Tag: Synthpop

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 Reviews10 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

VULTURE PARTY – Album Review: “Archipelago”

On By EclecticMusicLoverIn Reviews8 Comments

Vulture Party is a creative Scottish three-piece who, in their own words, make “disquieting Alt Pop for the socially conscious“. Based in Falkirk, a large town located roughly halfway between Glasgow and Edinburgh, the band consists of Louise Ward on vocals and piano, David King on vocals, guitar and synths, and Dickson Telfer on bass and backing vocals. Their pleasing sound is delivered with an array of styles ranging from infectious, new-wave infused dance-pop to moody, introspective piano compositions, and featuring lovely piano keys, bewitching synths and sublime vocal harmonies. Having both male and female vocalists gives their music even greater richness and depth.

I first featured Vulture Party this past June when I reviewed their marvelous dance-pop single “Blood Wolf Moon”. Now they return with their second album Archipelago, released on October 14th via the Scottish not-for-profit independent record label Last Night From Glasgow. The album features nine tracks, including “Blood Wolf Moon” and their previously-released singles “Afterlife” and “Iso Disco”.

About the album, the band explains: “Archipelago is our second album as it was never intended. Back in 2020, we were ready to hit the studio to lay down a fully written, good-to-go second album, but . . . enter pandemic, and thus a re-think. What transpired was a change of direction and a new set of songs, written and put together from a distance. Each of us (David, Louise and Dickson) our own little island, we were forced – like many others – to collaborate in a new and government-rule-approved way. Sending files back and forth using a variety of pieces of kit, and software, we created Archipelago, an album about fear, isolation and hope. Using driving electronic beats, pulsing grooves and big hooks, the album reflects on love, family and friendship being all that counts when the rest of the world seems so bleak and far away.”

All nine tracks on Archipelago are solid, but I’ll touch on my favorites and those I feel are standouts. Opening track “Better Days Will Come” kind of sets the album’s overall theme of hope and resilience in these trying times – that no matter how bleak things may seem at the moment, we need to hold onto the things that matter most: “In the darkness, in the darkness, in the darkness we find our friend. In the sadness, in the sadness, in the sadness, we don’t pretend. Better days will come, better days will come, if you want them to.” The languid trip hop groove, delicate piano keys and fuzzy synths create a soothing backdrop for Louise and David’s comforting vocal harmonies, all of which wrap us in a warm blanket of sound.

My favorite song on the album is “Blood Wolf Moon“, a flawlessly-crafted and addictive dance-pop gem. Essentially a love song with simple lyrics like “Give me your love. It’s all I need“, Vulture Party decided to bring the song to life with a charming video, created under the direction of Neil McKenzie of Keep it Creative. It tells the story of a female werewolf, played by Louise, searching for human contact and finding love through music and dance.

Another favorite is “Ride That Feeling“, a beautiful song about freeing oneself of negative thoughts and obsessions, and instead allowing positive influences and experiences to flourish, in the hopes of living a better life: “You are free if you want to be. No more hiding in the dark. Let it all go. Ride that feeling again.” Musically, the song starts off slowly, with a serene, almost atmospheric vibe, but eventually becomes more intense, with gritty synths and harsh, jangly guitar notes before calming back down.

“Afterlife” is a delightfully upbeat track which David describes as “a light-hearted and playful contemplation of a life after death.” And though not a dance song per se, its infectious beat will most definitely have your toes tapping and hips swaying. In sharp contrast, “Leave Your Parables” is a dark, rather unsettling track, with somber piano keys, eerie synths and a spooky droning male vocal, all set to a funereal melody. I’m not sure, but the lyrics seem to speak of connecting with a ghostly spirit, and possibly letting go of fears of the unknown: “Lay down your parables at the doorway. Cause when I’m through, you’ll be done. Maybe if you’re ready, look at me. Now here comes the light. Take in the moment, hold it, let in your delight. I’m slow in my movements. Don’t scare him away. He’s slow in his movements. He scares me away.”

