagram / TikTok

EXPRESS OFFICE PORTICO – Single Review: “No One”

On By EclecticMusicLoverIn Reviews10 Comments

In cleverly naming themselves after the entrance to an old newspaper distribution office in the center of Nottingham, it’s no surprise that British synth-pop band Express Office Portico do not shy away from tackling relevant and timely issues in their songs. Since forming during the height of the Covid pandemic in 2020, the talented five-piece have released a string of outstanding singles touching on topics like mental health, emotional well-being and this crazy thing called life. Consisting of Tara Freeman and Billy Townsend on co-lead vocals & keyboards, Sam Watkins on guitar (who replaced Reuben Tobolewski in May 2023), Ben Phipps on bass and Olly Walton on drums, together they play melodic and dreamy synthpop with an edge. I love their music, and have reviewed four of their singles, some of which you can read by clicking on the ‘Related’ links at the end of this post.

On the strength of their vibrant, compelling sound and charismatic performances, the quintet has made a name for themselves not only in greater Nottingham, but throughout the UK. Last year, they played their first headline tour, performing in Manchester, London, Leicester and finishing at Nottingham’s renowned Bodega, played a packed festival season that included a debut appearance at Splendour festival at Wollaton Hall in Nottinghamshire, followed by their first gig in Newcastle at Bobniks supporting Cat Ryan.

I’m a big fan of Express Office Portico, so am thrilled they’re back after a bit of a break with “No One“, the first in a series of singles they plan to release over the next six weeks or so. Like all their previous songs, “No One” was produced and mixed by Joshua Rumble and mastered by Fluid Mastering, and I’m happy to report they sound better than ever. “No One” is enthralling, with beautiful instrumentation layered over a languid, sensuous groove. The talents of each band member are strongly apparent, as their respective instruments are allowed to shine while also combining to create a luxuriant soundscape. Sam’s intricate guitar work is really marvelous, as are Tara and Billy’s shimmery synths, and Ben’s throbbing bass and Olly’s measured drumbeats are perfection. I really love the colorful little touches like the strings that appear here and there.

About the song, the band explains: “‘No One’ encapsulates the feeling of initial recovery from past trauma which can leave you feeling like a deer in the headlights. What is seen as healthy and stable can feel alien to those who have experienced trauma and chaos for the majority of their lives, as well as for those that didn’t plan to make it into adulthood. When making that leap to recovery and trying to achieve stability, creating boundaries can feel like there’s no one in your corner and that no one warned you that sometimes it has to get worse before it gets better. The beginning of a recovery journey is just that, the beginning.”

The thoughtful lyrics, beautifully sung by Tara and Billy, explore the conflicting emotions and disorientation that often occur when trying to make a transition from a life of trauma and chaos to a more stable existence, leaving one sort of blindly feeling their way, and that no one else could possibly understand what they’re going through.

It started off as just for the show,
It’s all okay cause no one knows,
You wanna go where no one goes,
You plant the seeds to watch them grow,
So I’ll just wait till yesterday,
Comes around again,
And honey I get held down,
Every now and then.

Cause no one,
Ever tells you what it feels like,
If they did,
Doesn’t mean that they’re right,
Cause I feel,
like I’m in the headlights for the very first time,
For the very first time.

It’s lovely how it blesses us,
Undresses and caresses us,
I’m wanting more with every touch,
and too much is just enough,
So I’ll just wait till yesterday,
But yesterday has taken place,
And honey I get held down,
By a life of time and space.

Cause no one,
Ever tells you what it feels like,
If they did,
Doesn’t mean that they’re right,
Cause I feel,
Like I’m in the headlights for the very first time in my life.

I’m in love with everything,
I will never be,
And I’m enthralled by everyone,
Who is not me.
No one,
No one.

Cause no one,
Ever tells you what it feels like,
If they did,
Doesn’t mean that they’re right,
Cause I feel,
like I’m in the headlights for the very first time in my life

Connect with Express Office Portico:  Facebook / Twitter / Instagram

Find their music on Spotify / Apple Music / Soundcloud / deezer / Bandcamp / Amazon / YouTube 

THE STAR CRUMBLES – Album Review: “The Stars That Shine”

On By EclecticMusicLoverIn Reviews12 Comments

There’s an old saying that “two heads are better than one”, and while it might not always be true, I’ve found that when it comes to music, collaborations involving two different musicians from different backgrounds often leads to greater energy and creativity. Such is the case with The Star Crumbles, a musical collaboration between singer-songwriter Brian Lambert, who’s based in Denton, Texas, and singer-songwriter and multi-instrumentalist Marc Schuster, who lives in suburban Philadelphia. (Brian, who self identifies as “Your Friendly Neighborhood Rock And Roller”, affectionately calls The Star Crumbles his “love child” with Marc.) Now don’t get me wrong, each is a prolific and talented songwriter and musician in his own right, putting out catchy songs with thoughtful lyrics. But the songs they create together are some of my favorite music by them.

