New Song of the Week: PAUL LYNCH – “Little Man/Cold Will Always Win”

Paul Lynch2

Today I have a treat, as my ‘New Song of the Week’ is actually two songs – a double-single by British indie folk artist Paul Lynch. The London-based singer-songwriter is releasing five singles in 2019, and “Little Man/Cold Will Always Win” are numbers 3 & 4 (the first two were the beautiful tracks “A Different Way” and “Oh So Quiet”).

A civil engineer by training, Paul’s been making and recording music for several years, and released his first EP Searching for the Answer in 2018. He subsequently decided to go part-time in his job to focus more on his music. With his love for traditional world folk music, Paul took time off from his job to travel in Mexico and France, where the regional folk music he heard inspired him to write new songs. The five singles he’s releasing reflect those influences, especially his latest songs “Little Man” and “Cold Will Always Win”, both featuring sunny Latin-infused grooves.

“Little Man” is a cheerful, optimistic song about not allowing fears to keep you from realizing your full potential. Paul pairs a rich array of instruments, including layered guitars, maracas, bongos, trumpet and piano with a lively Latin beat to create a wonderful tune that just makes you feel happy. He has a silky high-tenor vocal style that’s incredibly pleasing as he sings “Hey little man don’t worry. This is your time, no worry. Hold your breath, and jump right in oh. But little man don’t waiver, this is your time to savour.”

“Cold Will Always Win” is a mellower, more introspective song, with a sophisticated throwback vibe that calls to mind some of the classic Latin and Brazilian songs of the 50s and 60s. Paul’s intricate guitar work is really marvelous, and his layered vocal harmonies are gorgeous as he croons about the inevitability of winter, which I think is a metaphor for the life challenges that come our way, and must be faced with strength and courage: “The misty wind is circling, stripping leaves from the trees. Catch them as they are falling, or the cold will always win. As the dim of winter, circles and there’s no escape. Time is forever shrinking. Chance must not be left to fate.”

Have a listen to these two great tracks:

Connect with Paul: Facebook / Twitter / Instagram
Stream his music on Spotify / Soundcloud / Apple Music
Purchase on Google Play

THE OCEAN BENEATH – EP Review: “The Ocean Beneath”

The Ocean Beneath is a British electronic music project based in Leeds. Influenced by bands such as Gunship, HVOB and Talk Talk, they combine 80’s synthpop elements with modern recording techniques, analogue synthesis and huge melodic grooves to create music that sounds retro, yet fresh and now. This EP has been a labor of love for them, working extremely closely with producer Grant Henderson and lyricist/vocalist Nath Jackson to create a first-rate musical offering. The songs were recorded at Loom Studio in Leeds, and mastered by Katie Tavini.

The EP features five tracks, three of which are instrumentals and two with vocals by Nath Jackson. The first track “Wake Up” is a trippy instrumental, with spacey, psychedelic synths set to a languid, strutting beat that almost borders on trap. The intricate, pulsating synths have a sci-fi quality at times, giving the track a cool, mysterious vibe that’s almost mesmerizing. It nicely conveys images of that hazy state we often feel upon waking up from a deep sleep.

Next up is “Transcend“, a gorgeous track that calls to mind some of the wonderful 80s songs I loved by A-ha, New Order and Depeche Mode. More of those marvelous spacey synths abound here, but this time they’re delivered with a bouncy, upbeat tempo and accompanied by additional sweeping synths that form a lush soundscape for Nath Jackson’s stunning vocals. He wrote and sings the encouraging lyrics about overcoming one’s fears and uncertainty, and opening oneself up to all the experiences that life offers: “The secret’s hidden in you. Stop and take a look around. You never know what you might have found. Open up, and soak it in. Watch it as your time begins.” I love this song.

The blissful mood is abruptly interrupted by an unsettling, deep-bass synth accompanied by sounds of distant ambulance sirens on the brief but complex instrumental “The Meridian“. The ominous sounds are suddenly replaced with a beautiful interlude of glittery synths before ending with a return of the sirens.