Archipelago ends on a highly satisfying note with the gospel-like “Let Love Shine (On Your Misery Now)“, which brings the album’s theme of the power of love and friendship full circle. I love the soaring melody, warm sweeping synths, twangy guitar and arresting vocal harmonies. At 6:19 minutes, it’s a rather long song, and when first hearing it, I thought it went on a bit too long. But after repeated listens, I’ve come to the conclusion it’s length is just right. It’s the perfect ending to a lovely, uplifting album.

Connect with Vulture Party:  Facebook / Twitter / Instagram

Stream their music:  Spotify / Apple Music / Soundcloud / YouTube

Purchase the digital album on Bandcamp or on pink vinyl through the Last Night From Glasgow website.

TOBISONICS – Album Review: “We Need Light in the Dark”

On By EclecticMusicLoverIn Reviews5 Comments

Tobisonics is the music project of Toby Davis, a longtime alternative electro-pop artist, composer, songwriter and music producer based in Luxembourg. A lifelong lover of music, he was born and raised in England, and spent his volatile teenage years in a series of, by his own admission, both ‘awful and awesome’ indie guitar bands. But by his early 20s, his increasing struggles with depression and other then-undiagnosed mental health issues led him to abandon music. By his mid-30s, he felt trapped, socially isolated, and suicidal. Finally reaching a breaking point, he sought the help of a psychiatrist, which led to regular therapy sessions and medication. Years of repressed emotions and music welled up inside him came pouring out as he slowly began to heal.

For several years, he used his creative vision and talents mixing, mastering or remixing other artists and bands’ music, but starting in late 2018, he decided to create his own musical works as Tobisonics. About his moniker, he says “All Tobisonics really means is Tobi sounds. And that’s how I think of myself, as a noisemaker, rather than a musician.”

Like me, Toby is frightened by the unsettling trend of increasing authoritarianism and populist nationalism happening across the globe, in what sometimes appears to be a creeping movement back toward a new dark age. Some of his songs – “Military Industrial Complex“, “Eye of the Storm” and “Putin’s Got a Gun Against Your Head” – addressed those concerns. More recently, he’s made the courageous decision to tackle his own personal mental health struggles on his debut album We Need Light in the Dark, which dropped October 7th.

In April 2021, he began working on what was intended to be 4 – 5 track EP in collaboration with spoken word artist Wee Scots Poet, with whom he’d previously collaborated on his single “All the Little Things”. When that collaboration didn’t work out, Toby needed to find a voice, as he’s not a singer. So, he decided to use vocal samples as he’d done with his first single “All These Things”. We Need Light in the Dark quickly developed into a far more personal story than he had ever intended.

Toby explains: “I wanted to make an album that gave people hope; an album that said, the worse things get, the more we need to find the wonder in life. In these difficult times, optimism isn’t naive, it’s imperative to our survival. In doing so, I ended up telling my own story of ongoing recovery from chronic depression/anxiety and PTSD, the lessons I have learned, and the ones I am still struggling to learn. By using recycled voices, from old public service announcements and Sci-Fi B-movies, I found I could hide in plain sight. I found I could talk about subjects far more personal and painful than I could ever with my own voice.“

The seven songs take us on a journey that begins with acknowledgment of emotional pain and poor self-esteem, the struggles of overcoming them, and acceptance of who we are and learning to find glimmers of contentment and peace of mind. On the opening track “Panic“, Toby addresses feelings of self-doubt and inadequacy, fearing he’ll never measure up or succeed, which leads to sleepless nights and bouts of panic – something many of us have felt at one time or another. I certainly have. “The trouble is, if you’re not self-reliant, you’ll never do anymore than just get by. You have more assurance but less self control. Panic. All night long.” It’s a fairly short track, lasting just slightly over two minutes, but makes a big impression. Toby starts with a mesmerizing deep synth-bass groove, then layers a fascinating blend of sharp industrial synths, eerie sounds and otherworldly voices, creating a soundscape that’s both unsettling and captivating, and a perfect backdrop for the man’s rather cold, matter-of-fact spoken words.

