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.
Connect with them on  Facebook / Twitter / Instagram
Subscribe to their YouTube channel 
Stream their music on Soundcloud and  Spotify
Purchase on Bandcamp / iTunes

A BLUE FLAME – 3-Track Single Review: “Blueprints For Time Machines”

A Blue Flame EP art

I’m not quite sure what’s behind the current flood of creative energy, but it seems that nearly everyone is putting out new music in 2019. At least that’s the case for a large percentage of the artists and bands I’ve featured on this blog over the past three and a half years. Another one of them is A Blue Flame, the music project of British singer/songwriter Richard Stone, who’s just released a new three-track single “Blueprints for Time Machines“, the first of four releases that will comprise his upcoming album due out this summer.

A Blue Flame’s songs tell compelling stories about life, love, faith, loss and heartbreak through poetic, heartfelt lyrics and sublime melodies. The passage of time and the challenge of keeping the faith – both in God and yourself – are recurring themes in his songs. Musically, his songs feature an eclectic range of styles from doo-wop and old-school pop to easy listening ballads, folk and rock, delivered with his smooth, pleasing vocal style. I first featured him on this blog in October 2016, when I reviewed his beautiful album What We’ve Become is All That Now Remains. In January 2018, I reviewed his equally stellar follow-up album When Your Whole World Turns to Dust, which dropped in September 2017. (You can read those reviews by clicking on the “Related” links at the bottom of this page.)

A Blue Flame

Stone writes all his songs and plays guitar on all the tracks. He arranges them with assistance from Adam Ellis, who co-produces and also plays guitar.  Other session musicians add their skills to the mix as needed, including Damon Claridge on drums, Andy Robertson on bass and keyboards, and Tony Robinson on keyboards and horns. About these new singles, Stone explains: “Blueprints has the interesting concept that if you went back in time to improve what you’d done, you’d make the past better than the present you have already created through mistakes made in the past!

The exhilarating first track “Blueprints for Time Machines” is short, lasting barely over two minutes, but makes quite an impact with a thunderous mix of roiling riffs and hammering percussion, punctuated by staccato bursts of stabbing guitars and punchy drumbeats. Stone’s passionate vocals are commanding as he loudly proclaims “Blueprints for time machines. I need designs and plans and schemes. So I can make yesterday better than I made today.”

A Blue Flame keeps the energy flowing with “You Blink and it’s Gone”, an exuberant song with a wonderfully complex melody incorporating elements of rock’n’roll, Latin and pop music. The intricate layered guitars are fantastic, and I love the lively trumpet work and backing vocal harmonies. The lyrics speak to a relationship that’s lost the initial spark that drew them together in the beginning, and now looking back with sad resignation: “I wish that I’d known then what I know now. I would have held you high above the crowd. / Feels like forever, then you blink and it’s gone. You need to let go, but you’re still holding on. And you can’t even tell if you’ve lost or you’ve won. You blink and it’s gone.”

Things turn melancholy with the languid “Pull for the Shore”, a track that almost sounds like two songs melded together. It starts off slowly, with acoustic guitars and gentle snare drum, then a smooth organ riff enters as Stone sings in a rather sad tone: “You’re lost again. You feel like you’re running on the spot again. Reached inside and given all you’ve got again. You think you may be headed for the drop again. You’re down my friend.” Eventually, the pace of the music quickens and music builds as he urges self-preservation: “Hey ho, don’t take anymore. Pull for the Shore.” Two-thirds of the way through, the tempo abruptly transitions to a faster rock vibe, with heavier guitars, organ and drums. Stone repeats the affirming line “Hey ho, don’t take anymore”, ending the song on a positive note.

A Blue Flame continues to deliver music that’s meaningful, interesting and always a joy to hear. All three tracks are marvelous, and a great start to what will surely be another superb album.

Connect with A Blue Flame:  Facebook / Twitter / Instagram
Stream his music:  Spotify / Soundcloud / Apple Music
Purchase:  cdbaby / iTunes

CARY BALSANO – Single Review: “Versailles”

Cary Balsano Versailles

Cary Balsano is a handsome and talented young singer/songwriter of Italian origin who’s now based in Liverpool, England. I last featured him in September 2017 when I reviewed his beautiful single “Horizon” which you can read here. He’s just dropped another lovely single called “Versailles“, a tender and moving song that speaks to coming to terms with addiction.

