Back To California. 20/20

Slowly but surely new albums are being released in the new year and one that I was on the look out for on the basis of the lead single and title song, 'Back To California', is 20/20's first album in twenty seven years. We have all moved on in live, but I would not say so on the basis of Back To California. It is an album filled with great songs somewhere between pop, (country) rock and the late 1970s.

Let that be the time, 1979, when high school friends Steve Allen and Ron Flynt (with Chris Silagyi and Mike Gallo) released their debut album as 20/20. The band never reached me at the time, but based on Back To California it is an album to check out.

Somewhere around 2019 the two played a new song to each other as there was talk of doing a show in LA in 2020. Ron's son Ray would be on drums and that signed it. The two went to work to write new songs. As we all know, things happened along the way in 2020 and beyond, but finally the result is here. 20/20 has released an album that is filled with pop gems both warm and with enough urgency to keep any listener on its toes.

Today the two protagonists are at least in their mid-sixties, but it's not something you will hear. The music is alive and regularly sparkles. This is a band that has something to prove to the world all over again. This starts with the already mentioned single. The rhythm is driving. The music is a spiced up version of The Byrds and Roger McGuinn's great solo album 'Back From Rio'. The band spruces it up with some rock elements, as was popular in the late 70s and early 80s in the U.S. 'Back To California' is the kind of song I instantly relate to and can sing along with. Yes, I think it's the best song on the album when all is said and done, but it's also a great opener that leads the way into Back To California. 'Why Do I Hurt Myself' follows right on its heals and even adds some modern sounding 'aahhs' as background vocals to convince those who are harder to convince. Just very well done.

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20/20 leads the listener through its album. I am reminded a few times of how good Dutch band The Maureens is, as its music fishes in the same striving-for-perfect-pop-songs-pond as 20/20 is here. Both bands succeed or come very close. Songs flow like they are supposed to flow, while all sorts of interesting embellishments are added to the core of the song. 20/20 obviously took its time to find them and record them. The effort paid off, as Back To California has that kind of songs in abundance.

When the band starts rocking as well in 'Springtime Love Song', I'm more than sold. A slide enters the mix, making the song just this little dirtier. It gives the album a little and welcome spice.

In the past, say from the late 80s onwards, comebacks were usually for bands that formed again after years of inactivity and often presented lacklustre affairs. In recent years dozens of comebacks, mainly from the U.S., have reached me and a lot of them are all ambitious in the musical sense but often made for the love of music and not with the idea of making it big anyway. 20/20's Back To California comes across as such an album. The love for the new music and playing it is all over the album. It is what makes me appreciate it just this little more, as this album is not just good. It's a little better than that.

Wout de Natris - van der Borght

You can listen to and order Back To California here:

https://bigstirrecords.bandcamp.com/album/back-to-california-single

The Human Fear. Franz Ferdinand

In 2007 I stood before a traffic light, heading south towards Dubrovnik. The turn left was to Mostar and Sarajevo. It must have been in Neum, the only Bosnia - Herzagovian town on the Adriatic Sea. This would not be memorable, let alone applicable to this review, were it not that the cassette tape I was playing in my old Peugeot 405 started playing 'Take Me Out' at that exact moment, when I saw a sign pointing towards Sarajevo for the first time in my life. In the summer of 2023 I was in Sarajevo and visited the site where the Austria-Hungarian crown prince and his wife Sophia were assassinated in 1914 by Gavrilo Princip, with all the huge consequences coming from that act 111 years ago, this summer. (Between us, how could you drive into that dead end street and not be complicit?)

Early 2025 and Glasgow band Franz Ferdinand releases its sixth studio album in 21 years. For those who bothered looking before New Year's eve, most of these records can be found in the overview I've made of the first 25 years of this century. See the last two weeks of 2024.

"Here we go with riff one", Alex Kapranos says in a voice that does not seem over-excited at the start of The Human Fear, before the band kicks in with first single 'Audacious'. Having listened to the album several times after purchasing it on the day of its release, the demurred atmosphere of the announcement is what describes the album best. The sprightly step is out of Franz Ferdinand's music. This is not the same as the album not being good.

As I wrote in my review of single 'Night Or Day' a few days ago, we have all progressed 21 years since the release of Franz Ferdinand's signature song 'Take Me Out'. (I have a personal experience what the song does with an audience, singing the song with a Swiss cover band in Vilnius' town hall during a conference party. It goes wild.) Although there are a few exceptions where the tempo does go up, the difference remains audible. This can be attributed to the changes in line up. A keyboard player is now a full time member and this is taken away from a second guitar part. More than it did on the previous album, 'Always Ascending'.

Over all the songs are Franz Ferdinand worthy. More and more of the songs are growing on me. At first acquaintance 'Build It Up' sounded a little tacky and after a few sessions I heard the typical Franz Ferdinand changes in the song, that make me like the band's music so much. It is followed by 'Night Or day' which is the prize song of The Human Fear. The piano is the main instrument of the song and yet it has that Franz Ferdinand step completely. 'Night Or Day' is a song that brings a smile to my face that does not leave me for the rest of the day.