On “Scream“, he once again uses eerie synths and otherworldly vocal effects to create a disturbing vibe. The biting lyrics are spoken by both an accuser “I always figured there was something wrong with you. Loser. Failed” and the accused, who’s a demoralized victim: “Loser. Failed. Freak. I’m sorry you made me. Emotion. You made me scream.” And on “How Do You Say Life is Wonderful?” he ponders how to remain positive and sane in the face of so much pain (which isn’t openly expressed, but certainly inferred): “How do you say never give up. Life is wonderful? Never give up.” Toby drives home his message with an uptempo Latin dance beat, bathed in colorful industrial synths and almost playful sound effects, all of which beautifully expresses contrasting feelings of sadness and elation.

“Snakes” addresses what seems to be a reopening of old wounds and resentment, namely toward those who’ve betrayed him or let him down in the past: “The vision of your future starts to crumble. Snakes. This is why I keep no friends. No friends. What happened? I trusted you. Can not stand the lies.” Musically, the song is haunting and dark, with a hypnotic beat overlain with mysterious industrial synths, punctuated at the beginning by a somber ringing bell. Once again, Toby uses otherworldly electronically-altered voices, backed by a mournful chorus of female vocals, to create an even more unsettling vibe.

On the buoyant nu disco track “You Just Have to Dance“, he acknowledges that he has no choice but to move on from all the pain and resentment, and make the best of the life he has left: “Are you sure you can deal with it? Deal with it? Dance dance. You just have to dance. You just have to dance now. You gotta dance. But you can’t win them all.” On “All I Ever Needed“, he speaks of the fear of abandonment and being alone, and begs a loved one not to leave, in this case, his dog Enzo, who suffers from epilepsy: “The thing that makes the difference here Is the emotion that goes along with him. A great great fear of being alone. Being alone. All I’ve ever wanted. And all I’ve ever needed. Don’t leave. Don’t wanna be alone.” With a somewhat complex melody, dominated by a throbbing dance beat that calls to mind that used on the Donna Summer classic “I Feel Love”, the songs feels at once retro disco, yet freshly current.

That ringing bell first heard on “Snakes” makes a return appearance on the closing title track “We Need Light in the Dark“, which brings everything full circle on the album. Toby now recognizes that he must be the source of his own light in the dark, acknowledging that while bad stuff will still come his way and that life will never be perfect, he must do his best to remain hopeful and positive: “We Need Light in the Dark. We gotta help ourselves. But you can’t win them all. How do you say life is wonderful?” Running nearly five minutes, it’s the longest of the seven tracks, and also the most downtempo. The combination of a languid bass groove, cool spacey synths – highlighted by deliciously funky Prince-esque keyboards – and trippy vocal effects create a bewitching soundscape that nicely conveys a restrained sense of optimism.

We Need Light in the Dark is a fine debut by Tobisonics, beautifully showcasing his masterful composition, arrangement and production skills. I’m touched by his willingness to expose himself to the world through his music, and I hope this album will speak to others who’ve experienced similar mental health struggles, perhaps even helping them to come to terms with some of their own issues.

Connect with Tobisonics: Website / Facebook / Twitter / Instagram
Stream his music:  Spotify / Apple Music
Purchase:  Bandcamp / Amazon

THE STAR CRUMBLES – Album Review: “The Ghost of Dancing Slow”

On By EclecticMusicLoverIn Reviews18 Comments

Music act The Star Crumbles came to be rather serendipitously earlier this year when singer-songwriter Brian Lambert, who’s based in Denton, Texas, reached out to singer-songwriter and multi-instrumentalist Marc Schuster, who lives in suburban Philadelphia, for some help with his song “Kids” (which I wrote about last March in a Fresh New Tracks post). The two had previously met on Twitter, but had never before worked with each other. Well, they immediately hit it off, so much so that they decided to collaborate together on more music projects, eventually leading to their creation of a new music act they dubbed The Star Crumbles. On September 30th, their debut album The Ghost of Dancing Slow was released on Bandcamp, and will go live on most other streaming services (Spotify, Apple Music, etc.) on October 7th. 