Last October, the Star Crumbles released their debut album The Ghost of Dancing Slow, a brilliant work inspired by some of the 80s artists and music they love. In my review of the album, I provided quite a bit of background info on Brian and Marc, but will reiterate a few important facts about each of them here for context.

Brian is a prolific artist who’s been writing and recording music for many years, and says he’s “reinvented himself more times than he can count.” In early 2021, he challenged himself to writing, recording and producing a new song every week for an entire year, which he accomplished, and now has an incredible body of work to his credit. He just released his latest album Auto Matic Im Perfect on August 4th. Marc is an insanely creative renaissance man, who counts among his many talents being an educator, author, literary critic, songwriter and musician – both as a solo artist and as part of numerous music projects and collaborations, visual artist, blogger (he has a terrific WordPress blog called Abominations), and host of the weekly online radio program Tweetcore Radio Hour.

Brian Lambert & Marc Schuster

Now the dynamic duo are back with their second album The Stars That Shine, which dropped August 8th, just four days after Lambert released his solo album. I said he was a prolific artist! This album showcases their ongoing exploration and growth as musicians and songwriters, continuing to push themselves beyond their comfort zones. Brian elaborates: “When we started the process of the album, Marc and I discussed this theme of new beginnings and really letting go of the past to become who you actually are. Thematically it’s probably best surmised in “Brand New Sunrise.” I wrestled with it for a couple of months while trying to make sense of where things were shaping up with the rest of the great music Marc was sending me. I felt like I had to really bring something that pushed me to areas where I was uncomfortable. The scope and grandeur of the music Marc was sending me demanded that I dig and find something in myself that was a mystery even to myself. What I love about the Star Crumbles is how this interaction with the “other” in the form of a piece of music allows me to redefine my own boundaries and shed them. Musically I’m just blown away and of all the things that I have a hand in, it’s the one that I listen to for pure enjoyment. I’m very proud of the work that Marc and I have done.“

They kick things off with “Get What You Are“, which was released in March as the album’s lead single. Brian wrote the lyrics, while both of them had a hand in writing the music. While the song has a somewhat dark and eerie vibe, with intricate guitar notes layered over a droning melody and mysterious echoed synths, the lyrics are more hopeful. Brian urges us to find our true selves in order to live a better, more fulfilling life: “You’ve got this time on your hands, feel it slipping away. You always hurt, live for today. You get what you want, when you get what you are.“

The guys channel Depeche Mode on “My Own Hands“, a terrific electronic gem featuring a contrasting mix of gnarly and swirling industrial synths that add drama and texture to the track. Marc noted how his and Brian’s collaboration really paid off in the track’s development: “There’s a little “whoosh” right before the chorus kicks in. It wasn’t there when I recorded the initial backing track, but Brian wanted a little bit of breathing room between the verse and the chorus. It took me a day or so to figure out how to do it, but I feel like that extra measure really does a nice job of letting Brian’s vocal shine when it comes back in.“

“Radio” is a fascinating spoken-word interlude in which Brian muses about all the songs floating around out there, which is followed by the trippy instrumental electronic track “Eat Your Vegetables“. Brian remarked that he and Marc had been talking about Brian Eno and experimental music, which led him to do his “best jazz daredevil over super cool bedrock of sound.”

One of my favorite tracks on the album is “What I’ve Become“, a haunting synth-driven beauty highlighted by Marc’s simple but arresting piano riff. Brian’s languid, melancholy vocals here are some of the best I’ve heard by him as he contemplates ridding himself of dark and negative thoughts that held him back: “I had a feeling, my feeling go away, and now that’s it’s gone, I’m happy here to stay. I let go of loneliness that always tortured me. The gloom and the darkness penetrating all I see.”

