PHILIP MORGAN LEWIS – Video Premier: “Blowtorched Dreams”

Philip Morgan Lewis

It’s hard to believe that nearly two years have passed since I featured British singer/songwriter, multi-instrumentalist and producer Philip Morgan Lewis on this blog in November 2017, when I reviewed his brilliant, meticulously-crafted album Grief Harbour. The London East Ender melds alternative rock, blues, garage rock and folk influences to create his exciting, bluesy rock sound that complements his unique, raspy vocal style. Following up on Grief Harbour, he released a fun album House Works that featured eight house/EDM tracks. Now Philip is back with a bold video for his new single “Blowtorched Dreams“, which I’m honored to premier today. The single will be officially released on the 28th of October as a digital download and 7-inch vinyl.

Philip Morgan Lewis3

Philip wrote the lyrics and music, performed all the instruments and sang vocals on the track, as well as produced the song, which is being released via label TX2 Records. Backing vocals were sung by Vick E and his daughter Little A. For the recording of the track, Philip built a one-stringed instrument to play all the twangy slides, adding a rather dark country-folk vibe to his bluesy guitars and bass, all of which sound so damn good. He’s a remarkable musician and vocalist who manages to wring out every last drop of emotion with his deft, passionate guitar-playing and distinctive, raspy singing voice. When he sings of his pain, you believe every word, and the deep, almost tortured guitar work only serves to intensify those moods. It’s a brilliant track.

The dark lyrics speak to a sense of despair and hopelessness, of a life gone down the tubes as a result of having lived a self-destructive existence. Or, could it be the bitter realization of having expected too much from a cold, cruel city that eats up and discards you?

I wander night and day
Sidestepping all the way
No brighter light is gonna come
Is gonna come for me baby
Trapped in an altered state
With somebody else’s fate
No kingdom come no kingdom come
The road is done for me baby

When the chips finally fall on the ground
And the sod is just you hangin’ round
You know what’s it all about

Blowtorched dreams
Leaving blood on the pavement still
Blowtorched dreams
Leaving lives in the gutter still

I step into the dark
Draw from a crooked stack
The light is gone the light is gone
The light is gone and it ain’t coming back
No one but me to blame
I’d do it all the same
The time has come the time has come
The time has come and I don’t feel no shame

The fascinating video was directed, produced and edited by Philip and Vicky Crawley, and features black and white footage shot in and around Los Angeles, juxtaposed with scenes of Philip sitting in a darkened room singing the song. The video starts off with scenes of arriving by plane at LAX, followed by beautiful images of the sun-drenched city, evoking a sense of promise (we’re even shown a billboard with images spelling out ‘I love LA’). Suddenly, there’s a flash of light and a spacey synth chord, at which point the images become distorted with a kind of static effect that Philip refers to as “singularity distortion”, conveying a sense of tension and discord. Eventually, the scenes transition to the darkness of night, with images of raging wildfires and rather disturbing views of a long, dark tunnel leading down into the bowels of an old building, suggesting that the dreams have gone up in flames.

Connect with Philip: Website / Facebook / Twitter / Instagram
Stream his music: Spotify / YouTube / Google Play
Purchase:  iTunes / Amazon / Deezer / Bandcamp

New Song of the Week – PAUL IWAN: “Reward”

Paul Iwan Reward

Paul Iwan is a singer-songwriter and multi-instrumentalist from Liverpool, England who’s been involved in music since his early teens, playing and touring with numerous bands and, over the past few years, writing and recording his own songs. He released his debut album Reveal in September 2016, which I reviewed, and followed up in early 2019 with his second album RESISTER, an autobiographical work addressing his newfound sobriety. In October 2018, I reviewed the first single “Parasite” from that album. Now Paul returns with a wonderful new single “Reward“, which I’ve chosen as my New Song of the Week.

“Reward” is actually a cover of a song originally recorded by Liverpool new wave band The Teardrop Explodes. Written by band members Julian Cope and Alan Gill, the song was a big hit in the UK in 1981. About the song, Paul explains: “Reward is one of the greatest songs to ever come out of Merseyside. Musically incessant and lyrically off kilter, I’ve adored this song all my life – I wanted to pull the lyrics out and expose their darkness. I always felt it was about loss of control, shame and regret which really resonates with my experiences with addiction. Music wise, I focussed on that bass line which drastically changes the atmosphere from parpy stomper to rumbling impending doom.”