Brian Lambert & Marc Schuster

Before I get into the album, I want to provide a bit of background on Brian, Marc and The Star Crumbles. Brian has been writing and recording music for many years, and says he’s “reinvented himself more times than he can count.” He even tried his hand at country music for a while, but eventually realized that it just wasn’t for him. More recently, the prolific songwriter’s been making indie rock music inspired by some of his favorite acts like Spoon, Gang of Youths and the Replacements, and beginning in 2021, he challenged himself to writing, recording and producing a new song every week for an entire year. He now has an incredible body of work to his credit.

Marc is an insanely creative renaissance man in every sense of the word. Not only is he an educator, author and literary critic, he’s also a prolific songwriter and musician, recording both as a solo artist and as part of numerous music projects and collaborations with an ever-expanding roster of musicians. As if all that weren’t enough, he’s also a pretty good visual artist, is incredibly supportive of other artists and music bloggers (including yours truly), and has a terrific WordPress blog of his own called Abominations, where he writes about music and interviews lots of indie artists. I’ve featured him three times on my blog, including a review last February of his wonderful EP There Is No Down.

In addition to making music, both Brian and Marc are wildly imaginative and funny guys. Soon after forming The Star Crumbles, they came up with the idea of creating a tongue-in-cheek back story for the act. Since their music is strongly influenced by their shared love of 80s new wave music by such bands as The Cure, Echo & the Bunnymen, Ultravox and New Order, they decided that The Star Crumbles would have its origins in the early 80s, but due a number of unexplained circumstances, they suddenly disappeared from the music scene before having a chance to release their first album: “From 1982 to 1986, The Star Crumbles were always on the verge of something big – until they vanished without a trace, taking their eagerly anticipated album, ‘The Ghost of Dancing Slow’, with them. Everyone thought they had potential, but they were dogged by misfortune and bad timing. Also, they had terrible business sense.“

The guys recruited a motley crew of friends and fans to provide their own unfiltered insight into what became of The Star Crumbles. The result (which I was honored to be a part of) is a brilliant and hilarious video documentary Beyond the Music. The inventiveness, originality and deadpan delivery of those who participated is really quite impressive! Please press play:

Okay, now lets get to the music. The Ghost of Dancing Slow was a DIY project, totally self-recorded and produced by Marc and Brian. Marc mixed the tracks, and they both had a hand in the final mastering. Marc played guitars and drums on all tracks, while both he and Brian played synths. All but one of the ten songs on the album were written by Brian and Marc, the exception being “Cool Down”, which was written by fellow musician Mike Mosley (who also appears in the documentary).

Opening track “Desperately Wanting” was The Star Crumbles’ first official single, released this past May. It’s a beautiful and compelling song about a couple who are unable to communicate their needs to each other, leaving their relationship in a perpetual state of limbo, with each of them feeling unfulfilled and unhappy. The album’s title is taken from the song’s lyrics: “The space that lies in between. The gap that lies in between, what we’re really wanting, we don’t want to talk about. The ghost of dancing slow, inside what we’re speaking. But we pretend not to know, what we’re really thinking.” Musically, the song is driven by Marc’s hypnotic bassline, over which he’s layered somber droning synths, thumping drumbeats and gently crashing cymbals. Both he and Brian played guitars. Brian’s plaintive vocals are both comforting and melancholy, nicely conveying the sad sense of resignation expressed in the lyrics. It’s a great song, and spent 12 weeks on my Top 30 chart this past summer.

Next up is their follow-up single “Shadows in the Dark“, another winning tune with a strong retro 80s vibe that borders on darkwave. The guitar work is fantastic, and I love that sizzling little guitar solo in the bridge. Brian’s fervent vocals are great as well. The cool video, which was created by Marc, features pixelated renditions of the band trapped in an eight-bit Atari nightmare.