On the timely and relevant “Don’t Wanna Be Angry Anymore“, Brian calls out the constant anger that seems to permeate society today, with people on both sides of the political spectrum railing about one thing or another, always at war with each other: “It’s always something else, a brand new travesty. Conspiracies I do not see, and you just seethe and shout. And I don’t wanna be angry any more. I don’t even know what we’re fighting for. Can you tell me how you’re keeping score, because I don’t wanna be angry anymore.”

Those who follow Brian on social media know him to be a thoughtful guy who frequently poses questions about the music industry, our culture, emotional well-being, and life in general. The second spoken-word interlude “Space” is a great example of this, where he ponders the impact of spaces between scenes in a film or between tracks on a record. Next up is the upbeat and catchy song “Brand New Sunrise“, where he sings of seeing things with a new, more positive outlook. “Now I see the look in your eyes, I’m waking up to a brand new sunrise. I didn’t know we could be so much more than we thought we’d be.”

Continuing on a positive note, the delightful “Quiet Wonderful Day” celebrates the simple joys of everyday moments spent with a loved one: “Silent smiles we sit there blissfully, nothing that we need to say. In the park, holding hands on a quiet wonderful day.” I love the bouncy melody, lighthearted synths and Marc’s breezy piano chords, all of which make this another one of my favorites. On “See You Want You“, Brian confides to someone he’s besotted with of his clear-eyed adoration: “I see you and I want you, exactly for who you are.”

“Read My Mind” is a fast-paced, spacey synthpop song with a melody that sounds a lot like Semisonic’s 1998 classic “Closing Time”, and while I like it well enough, for me it’s the weakest track on the album. The lyrics seem to speak of feeling fulfilled and at peace with oneself: “If you could read my mind you would know that I am done trying to fill in the holes./I am here, feeling whole.” Closing track “You Are Much More” seems to question our beliefs that form the basis of our worldview: “Are stories you tell, what you believe? Is what you’re giving, what you receive? Do memories make meanings that hold us in place? …searching for answers in the thoughts between space. Won’t you come with me. We’ll see all we can see.” I like the nifty bassline, reverb-soaked fuzzy guitar notes and crisp drumbeats that give the song an urgent, fascinating vibe.

With The Stars That Shine, The Star Crumbles have crafted another stellar album for our listening pleasure. I love these guys, and trust we’ll be hearing much more great music from them in the months and years to come!

Here’s the album on YouTube:

And on Spotify:

Connect with The Star Crumbles:  Twitter / Instagram

Find their music on Spotify / Apple Music / YouTube / Amazon Music / Pandora

SKAR DE LINE – Single & Video Review: “No Eyes in Paradise”

On By EclecticMusicLoverIn Reviews11 Comments

Skar de Line is the solo music project of singer-songwriter, producer and composer Oskar Abrahamsson, a thoughtful, charismatic and innovative artist born and raised in Sweden and now based in London, England. Fascinated by the concept of boundaries and the human obsession for self-understanding, he fuses his love for cinematic soundtracks by such composers as Hans Zimmer, Junkie XL and Ramin Djawadi with hip-hop, alternative rock and electronic metal to create dark, unconventional music that takes the listener on a sonic adventure while giving us a lot to think about. The multi-talented fellow writes, performs, records and produces all his own music, as well as writing, directing and editing all his imaginative music videos.

I’ve featured Skar de Line numerous times on this blog, most recently last May, when I reviewed his single and video for “Reset”, the first chapter in his autobiographical suite of music. The song explores the concept of wanting to become a better person through continually evolving and reinventing oneself, but fearing that nothing will ever be good enough, expressed in the lyric “Every time I open my eyes I kill an old version of mine. But I’m not a murderer, no, I’m a maker./ Every time I close my eyes, I am already set to reset.”  He followed in July with the second chapter “New Silhouettes”, a song about having the freedom to make your own choices in becoming whoever or whatever you want to be, with no limits on how many different options you can choose. Now he returns with “No Eyes in Paradise“, the third chapter of his personal journey of self exploration and the need to understand himself.