What makes the song even more special is that Paul bought Julian Cope’s iconic (but broken) 1965 Lime Green Framus guitar, which he lovingly restored and used to record this track at Studio 45 in Liverpool. Paul elaborates: “It’s a really weird story: Bill Drummond was a big believer in what he called interstellar ley lines. He said Liverpool had this direct line into the energy of the universe and you could feel it if you stood on a certain manhole cover in Matthew Street (under the bust of Carl Jung). He’d send the Teardrops and Bunnymen off on tour and stand on this manhole cover soaking up this cosmic energy as they performed. Now, I’m not one to believe that sort of stuff but when I got the message about Julian’s Lime Green Framus guitar, I was stood on Matthew Street….under Carl Jung’s bust…. on that manhole cover! To say I was a bit freaked out is an understatement.”

Paul Iwan guitar

Well, Paul does great justice to both Cope’s guitar and song, blowing our minds with his gorgeous, resonant guitar notes. Based on his previous songs, I’ve always considered Paul a skilled guitarist, but on “Reward” his guitar-playing rises to a whole new level. And about that rumbling bass line; It’s so deep, intense and melodic, cutting straight to our cores! Add in the dark, almost psychedelic synths and thunderous percussion, and the song has been transformed into a dramatic, almost grandiose production that soars straight to the heavens. It’s a magnificent song, and Paul’s finest work yet.

I also love his clear, powerful vocal style that registers in the higher octaves. He belts out the lyrics with a fervent passion that elicits chills.

Prisoner, stand accused, I stand accused
Live in solitude like Howard Hughes
All wrapped up the same
All wrapped up the same
Silence has it, arrogance has it
I can’t have it until I learn to accept my reward

For context, here’s the original recording of “Reward” by The Teardrop Explodes, which is a faster-paced new wave/punk style song:

Connect with Paul Iwan: Facebook / Twitter / Instagram
Stream his music on Spotify / Soundcloud / Apple Music / Reverbnation
Purchase on  AmazonMusic Glue

HOLLY REES – Single Review: “Getting By”

Holly Rees single art

The music industry is as alive and well as it’s ever been, with so many artists and bands continuing to put out great music, and it seems many of them are releasing new music today, Friday the 6th of September! One such artist dropping a new single today is Holly Rees, a delightful indie folk singer-songwriter based in Newcastle Upon Tyne, England. Her thoughtful, relatable lyrics, infectious melodies, skillful guitar-playing and lovely, heartfelt vocals have earned her critical acclaim and a loyal following, with flattering comparisons to the likes of Laura Marling and Courtney Barnett.

Holly launched her career with her debut EP Ilex in 2017, receiving airplay on BBC 6 Music and a feature on Tom Robinson’s BBC Introducing Mixtape. In 2018, she performed at the Hit The North and Evolution Emerging music festivals, and followed up with her excellent second EP Slow Down. She released “Text Me When You Get There”: The Live EP in May 2019, and is now back with a wonderful new single “Getting By“.

The song was written and performed by Holly, who played guitar on the track, with assistance from Rhys Melhuish on drums, Ryan Peebles on bass, and Olivia Ord on keyboards. It was recorded at Loft Music Studios, and mixed and mastered by Matt Dunbar. About “Getting By”, Holly explains  “This is a song about struggling with mental health – how things can be really good and really bad at once, and ultimately how sometimes just getting through it is all you can do, and that’s okay. Sometimes it’s okay to just survive. The tide will always come back in.”

The song has a bouncy, upbeat tempo that contrasts with, yet complements, the more serious lyrics. Holly’s pleasing strummed guitar takes center stage, and her supporting musicians do a fine job keeping the rhythm and adding texture and depth to the track. I really like her vibrant vocals that beautifully convey both resolute strength and a vulnerable world-weariness as she sings her honest, poetic lyrics:

Oh we’re just like everyone we know
Far too young to be this old

I’m doing great, I’m doing fine, I’m doing terribly
I’m confident, intelligent, I’m scared of what you think of me
Crossing oceans of emotion for the notion of some dopamine
There’s no lesson in depression, it’s just a question of getting by

Holly’s been touring Canada since mid-April, and has another six weeks left of her tour, so those of you in Eastern Canada still have an opportunity to catch one of her shows:

Holly Rees tour dates

The sweet cover art for the single was created by Dale Glenister, who has her own music blog Peanut Mixtape (which is currently on hiatus).

Connect with Holly:  Facebook / Twitter / Instagram
Stream her music: Spotify / Soundcloud / Apple Music
Purchase:  Bandcamp / Google Play

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