On the timely and relevant “Conspiracy“, the guys take on those who spread conspiracy theories, and the damage it does to society: “While bald-faced lies are told, the rhythm of what’s true skips a beat. We wonder how they get away with it. There is no consequence for ineloquence that harms the trust. I think it’s more than just a bit intentional.” The gravity of the subject is driven home by the song’s unsettling vibe, created by a rather menacing groove, overlain with dark industrial synths and distorted guitars.

“Cool Down” sounds like a long-lost song by Joy Division or The Cure, with gorgeous shimmery guitars and swirling synths, and Brian’s vocals sound better than ever here. “Cozumel” is a sweet song about spending time with a loved one in the Mexican resort, and though the subject matter is quite different, it made me think of Suzanne Vega’s great song “Tom’s Diner”. Those great jangly guitars return on the haunting new wave gem “Trees in the Forest“, with lyrics that seem to speak of feeling lost and disconnected from the world.

With its bouncy new wave vibe, “What Are We Waiting For” urges us to stop doubting ourselves and seize the moment so that we can move forward and live our fullest lives. “Spectres in Waiting” has a decidedly different feel than the other tracks on the album, with a somber, more introspective feel, highlighted by rather mournful guitar notes. The wonderfully-titled “Past, Present and Future Walk Into a Bar, It Was Tense” is another terrific story song, in which Brian talk-sings about his present self encountering his past and future selves in a bar, and wanting to ask them questions to gain a better understanding of himself: “All these years older, what do you get? I hope not colder, nor full of regret.” I love the song’s darker vibe and rather menacing gnarly guitars.

Closing track “If I Could” is the longest on the album, running over five minutes, and has a gentle, upbeat cadence that’s really pleasing. The song seems to be about searching for the truths that will help guide us to a better life, which I also think kind of encapsulates the overall them of the album: “Every time I thought I had an answer, there is just another question that begs that I go searching. Even when I find it, I’m left not truly knowing. I guess it will always be that way.”

The Ghost of Dancing Slow is a marvelous album, and we’re so fortunate The Star Crumbles were successful in retrieving the lost masters to these new wave gems so that we can enjoy them these many years later 😉

Those who purchase the album on Bandcamp will receive a bonus song. Also Friday, October 7th is Bandcamp Friday, meaning all proceeds from purchases go directly to the artists.

Connect with The Star Crumbles:  Twitter / Instagram

EML’s Favorite Songs – “Don’t Wanna Fall In Love” by Jane Child

On By EclecticMusicLoverIn Favorite Songs6 Comments

I was reminded about the great song “Don’t Wanna Fall In Love” by Canadian singer-songwriter Jane Child the other day when my friend Dale tagged me in a tweet about it. The song was released in January 1990 as the second single from Child’s self-titled debut album Jane Child, and was a huge hit, spending three weeks at #2 on the Billboard Hot 100 that April (it was kept from the top spot by Tommy Page’s “I’ll Be Your Everything” and Sinead O’Connor’s “Nothing Compares 2 U”). I’ve always loved the song, which is one of my top 10 favorite tracks of 1990.

Child’s rather quirky fashion style back then, which included a hairstyle that was spiked on top with ankle-length braids, along with a rather imposing nose chain piercing, was inspired by her love for African and East Indian cultures, as well as the punk movement. Child wrote “Don’t Wanna Fall In Love” shortly after having relocated from New York City to Los Angeles. The song, along with all the tracks on Jane Child, was solely written and produced by Child, who also sang all the vocals and played all the instruments, except for the guitar parts. Well, she does a superb job, crafting an exuberant synth-driven soundscape built around an irresistible head-bopping groove. Her powerful, emphatic vocals are fantastic, adding more fuel to the song’s exhilarating combustible vibe.

Child has stated that this was not intended to be a happy love song, but more a reflection on the Freudian concept of the pleasure vs. pain principle, generally defined as the instinctive seeking of pleasure and avoiding of pain to satisfy biological and psychological needs. (Wikepedia) In the lyrics, she sings to a man who drives her wild with sexual and romantic desires, while insisting that she’s going to resist his powerful charms to protect her own well-being.