Setting Sun” is a spectacular track, and probably my favorite on the EP. Everything about it perfection, starting with an enthralling EDM beat that grabs me squarely by the hips, transporting me to a dreamy place from which I want no escape. The pulsating, psychedelic synths are darkly beautiful and lush, and have I mentioned that infectious dance beat? Jackson returns to grace our ears with his warm, sensual vocals that are absolutely captivating. I really love his voice! He sings of someone trying their damnedest to avoid committing to love: “Well you may be the last one standing. The devil’s on your tail but you keep on graspin’. Sail your dreams out to the sea. Pull them on the line and bring them home to me. A love line and watch it shine. And I won’t stop until you are mine. You don’t know what you’ve become. And you can’t hide behind the setting sun.”

The brilliant video produced for the song is trippy and beautiful, showing Jackson’s handsome face superimposed with a colorful mix of psychedelic, tech, vintage, urban and nature imagery.

The final track “Nocturnality” is another instrumental, with a powerful, thumping dance beat and intricate, sweeping synths that remind me a bit of the great dance music of European composers Cerrone and Giorgio Moroder that was popular in the mid to late 70s. And, like the music of those composers, “Nocturnality” is fairly long, running nearly six minutes. It’s a wonderful, melodic track.

The Ocean Beneath is a superb little EP and a terrific debut effort for this talented music project. One of the things I especially like about it is that each song sounds and feels entirely different, making for a fascinating listening experience. Some electronic music albums and EPs can become numbing after awhile, when one track after another sounds pretty much the same, but this one always surprises with every listen.

Connect with The Ocean Beneath: Facebook / Twitter / Instagram
Stream their music:  Spotify / Soundcloud
Purchase:  Bandcamp / Google Play

JIM HUDSON – EP Review: “Fallen”

Jim Hudson is a singer-songwriter from Wolverhampton, England, who this past May released his debut EP Fallen. It’s a lovely but dark work, featuring three guitar-driven tracks with deep, poetic lyrics that speak to man’s internal conflict between his good and evil sides, and struggles to make it in this life. Jim wrote and recorded the songs, and played or programmed all the instruments. The EP was mixed by Matt Pinfield and mastered by West West Side Music (yes, West is repeated in the studio’s name).

The first track “Shadow” is a poignant song with a somewhat melancholy air. Jim’s layered acoustic and twangy electric guitar work is really nice, lending the track a bit of a folk vibe, while the assertive percussion keeps it in rock territory. His vocals have a pleasing, understated quality, and work well on this track. The lyrics seem to speak of someone who’s become a mere shadow of their former self after years of excess, realizing they’ve wasted their life and now have nothing or nobody: “No one remembers when you left, who you are, what you came here for. Lost three more days in a state. Through the haze; gone too far.

The dark and mesmerizing title track “Fallen” opens with a thumping drumbeat and an acoustic guitar chord progression that calls to mind the classic James Bond theme, only in a slowed-down manner. With a sense of sad resignation, Jim croons the fatalistic lyrics spoken by a man to his son, telling him that he will be inheriting a darker, less hospitable world because of the destruction caused by mankind: “Grab your things and run, through the barbed wire fence. From the hands that feed us, we don’t stand a chance./ Re-wrote the rules, transcended evolution. All this son, will one day be yours. Turned our backs, as we fled the garden. All of this, all of this is ours. Got inside my head, can’t get up any more. Cut my world wide open, threw my heart to the floor. You don’t know, you don’t see. Cut me, I’m in bits. There’s a hole, in my head. Leaves me cold in plastic.” His combination of acoustic and electric guitars, accompanied by humming bass, sparkling synths and measured percussion make for an exceptional track.

“Papercuts” has a softer, more upbeat folk vibe. The acoustic riff that continues throughout the song is quite charming, punctuated with tasty electric guitar runs in the choruses. The lyrics, however, are bittersweet. Jim states that they’re basically about an artist (music, visual arts, or whatever) struggling to make his way and get noticed. Perhaps he’s wasting his time, his efforts are all in vain, and maybe he shouldn’t bother trying to continue on. “It’s hard enough to get you where you’re seen. Should never be there. You’re in a dream. Listen in. Massage my self esteem. Are paper cuts enough to get you seen? It’s never easy being fine.”

Despite it’s rather dark tone, Fallen is an enjoyable little EP, and a very respectable debut for Jim Hudson. His thoughtful and extensive lyrics are pure poetry, and he’s a fine guitarist and vocalist too.

On Saturday 6th July, Jim will be performing at The Chindit in Wolverhampton, one of the venues in the Junction Festival of Contemporary Arts.