With this song, he ponders his own sense of self-worth as an artist, believing that he’s creating works of value and merit, but fearing that if no one else sees nor acknowledges it, does any of it mean anything? He explains: “You can be great, you can want to do well for yourself and for people around you, but if no one saw what you did, did it really happen? If your life work is something that the world does not care about, what is your life worth? And are there any limits to what we can’t do to get that attention, that worth? Throughout the lyrics, there is this growing frustration in the world around me, a feeling that I think every creator recognizes. A feeling that the world does not actually really get you.” For both song and video, he uses classical imagery to bring his message to life. Here’s a photo of him in a setting similar to the famous Leonardo da Vinci painting of Mona Lisa (in which he’s undeniably more attractive):

Though all of his songs have cinematic elements, “No Eyes in Paradise” is his most grandiose and melodically complex yet, blending dramatic choral and symphonic elements with bold hip hop beats and heavy electronics to create a magnificent soundscape. The song opens with a soaring gospel-like choral, then quickly segues into a dark trip hop groove, with harsh industrial synths and finger snaps as Skar de Line raps the opening verses. As the song progresses, the music alternates between trip hop verses and sweeping symphonic choruses, punctuated with delicate piano chords and gorgeous string synths. His emotive vocals go from seductive, slightly sinister rapping in the verses to impassioned entreaties in the choruses, creating a strong sense of tension and emotional angst. 

I’ve got this presentation that will surely blow your mind
This is an invitation to a god-damn paradise
The only thing I ask for is another pair of eyes
Cause what you never saw it never happened, right?

No eyes in paradise
No eyes in paradise
No eyes in paradise
No eyes in paradise

As these doors are left wide open
As my world turns in slow motion
As these walls are steeped in gold
Another bottle’s left unopened
Another story on repeat
Another comment obsolete
Another invite went astray
Another offer thrown away

Did I bathe in the light
Turn inside out
Did I repaint the skies
For empty crowds?
Did I wait for too long?
Have you all moved on?
Am I the architect
Left in paradise?

I still got to trust in some kind of order
Some kind of virtue for which you’ll adore me
But I cannot leave it, you need to sign
And I'm getting restless, I'm out of time
How far do you go for wickedness
to stop being sexy and just grotesque?
If there’s a case, I haven’t found it yet
I can’t imagine or believe that this is it

Did I bathe in the light
Turn inside out

Did I repaint the skies
For empty crowds?
Did I wait for too long?
Have you all moved on?
Am I the architect
Left in paradise?

No eyes in paradise
No eyes in paradise
No eyes in paradise
No eyes in paradise

Like a lamb of God, like a torn façade
Tearing up the scars with no regards
Just come inside, I’ll break it down
It’s a god-damn paradise
How far do you go for wickedness
to stop being sexy and just grotesque?
If there’s a case, I haven’t found it yet
I can’t imagine or believe that this is it
If I offered you a piece of the forbidden apple
Would you trust me to repaint the Sistine Chapel?
Does it matter what I do or what I’ve done?
Would you trust me now if I am the only one?

The brilliant video Skar de Line created for the song is his own interpretation of a perfect, but empty, paradise. Throughout the video, he recreates and inhabits some of the most renowned renaissance paintings such as The Last Supper (Leonardo Da Vinci), The School Of Athens (Raphael), and Saint Jerome Writing (Caravaggio), all in his desire to make something special that others will care about. He elaborates: “But like an architect left in paradise, a creator in a world that does not need more creations, I’m feeling like I’m falling behind and running out of time to make a difference. Maybe I’ve gone about it wrong. In the final scenes, as I’m leaving my paradise behind to walk out into the dark night, a thought goes through my head. Maybe it’s all a matter of perspective. Maybe, just maybe, it’s not what I do that needs to change, but rather the world in which I do it in…” His creativity and imagination, as well as technical prowess to be able to produce such a beautiful video, are truly impressive.

“No Eyes in Paradise” is Skar de Line’s finest work yet, and I eagerly await the next chapters in his autobiographical suite.

Connect with Skar de Line: Facebook / Twitter / Instagram
Stream on Spotify / Apple Music / Soundcloud
Purchase on  Amazon

HULLAH – Single Review: “Wild as the Wind”

On By EclecticMusicLoverIn Reviews11 Comments

One of my best new finds of 2022 has been British singer-songwriter, producer and sound designer Charley Hullah, who goes by just his last name, stylized as HULLAH. I first learned about the handsome, talented and highly engaging London-based artist as a result of being a guest moderator for the BBC Music weekly song competition Fresh On The Net, for which he’d entered his gorgeous single “Chasing Trains”. I loved it the instant I heard it, so much so that it ended up spending 20 weeks on my Top 30 chart, going all the way to #1.