The song in which Alex Kapranos fatherland comes forward, 'Black Eyelashes', is a bit too much despite that it has its moments. I had never expected to hear traditional Greek music, Franz Ferdinand style. There is clearly a Franz Ferdinand sauce over the song but still.

In an early review I read that 'Tell I Should Stay' is like a The Doors track. I had not heard it in my first listening sessions. On reflection I can hear where this comes from. I have a cassette with a bootleg on it, taped from a friend in the 80s. It contains a semi-classical piece by Ray Manzarek, a few notes on the keyboard does bring this piece to mind and Kapranos sings a few lines in a lower register, like Jim Morrison could do so well. The rest of the song does not, so it's a bit far-fetched as far as I'm concerned.

The Human Fear is only a few days out, so it's too early to say where we will really go together. The fact that the album is growing on me, is certainly positive. I liked most of what Franz Ferdinand released so far, so it comes as no surprise that I would have liked the new album. I'm certain I will be playing the album for some time to come and we will take it from there.

Wout de Natris - van der Borght

You can listen to and order The Human Fear here:

https://franzferdinand.bandcamp.com/album/the-human-fear

Another Place To Stay. The Hornets

It's time to rock and roll and The Hornets deliver big time. Its album 'Heavier Than A Stone' can be found on these pages in 2021. The Modena, Italy band returns with a new album called Another Place To Stay and its very much worthwhile a listen.

The Hornets were formed in 2016 and consists of Stefano Francia, guitar and vocals, Alberto Francia, bass and vocals, Alex Tosi, guitar and Andrea Rovituso, drums and they are more than ready to release their new album. What I particularly like about the music is how straightforward it is. The Hornets do not beat around the bush or try to hide anything. Its music is rocking and the musicians have a lot of fun playing it. It is so obvious from all the songs that this is what they love to do.

Things start in Intro. The band presents the listener its calling card, only to grab you by the hand, arm and then waste. It does not let go until the very last second of Another Place To Stay. Not that everything is as wild as the intro and following song 'Lost Steps'. You will encounter a little The Rolling Stones style country rock that goes down just as well. The slide guitar comes by a few times on the album. The Hornets are not afraid to show its influences from both sides of the pond. It only adds to the charms of Another Place To Stay.

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Even when just listening superficially you may hear Aerosmith, ZZ Top, The Who, The Stones and a whole lot more. In my opinion it has become impossible to be original in this line of business of rock and roll. In 2024 it  is all about how good you can play and write and how much energy you bring to the record.

The Hornets' members can not only play very well, they are able to write and arrange their songs in such a way that you will want to hear them again. They also bring a shot of energy to your living room that adds to the fun the band is. Rock guitars, a deep bass and a driving drummer, there are days I do not need a lot more and today is one of those days.

If you are ready for a shot of rock and roll 2024 style, do not look any further. Another Place To Stay is your album for today.

Wout de Natris - van der Borght

Evergreen. Soccer Mommy

Sophie Allison heeft inmiddels een fraai stapeltje albums gemaakt als Soccer Mommy en ieder nieuw album is weer net wat beter, wat ook weer opgaat voor het zeer emotionele maar tegelijkertijd aanstekelijke Evergreen.

Het is al een tijdje dringen in de indiepop en indierock van het moment, maar de albums van Soccer Mommy kunnen zich wat mij betreft meten met de beste albums in het genre. Het alter ego van de uit Nashville afkomstige Sophie Allison maakt inmiddels al een aantal albums flik wat indruk en doet dat ook weer met Evergreen. Het album volgt op een periode van verlies en rouw, wat je leest in de teksten, maar niet direct hoort in de muziek. De Amerikaanse muzikante experimenteerde op haar vorige album met een ander geluid, maar Evergreen klinkt weer wat meer als een indiepop en indierock album van deze tijd. De productie is mooi, de songs zijn sterk en Sophie Allison zingt prachtig. Uitstekend album weer.

Ik heb tot dusver wel wat met de muziek van Soccer Mommy. Het alter ego van de Amerikaanse muzikante Sophie Allison dook een jaar of acht geleden op met een album vol bedroom pop, maar heeft zich sindsdien ontwikkeld tot een van de vaandeldragers van de indiepop en indierock van het moment.

De muzikante uit Nashville, Tennessee, is in die acht jaar behoorlijk productief geweest, want ze heeft inmiddels zes albums op haar naam staan. Van die albums worden haar eerste twee albums hier en daar mini-albums genoemd, maar wat mij betreft zijn het (ook gezien de speelduur) volwaardige albums.

Ik vind tot dusver alle albums van Soccer Mommy goed, maar het in de zomer van 2022 verschenen Sometimes, Forever stak er voor mij tot dusver duidelijk bovenuit. Op het vorige album van Soccer Mommy klonk haar muziek net wat veelzijdiger en op een aangename manier atmosferisch en zweverig, maar ik vond vooral de songs nog een stuk beter dan we al van haar gewend waren.