Connect with Jim:  Facebook / Twitter
Stream his music on Spotify
Purchase on Bandcamp

GG FEARN – EP Review: “Black Mirror”

gg-fearn-black-mirror-cover-ep

Some of the more interesting and provocative songwriting these days is coming from young female artists such as Billie Eilish, Courtney Barnett and Jade Bird, as well as indie artists like Erin Incoherent (who I featured last December) and GG Fearn, a remarkable 18-year-old singer-songwriter from Carmarthen, Wales. With a singular talent and maturity beyond her years, GG (short for Georgia) first started writing songs at the age of nine, and has become quite the wordsmith, penning thoughtful and frank lyrics about life and the darker aspects inherent in many of us. She’s already become a seasoned performer, having played at many different venues, most notably the famous Cavern in Liverpool, and her songs have received airplay on BBC Wales, and other radio stations throughout the UK. She’s just released a terrific four-song EP Black Mirror, which dropped on May 28.

In the creation of her music, GG melds elements of folk, pop, alternative rock, jazz and hip hop into a unique sound stew that could best be described as ‘dark folk-pop.’ She also has a clear and lovely singing voice brimming with character and confidence, while still retaining a touch of vulnerability. When combined with her compelling lyrics, it gives her songs a worldliness and sophistication that’s very relatable.

She gets right down to business on the EP opener “Deal With the Devil“, an upbeat-sounding song that belies its dark theme. The lyrics address the subject’s awareness of her wicked nature, and her feeling perfectly okay about it: “Another day. Chaos parade. Domestic life comes hand in hand with a knife, to use on you, your partner too. I looked in the mirror one night. Suddenly my soul takes flight. I made a deal with the devil. I don’t know why he picked me. I guess that something clicked. But living without your soul, it ain’t so bad. I never really had one anyway.” Musically, the song features crisp, bouncy synths that have an almost industrial feel, punctuated by glittery keys and subtle bass kicks. GG’s layered vocals are backed by a gruff, barely audible male vocal in the chorus, sounding as if the devil himself is singing in unison with her.

The superb title track “Black Mirror” opens with a simple, almost dubstep beat, then settles into a catchy bass-driven tempo that has us bopping our heads and swaying our hips. I love the intricate funky guitars, and GG’s layered vocals are really quite marvelous as she croons about not being happy with the current state of things. The black mirror seems to reflect all the stuff that’s troubling her, and she’s not liking what she sees: “I think I’m going crazy. Vision’s going hazy.  I know. I hear the shotgun ring, but you don’t hear a thing. Harm can be a comfort when poison is your king. A necklace made of pearls, and artificial girls. I’m stuck in a black mirror.”

I love all the tracks on the EP, but my favorite is “Teen Queen“, an in-your-face declaration of “Attention: someone new is now in charge!” Or, as fellow blogger Lakisha Skinner so beautifully put it in her wonderful Klef Notes review, it’s the “I’m the girl who will wear black to the prom and nobody betta say one thing to me about it song!”

Starting off with a magical little xylophone riff, the song quickly bursts open with lush, glittery synths and thunderous percussion, as if symbolizing a fairy princess making her grand entrance. As GG defiantly proclaims, “Now the deed is done, done, done, done…” a strutting dance beat kicks in and I’m hooked! She continues making her newfound dominance clear: “I’ve traveled through hell and all of its towns. God only knows where I’ve been. I’m the only girl that can wear the crown. Yes, I’m your new teen queen. You can call me narcissistic, but please don’t forget sadistic. I, I am your new teen queen. Nothing that they’ve ever seen. Your time on stage is through. Make way for someone new, new, new, new…” 

The rather cynical “Famous Last Words” speaks to our impermanence, regardless of how important we think we are while we’re alive: “Legacies they can be cruel whether you wear rags or jewels. I want mine to beat them all, so that when I fall, I want to be remembered. I want to go down in history. I want to be the greatest. I want to be the best.” The cold reality, however, is that most of us will be forgotten: People won’t remember when you’re dead. All the brilliant things that you have said. You can be known all around, but that don’t mean you’ll keep your crown even if you stitch it to your head. /And her famous last words were…(what were they?)”  The song has a catchy hip hop/trap beat, with sharp synths and deep bass. It’s a good song, and sounds like one Taylor Swift could have done, only better.

Black Mirror is a great little EP, and GG Fearn is an immensely talented songwriter, composer and vocalist with a lot to say. Hopefully, she’ll continue expressing herself with more wonderful songs very soon!