Ain't no personal thing, boy
But you have got to stay away
Far, far away from my heart, my heart
Don't you know what your kiss is doing
Let me tell it to you from the start, boy

I don't wanna fall in love, no, no
Love cuts just like a knife
You make the knife feel good, baby
I'll fight you to the end, baby

You've been hanging around boy
And you have started sinking in
Ooh baby, you're way out of line now
Unaware how this all got started
Let me tell it to you one more time, boy

I don't wanna fall in love no, no
Love cuts just like a knife
You make the knife feel good, baby
I'll fight you to the end

I don't wanna fall in love no, no
Love cuts just like a knife
You make the knife feel good, baby
I'll fight you to the end

I learned something about myself
Last night with you I knew
I didn't want nobody else
And your scaring me to death now, baby

I don't wanna fall in love no, no
Love cuts just like a knife
You make the knife feel good, baby
I'll fight you to the end

VULTURE PARTY – Single Review: “Blood Wolf Moon”

On By EclecticMusicLoverIn Reviews8 Comments

Vulture Party is a Scottish three-piece who, in their own words, play “disquieting Alt Pop for the socially conscious“. Based in Falkirk, a smallish city located roughly halfway between Glasgow and Edinburgh, the band consists of Louise Ward, David King and Dickson Telfer. Having both a male and female vocalist deliver their thought-provoking lyrics also gives their already fascinating sound even greater nuance and depth.

They released their debut single “New Humans” in 2019, followed a few months later with “Sun Dance”, then dropped their eponymous debut album Vulture Party in April 2020, just as the pandemic turned the world upside down and brought everything to a crashing halt. Undeterred, they began writing and recording songs for their second album Archipelago, and in July 2021, they released “Afterlife”, the first of a series of singles to be included on Archipelago. They followed up with “Iso Disco” this past January, and now return with “Blood Wolf Moon“, the third single off the forthcoming album, to be released later this summer on the not-for-profit independent record label Last Night From Glasgow.

About the song, the band explains “‘Blood Wolf Moon’ is a contemporary take on European werewolf folklore where, through isolation and lack of human connection, people were labelled as outcasts, leading to their basic need for love not being met. Our theme for the song and music video is a werewolf searching for human contact and finding love through music and dance. Despite the subject matter, the tune is upbeat and buoyant, influenced in part by European dance and pop.”

Musically, the song calls to mind some of the great European dance-pop songs of the 80s, with its deep, pulsating bass and drum-fueled beat, overlain with sweeping, almost psychedelic synths, sparkling keyboards, edgy guitar notes and crisp percussion. Louise and David’s intertwining vocal harmonies are really marvelous too. I love this type of synth-heavy dance music, and “Blood Wolf Moon” fills the bill quite nicely.

The delightfully silly video, filmed, directed and edited by Neil McKenzie of Keep it Creative, shows Louise as a campy werewolf who’s also a big Dolly Parton fan, sneaking around and trying to take part in a line dancing society event where David and Dickson are participating. She finally succeeds in the end, fitting in with the other dancers.

Connect with Vulture Party:  Facebook / Twitter / Instagram

Stream their music:  Spotify / Apple Music / Soundcloud / YouTube

Purchase on Bandcamp

EXPRESS OFFICE PORTICO – Single Review: “Cosmic Joke”

On By EclecticMusicLoverIn Reviews7 Comments

Formed in 2020 during the height of the Covid pandemic, talented British five-piece Express Office Portico is comprised of Tara Freeman (lead vocals, keyboards), Billy Townsend (lead vocals, keyboards), Reuben Tobolewski (guitar), Ben Phipps (bass) and Olly Walton (drums). In cleverly naming themselves after the entrance to an old newspaper distribution office in the center of Nottingham, England, it follows that they would not be afraid to address all sorts of relevant and timely issues, including those related to mental health and emotional well-being. Their debut single “I Like it Weird”, released in late January 2021, dealt with Obsessive Compulsive Disorder (OCD) and how it can exacerbate feelings of jealousy over past lovers. Their second single “Mishmesh” explored the dangers of alcohol dependency, and how our coping mechanisms and compulsive tendencies can manifest themselves in toxic habits, while their third single “Then Wave” addressed abandonment and trust issues.

