2026, week 11. 10 singles

There are days when there are no words left. This is one of them.

Pretty. Honey I'm Home

Honey I'm Home is a Dutch shoegaze band consisting of Thom Schotanus, Sofie Ooteman, Jasper Meurs, Hugo de Groot en Evelien Keesmaat that makes its debut on this blog. Pretty is a song that holds optimistic singing and a darker sound. It mixes a pop vibe, in the vocal delivery as much as in the lead lines, with the darker and somewhat sluggish rhythm. The combination certainly works. Pretty has the rhythm of songs that were popular in the 1990s of which I have long ago forgotten the name of. That bouncy kind of rhythm and singer(s) who was (were) always somewhere between singing and rapping. Honey I'm Home's singers sing, so let there be no mistake there. Pretty is fun track with a nice dark edge. 

Ground Kiss. youbet

youbet is the second band making its debut on this blog this week. With Ground Kiss the band delivers an alternative rock track. If you could hold it in your hands, you would have to wash your hands immediately afterwards. Ground Kiss has that dark and dirty sound that actually makes it very attractive to listen to. Songwriter Nick Llobet started youbet and was later joined by Micah Prussack, while producer Katie Von Schleicher works once again with the duo. The single moves between an indie track with two voices to distorted guitar eruptions that upset everything and everybody. Fire spouts from the record in those moments. Album 'youbet' will be released on 1 May.

You’re Only Good To Calm Me Down. Caitlin 

And here's a third new name on the blog this week. Caitlin is a singer-songwriter from New Zealand who is on route to release her fourth EP, 'Guardrails', on 10 April. With You’re Only Good To Calm Me Down, not a very stimulating title, is it?, Caitlin sets a mood that is somewhere between positive and moody. Despite being mid tempo, the drummer gives the song a tempo that could go on forever. The addition of the banjo, playing just a few notes, gives the song an alternative country flavour. In the meantime Caitlin just keeps singing, seemingly unperturbed by what is going on around her. Her voice is soft and pleasant, contrasting nicely with the electric guitar. This is a really nice indiepop song.

I Go Up, You Go Down. My Precious Bunny

I Go Up, You Go Down is one of the outcomes of Lily Wolter's relation breakup, moving in with her parents again and the world closing down due to the Covid crisis. Adding all that I Go Up, You Go Down is up, it is a miracle that the single sounds as light as it does. Not that it is a festive and multi-coloured affair but not pitch black either. My Precious Bunny presents itself as an indie singer-songwriter before estranging elements are let into the song. All the weird sounds and treated voices remind me of Carol Cleveland Sings and Pickle Darling. They are let go off, just as easily as they return. It makes I Go Up, You Go Down extremely fun and intriguing to listen to. My Precious Bunny is not caught on one loop but more than you can count. And, yes, this is the fourth new name this week.

Overflow. dEUS

No, dEUS is not a new name of course. The band is celebrating the (circa) thirty year anniversary of its first two albums, 'Worst Case Scenario' (1994) and 'In A Bar, Under The Sea' (1996). Overflow is a long forgotten b side. It is a beautiful, alternative ballad. Slow, with a country flow in the instrumentation. The reverb on the single electric guitar notes gives the song a sound that Madrugada built a career on. Very U.S. of course. It gives the single such a great vibe. Overflow is sad and restrained jubilation in one. It is also nothing like what I remember of dEUS at the time. Perhaps the reason it was just a b side at the time and in 2026 the lead single for the re-releases. I did not know dEUS had this in it.

Look Forward In Anger. Ultrabomb

Only a few weeks ago I played David Bowie's 'Lodger' album one again and just like always I was struck by the powerful rocker 'Look Back In Anger'. One of Bowie's best album tracks ever. In 2026 Ultrabomb, Greg Norton (Hüsker Dü), Derek O’Brien (Social Distortion, Agent Orange, Adolescents) and Ryan Smith (Soul Asylum), releases a new single called Look Forward In Anger. The band can only wish the song is as good as its opposite titled one. That said, "forward" is stark rocker, punky, powerful, with a couple of nice riffs and a fiery guitar solo flying around. The rock veterans know exactly what they are doing and deliver abundantly. 