Connect with GG: Facebook / Twitter / Instagram
Purchase “Black Mirror” on Amazon / Google Play

ELLIE FORD – Album Review: “Light. Repeated.”

Ellie Ford album art

British singer/songwriter Ellie Ford is quite possibly the only harpist in the music world to head up a band. In addition to being an accomplished harpist, the multi-talented Brighton, England- based artist also plays guitar and sings like an angel, using her voice almost like another instrument. Assisting Ellie in the creation of her uniquely innovative Alternative Folk music are Fred Hills (drums & percussion), Andrew Stuart-Buttle (violin, mandolin, bass and backing vocals), Harry Haynes (guitar and backing vocals) and Freya Bowes (clarinet and backing vocals).

Ellie Ford band

Ellie first graced the airwaves in 2013 with her debut EP Show Night In, then followed up with a full album The Other Sun in 2016. Now she’s back with a lovely new album Light. Repeated., which dropped on 17 May. Featuring eight exquisite songs, the album sees Ellie further exploring themes of life, love and relationships through her poetic lyrics, unconventional melodies, richly layered instrumentals and the marvelous interplay between her glorious harp and enchanting vocals. Listening to the album is an immersive experience, and it’s easy to become enveloped by the enthralling soundscapes she and her band so skillfully weave.

The album opens with “Gold“, a captivating song in which Ellie’s shimmery harp strings take center stage, but with ample help by Freya’s clarinet, Harry’s strummed guitar, Fred’s gentle percussion, and Andrew’s violin, which gives the track a bit of a Celtic vibe. Ellie croons in her lilting vocals, “Kicking and calling and bracing for falling as I leave. But for a little gold, I could tide it over.”

Next up is “Light. Repeated.“, a bewitching tune that’s probably my favorite track on the album. The highlights for me are Fred’s hypnotic, seductive drumbeats and Freya’s jazzy clarinet, but Andrew’s bass, Harry’s guitar and that infectious rattle are all pretty terrific too. And it goes without saying that Ellie’s harp adds a magical component. Freya’s soulful clarinet takes a starring role on “Tired Eyes” with Ellie’s harp strings providing a strong counterpoint. The interplay between her fluttering vocals and Freya’s gorgeous clarinet notes is breathtaking, and the guitars, deep bass and drums are perfection.

My Bird Won’t Sing” is a re-imagining of a song that was originally included on The Other Sun. The previous acoustic version featured only Ellie’s vocals and her strummed guitar, but for this new version she lengthens the track by one and a half minutes, and gives it the full instrumental treatment by her band, yet keeping the vibe decidedly understated. The result is an intriguing song that holds our interest with unexpected melodic shifts that almost border on progressive jazz. Ellie’s ethereal vocals are sublime as she sings the lyrics that seem to speak of the thin line between reality and escape:  “My bird won’t sing. Have no idea what it means. And that’s OK, I don’t mind./ My diamond ring shines like the real thing. And that’s OK, I don’t mind. Comin’ off a little blind. What are we doing? Don’t you know that’s the ruin of our kind? I’m beginning to think that I might have lost my mind.

Ellie Ford by Chloe Imbach

The beautiful songs keep on coming. Another favorite is the bittersweet “All That is Left“, which features some of the most enthralling instrumentals of any song on the album. The mix of harp, piano, guitar, violin, clarinet, drums, and what sounds possibly like dulcimer, are absolutely stunning, and so are the vocal harmonies between Ellie and the guys. The lyrics speak to a relationship that’s over: “There will come a day when you’ll return. Dirt in your hair and your clothes all torn. And I’ll be gone. And all that is left, will be left to the dogs.” As its title suggests, “A Strange Brood” is a languid, brooding song lasting nearly six and a half minutes. Its  mysterious, spacey synths, tinkling piano keys, bluesy guitars, plucky harp, deep bassline and lots of crashing cymbals make for an enthralling listen.

Woods” starts off with an Eastern European Folk vibe, thanks to the Gypsy tones of Andrew’s violin and Freya’s clarinet, accompanied by Ellie’s plucked harp strings. But with the addition of heavy electric guitars and pounding drums in the bridge, the song transitions to a more intense rock feel. Album closer “The North Wind” really showcases the incredible synergy between Ellie’s harp playing and unique vocal style, and how she so beautifully complements one with the other. Other instrumentation on the track includes guitar and Fred’s kick drum and percussion, as well as the introduction of Andrew’s violin at the end.