I really like their brand of dreamy synthpop with an edge, and have reviewed all three of their previous singles, which you can read by clicking on the ‘Related’ links at the end of this post. Now they’re back with their fourth single “Cosmic Joke“, which has a mellower vibe than their previous singles, as well as a more lighthearted message. They’ve provided a bit of background on their creation of the song: “‘Cosmic Joke’ came about by trying and failing to work out the chords to the 70s classic “I’d Rather Be with You” by Bootsy Colins. As big fans of artists immersed in RnB and funk like Erykah Badu, Yellow Days and Steve Lacy, we began thinking, how would an Express Office Portico track with these accidental chords sound? ‘Cosmic Joke’ evolved from there, with other influences such as Men I Trust, Beach House, Yellow Days, Rex Orange County & Mac Demarco adding to its creation. We love comedians that go on long rants that are more like philosophical monologues than stand-up. Bill Hick’s famous ‘It’s Just a Ride’ piece, being the perfect example. From here we decided on using this framing device for the track.

The title comes from an idea in philosophy that the entire universe and life in general is just one big joke. A trick played on humanity by existence itself, or God, or whatever you wanna call it. ‘It’s all a cosmic joke, nothing less and nothing more’. The lyrics are essentially about having an existential crisis and the utter confusion of being a conscious human in the physical world. Everyone is searching for meaning, but life is fundamentally meaningless. So, we might as well just laugh about it all, and try to enjoy it as much as we can! During the recording weekend, we booked ourselves an Airbnb to house us all. After a mild night of drinking, our guitarist Roo had a bit too much nicotine, which resulted in a fairly violent bout of sickness, starting with us all sat around the TV. Who knew too much nicotine could do that to you hey?“

The song opens with Olly’s assertive drumbeats, then silky keyboards enter along with Ben’s funky bassline and Reuben’s beautiful shimmery guitar as the music settles into a delicious R&B groove. In her sweet, lilting vocals, Tara cheekily croons “Sit back, relax. As the curtains draw, the microphone stands upon the stage floor. Out walks a comedian. The crowd we roar. Out walks a comedian, and they say ‘It’s all a cosmic joke, nothing less and nothing more. Your ticket’s already pulled, so you may as well just laugh and applaud’.” The song is filled with great moments like the quiet little interlude halfway through the song during which Ben’s funky bass really shines, and Tara and Billy’s wonderful harmonies in the final chorus.

With “Cosmic Joke”, Express Office Portico keep their perfect score of putting out stellar singles fully intact.

Connect with Express Office Portico:  Facebook / Twitter / Instagram

Stream their music on Spotify / Apple Music / Soundcloud / deezer

Purchase on Bandcamp / Amazon 

BRANWELL BLACK – Single Review: “Lay On Me”

On By EclecticMusicLoverIn Reviews8 Comments

Branwell Black is a charismatic young singer-songwriter, producer, dancer and model who creates alternative electro pop-rock influenced by some of his favorite artists like Kate Bush, Madonna, Charli XCX, Kerli, Evanescence and Tokio Hotel. Born in Oxford, England, raised primarily in France, and now based in London, Branwell has recorded music both in French and English as a solo artist, and as part of the band Brothers Black/Posie that he formed with his brother Morgan. Both he and Morgan developed a love of music at a young age, as their father was an accomplished rock drummer. 

In September 2019, Branwell released his debut single “J’attends L’amour”, then quickly followed up with “What You Want”, as well as an EP Posie with his band Brothers Black/Posie. In May 2020, he released his sultry single “Love Life” (which I reviewed), then followed that October with a marvelous electronic cover of the Verve classic “Bittersweet Symphony”. Now he’s back with “Lay On Me“, the first single from his forthcoming Lay On Me EP, due for release by the end of the month. That EP will also feature a rave remix of “Lay On Me”, as well as a live version of “What You Want”. 