Born and raised in the Midlands, HULLAH relocated to London in 2013 to study songwriting at The Institute of Contemporary Music Performance, where he earned a B.A. Since graduating, he’s worked as a creative freelancer in the music and media industries, writing and producing music for his solo act, as one-half of the electro-pop duo Futuretape (currently on hiatus), and for other artists, as well as sound-designing for theatre, creating digital content, organising music workshops and working on events such as the Artist and Manager Awards. Most recently, he became Content Manager for Disabled Students UK, and has held the role of Content Manager for Alight Media where he developed a content delivery department for high budget nationwide out-of-home media campaigns.

According to his bio, HULLAH “creates music inspired by a passion for nightlife culture and stories from the queer community. Wrapped in the sonic flavours of trip-hop, 90’s house and synth-pop, his tracks emulate a nocturnal spirit and are complemented by the themes of city living, alienation, ambition and a sense of dejection – commonly expressed through his lyrics. His songs, both introspective and solitary, offer insight into how he navigates his way through the noise and distortion of everyday city life.” His music is inspired by such acts as as Everything but the Girl, Real Lies, Portishead and Pet Shop Boys.

He’s just released his third solo single “Wild as the Wind“, and it’s every bit as magnificent at “Chasing Trains”. Written and produced by HULLAH and mixed by Matt Catlow, the track features more of the lush, sultry vibes I loved on his previous song, but with even more sound textures that take it to a higher, more sophisticated level. Whereas “Chasing Trains” was entirely electronic, “Wild as the Wind” is anchored by a deep, sensuous bassline played by fellow musician Gabrielle Ornate, and fortified with spine-tingling distorted guitar work played by Orlando Sadler. HULLAH explains: “I knew that I wanted and needed live instrumentation on this one so I reached out to my great friends Gabrielle and Orlando. Gabrielle laid down killer bass on this that just glues the whole track together. It packs a gut-punch. Orlando mirrored the sense of dejection in the soundscape and lyric by creating these huge, distorted synth-like guitar lines that create an awesome atmosphere.”

Well, I have to say that together, they’ve created something quite spectacular. “Wild as the Wind” is a dramatic, hauntingly beautiful little masterpiece. The combined warmth of Gabrielle’s sensuous throbbing bassline and HULLAH’s plaintive sultry vocals contrasts with – yet perfectly complements – the icy soundscape created by the ghostly industrial synths. There are so many wonderful little instrumental touches heard throughout the track, like the sparkling keyboards and delicate jangly guitar notes. I’ve been listening to it on endless repeat.

As to the song’s meaning, HULLAH elaborates: “‘Wild as the Wind” is an ode to the wilderness I feel inside myself – the parts of myself I don’t understand and have to grapple with. It’s about trying to make friends with your own insecurities, worries, dread, hopes and desires – the things you don’t quite understand but that equally push and pull you in life nonetheless. There’s the ‘us’ that we present to the world and then there’s the ‘us’ that we are when we are alone, uncomfortably alone. That’s what I mean by wilderness, the space in between those two versions of yourself. ‘Wild as the Wind’ is about not trying to contain this wilderness – it’s about truly seeing those aspects of yourself and attempting to accept and be at peace with them. The song was initially written about two people in my life that were going through hard times. As I kept writing, I later realised that it also reflected my own experience navigating this wilderness I felt they were also battling with.”

You've spend a lifetime looking for something on the other side
You could spend another drifting like you do
All that guilt and history is like a thorn caught in your sleeve 
I know the pain, the hurt and how you yearn to let it go

And I can't save the soul you hold
And I can't save you on my own
I can't do that, but you can't see that
If you don't swim now you will drown

You're as wild as the wind
And I can't catch you
Cause you're as wild as the wind
And I can't cage you

You're so warm outside, but so cold within
A smile is a wall that's caving in
You're breathing to a rhythm that you can't play
Little feet don't make big steps without 
Soles that can tread some hard ground
So how many years will be lost before you finally take the reins?

There's no escaping a wild mind
No easy way to win the fight
But you must fight back
You must see that all that you need is in yourself

Cause you're as wild as the wind
I can't catch you
Cause you're as wild as the wind
And I can't cage you
You're full of grace and gold
So let the wind be what you know
And be as wild as the wind
And let it take you

Though time is all you fear
And nothing is all you feel
Keep on running for a reason
Just let that reason be your life

Connect with HULLAH:  Facebook / Twitter/ Instagram

Stream his music on Spotify / Apple Music / Soundcloud 

Purchase on Bandcamp