I’ll admit that Light. Repeated. took a couple of plays to really grow on me. Though the songs sounded lovely and interesting when first hearing them, their complexity and unusual melodic structures required more than just a casual listen for me to fully appreciate. There’s an incredible amount of nuance and depth to the music and lyrics that are revealed with each successive listen, and even after hearing some of the songs five or six times, I discovered new sounds and textures. The production and song arrangements are flawless, and I’m impressed with the skilled instrumentation by the supporting musicians who help Ellie bring her magical songs to life.

Connect with Ellie: Facebook / Instagram
Stream her music on Spotify / Soundcloud
Purchase on Bandcamp / iTunes

BEN PRIORY & CHARLIE PEREIRA – Single Review: “Here We Go”

Herewego (2)

Aside from the thrill of seeing one of my posts go viral (which almost never happens), my biggest joy about having a music blog is writing about music I really love. And boy, am I in love with the stunning debut single “Here We Go” by two young artists from Portsmouth, England: Ben Priory and Charlie Pereira. What’s especially astonishing about the quality of the song and vocals is that they’re both only 17 years old!

Ben and Charlie started making music together at the age of 12, when they’d have drum battles in Ben’s bedroom. Ben wrote the music for “Here We Go” last September (2018), then recorded all the instruments, including synths, piano, bass and drums. Charlie wrote the lyrics, and recorded the vocals over two sessions, the first in December 2018, and the second in February 2019. Ben produced and mixed the song, then sent the track to Peter Maher (U2, The 1975, Snow Patrol, Katy Perry) for mastering.

The song is perfection from start to finish. It opens with night sounds of crickets and waves crashing on a distant beach, setting a rather pensive mood. Then a somber piano riff, accompanied by finger snaps and bass, enter the mix as Charlie softly sings with an air of sadness in his voice of the hurt and disappointment someone’s caused him:

So I’ve been sitting here for the longest time
And it’s just not fine with me
But what you’ve done
And how you thing it’s all fun
But it just can’t run
You made that sacrifice
And I had to pay the price
For you to do what you do but it makes me blue
And you don’t even have a clue

Suddenly, the tone shifts in the chorus to a joyful, upbeat vibe with the addition of lush, shimmery synths, guitar and a bouncy bass drum beat. Charlie’s vocals are now more ardent and hopeful as he sings of the pleasures of making music, providing an escape from the sadness he was feeling earlier, and perhaps giving the relationship another go:

So here we go now
Hearing our soft sound
Hear the bass drum pound
But we don’t know til we will hit the ground
But hear the bass line flow
It’s faster yeah, never slow
Let’s do the show
Here we go, here we go, here we go

Yeah let’s take it back
Listen to the sweet guitar
It’s not a competition you’re my superstar
Just go for a drive
Let’s get away
We can take my car

Ben and Charlie have created a beautiful song that’s the perfect summer tune. I’m quite impressed by the quality and maturity of their sound, especially given their youth, and hope to hear more music from these guys very soon!

Connect with Ben:  Facebook / Instagram
Purchase “Here We Go” on iTunes

BLAIR DOLLERY – Single Review: “Strange Kind’

Blair Dollery3

Blair ‘Misty Red’ Dollery is a British singer/songwriter and guitarist from the western London suburb of Twickenham. A phenomenal guitarist, Blair has been playing and performing for nearly 20 years in a number of different bands, as a session musician, and also as a solo artist. He currently serves as lead guitarist and vocalist for the outstanding alt-rock band The Underground Vault, but has also recently begun releasing singles again under his own solo project. In March (2019) Blair dropped a gorgeous single “Dream On”, and now follows up with another single, the hauntingly beautiful “Strange Kind“.

The only sounds we hear are Blair’s stunning layered acoustic and electric guitar work and resonant, heartfelt vocals, yet the track has an incredible lushness and depth. It’s a testament to his skill at coaxing such rich and full sounds from just his guitars. The dark lyrics seem to be about someone contemplating drowning himself in the ocean due to feeling heartbroken over losing the love of his life.