God's A Lonely Man (feat. Iggy Pop). Anna Calvi

This year Iggy turns 79. Who could ever have imagined that in the early 1970s? Anna Calvi and Pop have an artist that joins them, David Bowie. Calvi played a part in the live rendition of 'Black Star'. Iggy Pop was produced by Bowie in the 70s and co-wrote several songs together, some of his biggest hits and a couple for Bowie as well. Anna Calvi and Iggy Pop produced a single that could have been on either 'The Idiot' or 'Lust For Life' with ease. Except that Anna Calvi was not yet born at the time. God's A Lonely Man is a dirty rock song with a typical rhythm. Calvi let's Iggy take the centre stage in the vocals. At first he sounds his age but slowly but surely Iggy gets into his stride and becomes just Iggy Pop. Still going strong.

Jardin. Yori

Dutch singer-songwriter Yori Swart returns to this blog with a modern sounding single. The singing, partly in French. mostly in English, sounds like a traditional French sigh girl did a long time ago. That mix of innocence while hinting at things catholic girls knew despite mister pastor's efforts, is compelling and convincing in Jardin. Musically, the song is part sigh girl, part modern rhythms and part Mano Chao style samples. The mix of it all resulted in a song that is extremely pleasant to listen to. Yori is no girl any more in 2026 and that shows in the way she presents the song. Jardin is bittersweet sharing the positive and negative sides of life in equal parts, making Jardin a very mature song.

Hey Little. Bonny Prince Billy

Bonny Prince Billy is of course Bonny Prince Billy. No matter who he works with, his voice is always the same. On Hey Little he sings with Catherine Irwin (again), a voice that really contrasts with his own voice. She has a country style voice, while Will Oldham is Bonny Prince Billy. Hey Little is a slow song and adorned by a string quartet. Very surprising is the clarinet solo from Thomas Deakin that pops up from the strings for a few seconds. As a whole, Hey Little is as modest as it is present. Oldham has created another little pearl, celebrating but also containing the sorrowful realisation how fast his daughter is growing up. Hey Little Girl is Bonny Prince Billy and yet somehow very different. It shows how an artist can still surprise while still operating in the same musical environment. Just as surprising is the ending that seems to come out of nowhere.

Comets. Arrows of Athena

In April 2024 Arrows of Athena debuted on this blog with the single 'Reckless Heart'. I did not encounter anything in between. In that post I pointed to German duo Para Lia and that was the same name that popped to mind listening to Comets for the first time. Boston duo Jac-Lyn Gibson and Scott Lerner again presents an alternative rock track with firm grounding in the 1990s. The lyrics are based on the life of French wine and champagne pioneer Madame Clicquot, I suppose of the still well-known 'Veuve Clicquot'. Comets is a song that is filed to the brim with guitar parts. Scott Lerner is not afraid of stacking guitar parts towards epic proportions. The same goes for Jac-Lyn Gibson who shows of her different voices as well. If I have to compare voices, I would opt for Shirley Manson (Garbage). Comets is a song that rocks and no little at that.

Wout de Natris - van der Borght 

Some Kind Of Control. Ruby Gill

Some Kind Of Control van Ruby Gill is een album dat begin vorig jaar helaas nauwelijks is opgemerkt, maar het is een album van een bijna onwerkelijke schoonheid, waar je alleen maar ademloos naar kunt luisteren.

Ruby Gill werd geboren in Zuid-Afrika, maar werkt tegenwoordig vanuit het Australische Melbourne. Daar maakte ze het ruim een jaar geleden verschenen Some Kind Of Control. Het is een indrukwekkend mooi album met vooral ingetogen songs, die worden gedragen door piano of gitaar. De muziek is sober, maar ook indringend en intens en dat geldt ook voor de zang van Ruby Gill, die beschikt over een prachtige stem. Some Kind Of Control is geen album dat via TikTok de wereld gaat veroveren, maar in andere bubbels verdient Ruby Gill echt alle aandacht. Bij eerste beluistering was ik geroerd door de intieme songs en sindsdien is Some Kind Of Control me extreem dierbaar geworden.

Ik weet niet eens meer waar ik het album precies tegen kwam, maar in een persoonlijk jaarlijstje dat ik vond op het Internet zag ik negen albums die ook hoog genoteerd staan in mijn eigen lijstje en Some Kind Of Control van Ruby Gill. Inmiddels weet ik dat het mij tot voor kort totaal onbekende album ook niet had misstaan in mijn jaarlijstje, want Ruby Gill heeft een fascinerend album gemaakt. 

Het is het tweede album van de singer-songwriter die werd geboren in het Zuid-Afrikaanse Johannesburg, maar inmiddels Melbourne in Australië als thuisbasis heeft. Some Kind Of Control is de opvolger van het in 2022 verschenen debuutalbum I'm Gonna Die With This Frown On My Face, dat alleen met de titel al de aandacht had moeten trekken. 