About the new song, Branwell explains: “‘Lay On Me’ is the first song I’m releasing which features my live band [with] Harvey on guitar and my insane drummer Alexandra. It’s a sonic reintroduction of sorts, as it’s a little heavier than my original music, and also a tease into the direction I’ll be going. We’ve been touring the UK and have grown our sound into something even more exciting as a bridge between rock and pop. The song also takes influences from the Vogue scene with elements of ballroom vogue songs, and is a sexy number about taking control of situations and appreciating your beauty and knowing how to use it. The lyrics ‘But I’ll be me’ represent a realization that you’re always in control of your own enjoyment and knowing what you want.“

When I first listened to “Lay On Me”, it seemed to be primarily a catchy dance-pop song. But with repeated listens, the brilliance of Branwell’s songwriting was revealed as I detected elements of house, trip hop, electro and psychedelic rock he’d artfully injected into the mix. Though the song’s driving dance groove is undeniably hypnotic, it’s the variety of stylistic elements and textures that make it such a compelling and sonically fascinating track. I love the thick synth bass groove, Harvey’s funky riffs, Alexandra’s galloping drumbeats, and the colorful blend of gnarly and spacey industrial synths. Branwell’s bewitching and breathy vocals have an understated seductive quality that perfectly complements the captivating instrumentals. It’s a terrific song.

Connect with Branwell:  Facebook / Twitter / Instagram
Stream his music:  Spotify / Apple Music / Deezer / Soundcloud
Purchase:  Amazon / Bandcamp

EXPRESS OFFICE PORTICO – Single Review: “Then Wave”

On By EclecticMusicLoverIn Reviews12 Comments

In naming themselves after the entrance to an old newspaper distribution office in the center of Nottingham, England, it’s no surprise that British synth-pop band Express Office Portico do not shy away from tackling relevant and timely issues. Since forming in early 2020, the talented five-piece consisting of Tara Freeman (lead vocals, keyboards), Billy Townsend (lead vocals, keyboards), Reuben Tobolewski (guitar), Ben Phipps (bass) and Olly Walton (drums), has released three singles touching on mental health and well-being.

Their first, “I Like it Weird”, dealt with Obsessive Compulsive Disorder (OCD) and how it can exacerbate feelings of jealousy over past lovers. Their second, “Mishmesh”, explored the dangers of alcohol dependency, and how our coping mechanisms and compulsive tendencies can manifest themselves in toxic habits. (I reviewed both of those singles, which you can read by clicking on the links under “Related” at the end of this post.) Now they’re back with a new single “Then Wave“, which addresses the struggle of coping with abandonment and trust issues. The track was produced and mixed by Joshua Rumble and mastered by Fluid Mastering. The beautiful artwork was created by Antonio Pacelli.

With “Then Wave”, Express Office Portico gifts us with another beautiful synthpop song, overflowing with their signature swirling synths and Tara and Billy’s captivating harmonies. The sounds of theremin, accompanied by Ben’s throbbing bass notes and Olly’s perfect drumbeats, creates a dreamy backdrop for Tara’s enchanting vocals as she plaintively sings the lyrics describing someone struggling to reach out for affection amid their fears and anxiety over letting people get close to them. As she sings the verses, Billy repeats the words “Can’t get up” over and over, driving home the feelings of anxiety and helplessness in overcoming one’s insecurities: 

Let me be swallowed by my own self doubt
Nauseous from constantly spinning around
   (Can't get up)
Time to sit with my shame
   (Can't get up)
Feeling flows through my brain
   (Can't get up)

You are infecting my very body
So close I can feel you inside of me
Time to sit with my shame
   (Can't get up)
Feeling flows through my brain
   (Can't get up)
I stop calling your name
   (Can't get up)
Then wave, calling your name
   (Can't get up)

Connect with Express Office Portico:  Facebook / Twitter / Instagram

Stream their music on Spotify / Apple Music / Soundcloud / deezer

Purchase on Amazon