The instrumentals are simple, consisting of Cary’s beautiful strummed acoustic guitar, accompanied by subtle bass and a spare kick drum keeping the beat. Cary’s gentle vocals are earnest and heartfelt as he sings about his and his love interest’s addictions – to drugs and to each other, as a way of dulling their pain and insecurities. To me, Cary’s naming the song ‘Versailles’ would seem to be a metaphor for a desire to make a peace accord with their demons and each other.

You are the fire
You are desire
The city lights have gone too far
You are craving a gram

This is a way we live our pain
A crying shame
Breathing our lies
Victims of life
So come to Versailles
And I never want to let this go

You are my lust
You are covered in dust
And I still feel the same old pain
It’s you and me and our fame

We’re all in the same boat
Living in fear of living

Connect with Cary:  Facebook / Twitter / Instagram
Stream his music on Spotify and purchase on iTunes

SAMUEL ASHTON – EP Review: “Spreading Light”

Samuel Ashton EP

Samuel Ashton is a singer/songwriter based in Canterbury, England, who makes what he beautifully refers to as “acoustic soul.” Drawing inspiration from such artists as Michael Kiwanuka, Paolo Nutini, Leon Bridges and Nathaniel Rateliff, Samuel blends smooth blues, soul and country to create uplifting and powerful songs. He’s also spent years travelling around the world, and the various different cultures he experienced and came to embrace also strongly influence his music.

In January, he released his debut EP Spreading Light through independent label 2728 Records, and received a warm response at his EP launch show in Canterbury on the 19th. He’s also been playing at venues throughout Kent and southeast England, including Brighton and London, and is currently booking future shows throughout England for this Spring.

Samuel Ashton

First up is the title track “Spreading Light“, a moving and hopeful song about staying positive in the face of adversity and troubled times, and spreading truth and goodness through our actions. The song’s melody is rather simple, driven by a strummed acoustic guitar and light percussion, but a closer listen reveals lots of added subtle textures such as somber piano keys, bluesy electric guitar and delicate, moody synths. In his deep and resonant vocals, Samuel urgently sings “Said we got to keep on spreading light. Even in the dark and lonesome night, we gotta keep on spreading light. Oh how I moan, when my heart feels woe when there’s such injustice and pain.”

Send Me Angels” has a bit of a gospel feel, with a prominent organ providing the basis of the melody, and Samuel’s emotional vocals pleading “Send me angels, come on save my soul.” I like the way he uses both acoustic and jangly electric guitars to achieve a fuller, multi-textured sound. On the slow and bluesy “Freedom Never Lies“, his intricate layered guitar work is outstanding, creating a sultry mood for his soulful, fervent vocals. He sings about surrendering oneself freely to passion: “There’s a light that’s shining in your eyes. There’s a fire that burns inside you that you just can’t disguise. Let it burn. Freedom never lies. / I’m so close to the edge, I’m still wanting more.”

Love is in the Sun” is an uplifting folk song about the presence of love everywhere we look and in everything we do. “Love is in the earth, love is in the sea. Love is in the power, power that heals.” The track has a pleasing gospel-like melody, with acoustic guitar and gentle hand claps. The Americana song “Medicine Music” speaks to the healing powers of music, something I think everyone who loves and appreciates music can attest to. “Healing my soul, my heart is full of love./ Medicine music, purify me. Medicine music, show me freedom. Medicine music heals.” The backing choruses have a Native American sound, as if being sung by a Shaman. And once again, Samuel’s guitar prowess is on full display, as his riff that closes out the track is marvelous.

Spreading Light is a wonderful EP and a fine debut effort from this thoughtful and talented musician who’s intent on spreading his positive message of love and healing in our troubled times. Samuel’s compelling lyrics, outstanding guitar work and soulful vocals make for pleasing songs you want to hear again and again.

To learn more about Samuel, check out his Website
Connect with him on  Facebook / Instagram / Twitter
Stream his music on  Spotify / Soundcloud / Apple Music
Purchase on  iTunes