Die aandacht trekt Ruby Gill ook met de bijzondere titels van de songs op haar tweede album. Titels als How Chimpanzees Reassure Each Other en Room Full Of Human Male Politicians maakten me op voorhand al heel nieuwsgierig naar de muziek van Ruby Gill en ze heeft me zeker niet teleur gesteld. 

De muzikante uit Melbourne kan uit de voeten met de piano en de gitaar en dat zijn de twee instrumenten die centraal staan in de meeste songs op Some Kind Of Control. Het zijn songs die redelijk sober tot bijna minimalistisch zijn ingekleurd, wat de songs voorziet van een bijzondere sfeer. 

Het is een sfeer die niet direct is te koppelen aan een bepaald genre, want Ruby Gill slaagt er in om steeds anders te klinken. In een aantal songs maakt de Zuid-Afrikaanse muzikante folk zoals deze meerdere decennia geleden in de heuvels rond Los Angeles of in San Francisco werd gemaakt, maar Some Kind Of Control kan ook ruw en rafelig klinken, wat af en toe doet denken aan de muziek van PJ Harvey. 

De muziek op het tweede album van Ruby Gill is redelijk sober, maar met beperkte middelen wordt een maximaal effect verkregen. Zowel de piano als de gitaren kunnen donker of zelfs beklemmend klinken en voorzien de songs van Ruby Gill van een bijzondere onderhuidse spanning. 

Het kleurt prachtig bij de stem van de muzikante uit Melbourne, die ook alle kanten op kan. In de meer folky songs op het album hoor ik flarden van folkies uit de late jaren 60 en vroege jaren 70, maar de zang van Ruby Gill doet me af en toe ook denken aan Fiona Apple, wat overigens niet betekent dat de stemmen van de twee op elkaar lijken. 

De vergelijking met Fiona Apple heeft vooral te maken met het wat donkere en vooral zeer intense geluid van Ruby Gill, die direct vanaf de eerste noten van Some Kind Of Control alle aandacht opeist. De songs op het album zijn sober en intens, maar ook rauw en puur en het zijn songs die zich behoorlijk stevig opdringen. 

Bij eerste beluistering van het tweede album van Ruby Gill was ik diep onder de indruk van haar songs en inmiddels een week of twee verder is mijn liefde voor het album alleen maar gegroeid. Ruby Gill heeft een singer-songwriter album gemaakt van een soort dat tegenwoordig nauwelijks meer wordt gemaakt. 

Het is een album met een intimiteit en intensiteit die je bij de strot grijpt, maar de Zuid-Afrikaanse muzikante weet je ook steeds weer te verrassen, bijvoorbeeld met de bijzondere koortjes op het album, die af en toe herinneren aan haar geboortegrond, maar ook door binnen haar songs met grote stappen door genres en door de tijd te stappen. Luister naar Some Kind Of Control van Ruby Gill en je bent verkocht.

Erwin Zijleman

 

Je kunt Some Kind Of Control hier luisteren en bestellen:

https://rubygill.bandcamp.com/album/some-kind-of-control-2

The Set Up. The Delines

On stage in Rotterdam singer-songwriter Willy Vlautin told us that after he had heard Amy Boone sing a single ballad, he decided there and then that he would write songs for her. Here we are many years later, realising he was totally right.

Just about a year ago The Delines released 'Mr. Luck & Ms. Doom'. Vlautin kept bringing songs in that did either not fit that album or needed reworking. The result is The Set Up. Just as in his novels, a Richmond Fontaines show in Leiden to this day is the only show I went to coming home with a book instead of an album, most song are about situations from the so-called other side of the tracks. The Delines turn these observations from life into melancholy tracks, that could have been soul ballads in the mid 1970s.

This comes through in the slower tempo of the tracks, the warm organ sound, the soulful electric guitar and the warm, slightly ruffled voice of Amy Boone. The combination makes The Delines a somewhat anachronistic band, yet one that is extremely pleasant to listen to.

I'll own up to never have heard much in this band. If Chris Eckman, formally of The Walkabouts, had not played a support act for The Delines in April last year, I would never have started to listen to the band's music. From a band to pass up on, I went to whoa, a new The Delines album already. That show was so good and atmospheric. Coming home, I heard that vibe immediately in 'Mr. Luck & Ms. Doom', that I had missed scanning that and previous albums superficially, and now again in The Set Up.