Follow me down to the ocean
To the deep blue sea
No time for reflection
The end is near, can you see
Some will say I have lost my mind
Some will say I’m a strange kind
Strange kind

Watch the sea growing quickly
She is everything to me
All my love, all my life
Unconditionally
Some will say I have lost my mind
Some will say I’m a strange kind
Strange kind

Connect with Blair:  Facebook / Twitter / Instagram
Stream his music:  Spotify / Soundcloud / YouTube
Purchase: Amazon / iTunes / Google Play Music

SARAH MAY – Single Review: “The Journey”

Sarah May2

Sarah May has one of the most striking voices of any female artist around today. Based in London, England, she’s a seasoned singer/songwriter and music producer who’s been writing and recording songs since she was a teen. With a smooth, captivating vocal style, Sarah in her own words “musically vents the woes of being a female in the modern world.” Her poetic lyrics are honest and pure, and never overly symbolic or impenetrable, which makes her songs highly relatable. And when she delivers those lyrics with lovely music and sublime vocals, listening to her songs is an incredibly pleasurable experience.

Since the release of her gorgeous single “Nothing to You” in December 2018, Sarah’s been on a roll, dropping a new single every month or so. I featured that song as well as her bold follow-up single “Because I Turned You Down” on this blog (you can check out those reviews by clicking on the “Related” links at the bottom of this page). She subsequently released the singles “Oops” and “Fly”, and now returns with her fifth single “The Journey“, a bittersweet song about meeting someone and feeling an instant attraction and connection with them, but life circumstances will likely prevent the formation of a romantic relationship. I know from personal experience the dual emotions of euphoria and heartache that occur under these situations.

The song, which was written and produced by Sarah and mixed and mastered by James Preston, is beautiful, with glittery atmospheric synths, subtle bass and soft percussion. The tinkling keys, xylophone, and mesmerizing organ synths are exquisite, creating a dreamy soundscape for Sarah’s enchanting ethereal vocals. It’s her fifth consecutive winning single, keeping her perfect score in delivering stellar tunes fully intact. Well done, Sarah!

Hey you come over here with those sad eyes
Let me get to know you
Tell me what’s on your mind
And I’ll tell you too

And maybe we’re perfect for each other

Time stops when you’re in the room
And its just me and you
I’ve never felt my soul so understood
You get me and I get you

And maybe we’re perfect for each other

Meeting you was so magical
I don’t understand how something so beautiful
Could be so painful
Can we find our way home
I don’t know

In you I found what I didn’t know
I was looking for
But the journey carries on I’ve got to go
And you’re still unsure

But maybe we were perfect for each other

Meeting you was so magical
I don’t understand
How something so beautiful
Could be so painful
Can we find our way home
I don’t know

Connect with Sarah May: Facebook / Twitter / Instagram
Stream her music on Spotify / Soundcloud 
Purchase on iTunes / Google Play

DAY – Single Review: “Keep the Euro, Keep the Pound”

Day single art

Like many people, British singer/songwriter James Day, performing under the artistic moniker Day, has become weary of the deep political divide that’s plagued The United Kingdom over the past several years with regard to Brexit. Wanting to spread a message of hope and understanding, he released a new single “Keep the Euro, Keep the Pound” in March 2019, along with a video showing him performing the song in the studio and on the streets of what I’m guessing is London, along with images of different cities and peoples throughout the UK and Europe. Taking a neutral stance, Day advocates that people must come together for the greater good, and that democracy must always prevail to ensure the continued trust of the people in their democratically elected government.

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About the song, Day explains “‘Keep The Euro, Keep The Pound’ is about our modern world, it’s togetherness, love, hope ingenuity and inventiveness. Over the past 12 months we’ve been touring Europe and doing art and music. Learning the different cultures and traditions and seeing the history and landmarks whilst interacting with the locals who all are so friendly. Europe is such a rich and diverse mix of cultures and traditions, steeped in history that captivates tourists the world over every year by it’s beauty and ability to intrigue romantics. Visiting Malta, Milan, Sicily, Cyprus, Barcelona, Malaga, Bruges, Paris, Kiev, Lviv, Kharkiv and London to name a few, the 12-month tour of Europe was eye opening and enriching, and helped ideas flow for the new album called ‘Day the Album’ that we are currently working on.”

Musically, the song is a catchy rock tune with some nice guitar work, accompanied by subtle bass and snappy drumbeats. Day’s vocals are commanding as he passionately urges people and politicians to stop fighting with one another, find common ground and complete the will of the British voters.