Op de opvolger van Sometimes, Forever hebben we voor Soccer Mommy begrippen lang moeten wachten, al verscheen vorig jaar nog de aardige EP Karaoke Night, waarop de Amerikaanse muzikante op fraaie wijze een aantal songs van anderen vertolkte. Deze week is de echte opvolger van Sometimes, Forever verschenen en Evergreen doet wat mij betreft niet onder voor zijn uitstekende voorganger.

Soccer Mommy weet tot dusver steeds interessante producers te strikken voor haar albums en maakte haar nieuwe album samen met Ben H. Allen III, die eerder werkte met Deerhunter, Belle and Sebastian en Girl Ray. Het is misschien een wat minder grote naam dan Daniel Lopatin of Gabe Wax, met wie Sophie Allison op haar vorige albums werkte, maar de productie van Evergreen bevalt me zeer.

Soccer Mommy koos op haar vorige album voor een voller, veelzijdiger en hier en daar wat psychedelisch klinkend geluid. Dat geluid vond ik prachtig, maar het meer down to earth, organischer klinkende geluid op Evergreen is zeker niet minder en past misschien wel beter bij de stem van Sophie Allison, die zeker in de net wat meer ingehouden songs continu goed is voor kippenvel.

Evergreen werd gemaakt na een niet nader gespecificeerd groot persoonlijk verlies, waardoor het een album is dat in het teken staat van rouw. Dat merk je vooral in de teksten die hier en daar dwars door de ziel snijden. Je hoort het als je goed luistert overigens ook in de zang, want Sophie Allison zingt met meer emotie.

Op Evergreen kiest Soccer Mommy in muzikaal opzicht weer wat meer voor de indiepop en indierock die een aantal jaren geleden op de kaart is gezet door Phoebe Bridgers. Soccer Mommy zaagde al eerder aan de stoelpunten van Phoebe Bridgers en heeft met Evergreen een album gemaakt dat Phoebe Bridgers waarschijnlijk graag zou maken of graag zou moeten willen maken.

De songs van Soccer Mommy op Evergreen passen goed in de hokjes indiepop en indierock, maar Sophie Allison komt uit Nashville en sleept er daarom ook hier en daar een snufje Amerikaanse rootsmuziek en wat folk bij. In het fraai geproduceerde geluid op Evergreen staan de gitaren centraal en die komen prachtig uit de speakers. Ben H. Allen III heeft vakwerk afgeleverd met zijn productie en is er in geslaagd om het beste in Sophie Allison naar boven te halen.

Het gitaargeluid combineert fraai met de stem van de muzikante uit Nashville, die steeds beter gaat zingen en met Evergreen wat mij betreft haar meest indrukwekkende album tot dusver aflevert, al is het maar omdat ik het album steeds weer beter en beter vind worden.

Erwin Zijleman

Je kunt Evergreen hier luisteren en bestellen:

https://sopharela.bandcamp.com/album/evergreen

Medium Raw. Early James

Early James is a 31 year old musician from the south of the U.S. who came into this world as Fredrick James Mullis Jr. Medium Raw is his third album, produced and released by The Black Keys' Dan Auerbach.

On Medium Raw Early James plays an (acoustic) form of country music in the style of Johnny Cash in the 1950s with an attack that comes closer to rock and roll. Call it Americana or roots or folk, either way the notes roll from his fingers and guitar strings. His voice sounds like a whole bourbon distillery went through his throat first, after which it was tarred over by highway maintenance. In other words do not expect any subtlety in that department. The more authentic James sounds because of it in the twelve songs on his latest album.

With titles like 'Upside Down Umbrella', 'Go Down Swinging', 'I Could Die Right Now', 'Gravy Train' and 'I Got A Problem', you can surmise that he sings stories somewhere between hope and despair. And they sound like it. Because of his voice he sounds like he means it as well. This is some tough singing alright.

All this is matched by the music. Early James is not baking soft cookies here. A mean slide guitar, a dirty sounding lead guitar and a rhythm section that is pounding on the door. Just listen to 'Tinfoil Hat' and things will become clear to you. Things are muddy and dirty in James' world.

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Other songs are led by an acoustic (dobro) guitar and bass. The combintion tones down the song in volume but not intensity. His voice is only a part of my conclusion. Somehow things are dirty, muddy, mingled with the sweat on his brow leading to dark streaks on his face. Medium Raw contains songs that can be played to a work force straight in from the steel mill relaxing at the local bar with a beer and a shot in front of them.

What surprised me most, is that I expected after the first two songs I would tire fast of the music and the opposite happened. Medium Raw draw me in more and more. With an album like this the new year starts off at the right musical pace alright.

Wout de Natris - van der Borght

You can listen to and order Medium Raw here:

https://earlyjamesandthelatest.bandcamp.com/album/medium-raw