I am not going to single out individual tracks. The one may be a little slower, the other has more horns, the next is more piano than organ based, but all have a late night bar atmosphere where the band does a last slow song for the insomniacs and night cats. Unwind with The Delines by listening to The Set Up.

Wout de Natris - van der Borght

 

You can listen to and order The Set Up here:

https://thedelines.bandcamp.com/album/the-set-up 

These Fighting Machines. Katherine Priddy

Singer Katherine Priddy from Birmingham, U.K., recently released her third album and finds herself on WoNoBlog on the basis of this album. Both her previous albums, 'The Pendulum Swing' (2024) and 'The Eternal Rocks Beneath' (2021) are here as well. Yet, I have to admit that the name Katherine Priddy did not ring a bell.

On 'The Pendulum Swing' I wrote, in a most positive way, that the album was one to fall asleep to. One to play on a headset in bed before falling asleep, as I used to do a long, long time ago. These Fighting Machines does not give me that feeling. No, it is is not an invigorating up tempo album. Katherine Priddy is a singer-songwriter who operates in the mid tempo range and always presents a listening experience without obvious effects. Where effects are used, they are modest, tasteful and like modest adornments in a private home.

For These Fighting Machines Priddy worked with producer Robert Ellis, known for his work with P.J. Harvey and Anna Calvi, to mention two. Should everything be stripped away, there would be the folky voice of Katherine Priddy and an acoustic guitar. From there the songs are built up to what I'm listening to right now. Opening song 'Matches' shows that basis regularly, but opens with modern day, crackling atmospherics and a soft but deep drums percussion. From there different instruments enter and leave the song, to put accents where deemed important. In the meantime Katherine Priddy soars higher and higher, just like she's singing about learning to fly. "The witches" come home to roost in this song, as they have matches too.

Photo: Matty Deveson

'Matches' is the "heaviest" track on the album. Many of the songs are singer-songwriter with obvious folk elements, but firmly in a modern way. There is no U.K. folk nostalgia for the The Fairport Convention era here. Katherine Priddy is for the 21st century alright.

Her voice is the dominant instrument on These Fighting Machine. Harmonising with herself she adds extra colour to her album. The bio accompanying the album shares that this is the "most sonically varied of her career" and I immediately believe the statement. This album is rich, at times even lush in sound. Priddy and Ellis did not mind adding an extra instrument, percussion and vocals to the songs.

The result is a warm album. These Fighting Machines is a fine sonic experience that allows the listener to slow down time and only absorb the music, leaving all else behind. The kind of album a person needs every once in a while in hectic and interesting times like these.

Wout de Natris - van der Borght

 

You can listen to and order These Fighting Machines here:

https://katherinepriddy.bandcamp.com/album/these-frightening-machines 

Mosquito. Hater

Hater can be found on this blog for nearly ten years, but I noticed that the Malmö, Sweden based band's last album was reviewed by Erwin Zijleman. Translated to English he wrote in 2023 that "'Sincere' is considerably better than the already good, yet dreamy 'Siesta'". Well, I copy his words here, as I think Mosquito is better yet again.

The band, Caroline Landahl, Måns Leonartsson, Adam Agace and Rasmus Andersson, delivers (again) with its latest album. The mix between the dreamy and indie pop-rock is just about perfect. The album opens with the poprocker 'Landslide', where the rock is supported by atmospheric sounds that pop in and out of the track. Landahl puts herself right in the middle claiming the song as hers. She shows her different voices in the harmonies, making the song sound varied, with the full support of the band. 'Landslide' is the kind of song that makes me prick up my ears straight away, moving into full listening mode.

The contrast with 'Angel Cupid' is considerable. The tempo goes down, an electronic rhythm leads the way assisted by something close to sleigh bells, without creating a Christmas vibe. The bass driven intro of 'This Guy?' creates a rock vibe that the rest of the song does not necessarily have. It is somewhere in between, with the bass and drums going for it and the rest of the band appear to be dreamy. And then the lead and rhythm guitars joins in, making the song ever tougher, while not disturbing Caroline Landahl's mood. As I wrote before in week 51 of last year, 'This Guy?' just grows and grows.

Quite often I write some more on an album. In the case of Mosquito that is not necessary. Hater continues along the line of the three songs described in the above. If you put them on and like what you are hearing, I assure you you will enjoy the rest of the album as well. Hater delivers full time, balancing between the three corners of its triangle, pop, indie and rock.

Wout de Natris - van der Borght

 

You can listen to and order Mosquito here:

https://hatermalmo.bandcamp.com/album/mosquito