So why’s it so hard to complete?
Are we controlled by the elite?
Keep the Euro, Keep the Pound
I’m sure we’ll find some common market ground

People want their country back
The farmers want their farms
The fishermen to fish again between Dover and France
It’s easy to forget, that just with half a chance
We liberated all of it by entering through France

Why we diluting all the truth and screening bad press news?
No use in going a second round
We gotta find us some common market ground

Keep the Euro, Keep the Pound
I’m sure we’ll find some common market ground

People got their voices so, give ’em sound
stead of controlling situations by just keeping ’em down
Keep society together with the freedoms they’ve earned
and improve their way of living with the lessons we’ve learnt

We’ll trade with you anyway, just gotta go our own way.
Live in the future, ain’t to live in the past
It’s your people gonna make the EU last

And see the gathering crowd, why don’t you give ’em sound?
They all got choices, they all got voices
and they can make their countries proud

Keep the Euro, Keep the Pound
I’m sure we’ll find some common market ground

Connect with Day:  Facebook / Twitter / Instagram
Stream/purchase on  Soundcloud / iTunes 

THE DIOMEDES – EP Review: “Rabbit”

The Diomedes Rabbit

As I continue to revisit artists I’ve previously featured on this blog, today I’m happy to discuss the exciting new EP Rabbit by alternative electronic rock duo The Diomedes. Based in London, England, The Diomedes is the studio project of friends Mark Champion (guitars and vocals) and David Myers (drums and synths). Two years ago, almost to the day, I wrote a review of their phenomenal debut album Traps. I was so impressed by it, I was inspired to write what I consider to be one of my finest reviews, and you can read it here.

For Rabbit, which was recorded at Narcissus Studios in North West London, the guys teamed up with John Catlin (who’s produced albums for the likes of Led Zeppelin, Nine Inch Nails, Foals and The Killers) and Drew Smith. The influence of NIN is strongly evident, as all three tracks are intense, gnarly and loud, with rather bleak lyrics that speak to feeling used, unloved or losing one’s mind. It’s music that raises the adrenaline, and I felt my heart race every time I listened to the songs.

The title track “Rabbit” sets the overall tone for the EP, with a barrage of Mark’s gravelly riffs and David’s tumultuous percussion that build and build to an ear-splitting crescendo. Along the way, piercing industrial synths add to the sonic cyclone that evokes images of swirling down a rabbit hole. Mark practically shrieks the lyrics that seem to address the feelings of someone under siege by everyone and everything, and the only thing worth living for – that which will plunge him down the rabbit hole – is the love he needs and desires from a certain woman.

I’m taking punches
Pressures building stack up the bricks
I’m feeling hammers
Sculpting a hole in what was me
Tear me up
Tear me up into bits
Tear me up, up, up into pieces
The only thing I need they can’t take from me

Eyes that turn my world
Something that’s worth fighting for
So they can tear me up
I’m taking shots, blows
Bruised to my core
But I only need her glance to fall down the hole

The Diomedes really show what they’re capable of with “Con Debris”, a magnificent slice of melodically complex, industrial noise rock. Things start off gently with some jangly guitar chords and reverb, then the song explodes into a thunderous maelstrom of grungy riffs, swirling synths and hammering drums. Mark’s intricate guitar work and David’s powerful drumming are impressive, and I love Mark’s resonant, quirky vocals and strong British accent as he sings the lyrics:

Come in from the cold
Rest your feet, warm your bones
Build a fire, take my chair
Put my kettle on
Make yourself at home

We’ll pretend like we’re old friends until you’re OK
Until you move on again
Because I think that you just need a little help and a day or two won’t hurt
In any case, you’ll help yourself to everything I’ve left
It’ll always be this way

With nary a second to catch our breath, we’re instantly bombarded with sounds of pummeling drums and very grimy guitars announcing the arrival of the hard-hitting “Bring Out Your Dead”. The guys deliver roiling riffs of fuzzy, distorted guitars, blustery percussion and pulsating industrial synths, punctuated by occasional melodic flourishes, all making for an electrifying listen. The song seems to address the eternal struggle to maintain one’s sanity in this crazy thing called life:

And in the end crazy makes sense
So just kiss goodbye to shattering up inside
All heart and soul and head
All you’ve left is bring out your dead

While short in length, Rabbit packs an enormous punch in its 12 1/2 minutes. Mark and David are creative and talented songwriters and musicians, and their work continues to impress me. If you like alternative electronic rock that’s intense and out of the ordinary, you will enjoy this EP.

To learn more about The Diomedes, check out their website.
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