2026, week 45. 10 singles

Preparing this post, I'm looking out of my window and see a beautiful sunny day, with the leaves in the tree hanging in front of it turning brown. Yesterday, it was raining leaves. This was also the first day that I felt a bite in the air, the promise of winter. In this week's post an awful lot of new names to this blog come by. All others are reasonably new as well. More than enough to explore. In other words, enjoy!

inside outside upside downside EP. Objects in Motion

Yes, it is still possible to present a new band from Boston. Today it is the trio Objects In Motion, Dan Angolano, Michael Lantow and Vinda Souza. Together they have released their debut EP which contains a dreamy kind of indie that sounds extremely pleasing. Vinda Souza's voice has a specific kind of depth that may not appeal to everyone. As I've found, she sings in a way that both seems to be as if she is far away in her mind, while able to accuse the listener for moving off to too far of places with her. Remain alert!, she seems to signal and let me do the dreaming for you. Musically, Objects In Motion has a strong connection to music from the past. The first part of the 1980s is an influence. The band left out the darkness and doom, making a connection to a band like Belle and Sebastian from Glasgow. The guitars have a lighter touch, the keyboards are organic and not deep synth sounds. The contrast with Souza's voice stands out more because of it. The combination makes inside outside upside downside a more than just interesting introduction to Objects In Motion. The EP makes me want to hear more soon.

you're in my bed. Nathalie Miller

Although I've called Natalie Miller a pop singer in the past, in her new single 'you're in my bed' she strays a stage further. She starts with just an acoustic guitar playing the same riff a few times and her voice coming in over the riff. All very innocent in sound. In the second part of the verse the band comes in, shoring up the sound. And then it happens. In the part where the intro is repeated an electric guitar joins in with a dirty sound. Mixed into the background, as if it was played softly. My guess is, it wasn't. It makes 'you're in my bed' a richer song. Together with producer Brian Charles NYC artist Nathalie Miller has made her song a rich sonic experience encompassing far more than the standard drums-bass-guitar set up. Again, Nathalie Miller captured my attention with ease. Not much longer before her album 'I’d like to think you saved me' sees the light of day.

The Hole. My Purse

In April My Purse released its debut single 'I Smell'. Not only because of the title of the song I compared the band to Tramhaus ('I Don't Sweat'). Let's leave it at that. My Purse plays postpunk like many bands do over here. Inspired by the early 1980s and Franz Ferdinand, the combination of quirky notes and a superb melody is what trumps the current bands over the likes of Gang of Four and Comsat Angels as far as I'm concerned. The Hole is a song that is elementary in sound. The instruments are well compartmentalised, the vocals strict and divided between female and male. The strictness is loosened because there are some great guitar part overdubs. And note the cowbell all through the song. At heart My Purse is a trio, Una Jongenelis, Keetje Voogd and Igor Jongenelis. Those really paying attention to this blog, will have recognised the name Una Jongenelis, as she had a spot on the blog only one week ago under the name I Am Bird. With My Purse she is on an interesting course as well, because The Hole is a very promising single.

Good Times. Isaac Roux

Isaac Roux' new album ' Lost And Found' was released a week ago. As it is impossible to review all albums I receive and that is a euphemism of rather large proportions, allow me to put my attention on his latest single, Good Times. Again, it is an alternative poprock song. It has pace, energy and rhythm. Although Good Times does not contain an inch of danger in it, for that it has been smoothed over totally, it does have an instant pleasing factor. The sound is like a wall. All is mix in such a way that there is no hole anywhere to be found in the song. (The break sequence apart.) Singer Louis de Roo's voice is pleasant to hear and carries the song with ease. The band paves things over for him, resulting in a song that is instantly noticeable.

Bittersweet. Tony Marsico and The Ugly Thingz

With Bittersweet Tony Marsico and band kick the door right in with the intro solo to the song. Bang, here it is and you better start paying attention. I did and was captivated from there onwards. No, there's nothing new to hear here. Even the final chord is 100% The Beatles of the early 1960s. The jangly 12 string brings back memories of a host of songs from circa 1965 when the Rickenbacker became the instrument to play. Tony Marsico has managed to write a song that fits in nicely what came before and stands it own in 2026. This band calls itself The Ugly Thingz. They may well be, the music sure is not. Bittersweet has an urgency about it that will make you want to play it again and again.

Luminous EP. The Summertimes

Welcome to a new name on the blog. The Summertimes is a band from Australia. The name of the band may be new, the music of choice is not. The Summertimes present five songs that are somewhere in between pop, rock and country. Expect a beautiful combination of Beatles- and Jayhawkesque harmonies with songs that are upbeat, of the kind that make you feel better instantly. On Luminous you find five songs that seem to flow so effortlessly. A warm Hammond, the sound of a 12 string guitar are all in good taste. Nothing is overdone. It just seems perfect. There are dozens of bands like The Summertimes, if not hundreds and yet, this EP manages to stand out effortlessly. The opening song serves best as an example, I'd say. Pop rock does not get much more convincing as 'Save You Now'. The Summertimes do not verge from the pop side like circa 30 years ago someone like Dan Baird did verge with 'I Love You, Period' or a band like The Caulfields did with 'Alex Again'. Both pop songs at heart, but with an edge added. Before you get me wrong, I like all three songs, a lot.

Fire! Fire! Fire!. Clustersun

Although 5 March is still months away, Clustersun's single Fire! Fire! Fire! announces its upcoming album 'Anti You'. The track is as urgent as the situation calls for. When there's fire, there's little time to waste if one wants to get away. Clustersun have shifted the gears in 5 right from the start and speed ahead in this rocking psychedelic track. When the song's over there's absolutely no doubt left about how urgent the situation is. When all else fails, I suggest calling the pre-CCR band The Golliwogs to fight fire with fire. The Italian band is on fire itself, as there is nothing able to stop them in this track. A new name to this blog, but I'm already looking forward to hearing more. Give me some 'Anti You' soon, please!

Born Again. Star Moles

And yet another new name. Star Moles is the moniker of Philadelphia based Emily Moales. She is blessed with a Stevie Nicks kind of voice. The way she uses her voice could lead to a comparison, were it not that Star Moales operates in a far more alternative segment of music. Sure, I can imagine a 'Rhiannon' or 'Sara' sound for Born Again, but there isn't. Star Moles music is far more elementary and not aimed at perfection and sheer beauty. In Born Again space in the music is let in, the musicians play almost hesitatingly. Emily Moales is allowed to shine over the song, as she's absolutely up front of it all. She recently signed a record deal and her album 'Highway To Hell' will be released on 4 December.

Victorians. Aderyn

And, yes, one more new name. Aderyn is Lisa Martin a.k.a. Cardiff's queen of indie pop. As I've never been there, I'm sure I'm excused here. Victorians is an extremely elementary track. What you will hear, is a drum computer and a primitive sounding keyboard with Lisa Martin singing over it. Add some treated words and atmospheric rhythm and sounds and you have Victorians. As such it reminds me of Carol Cleveland Sings. Victorians shows that it does not take a multi-million dollar production to capture my attention. The music may be clinical, Lisa Martin is able to get her emotion across without hesitation. There's an EP in the works called 'Hot Pink'. We might well keep you posted on it.

Gnashville. On Lé Ore

Believe it or not, yet another new name to the blog. On Lé Ore is a duo. Musician and singer Jon Moore works here with drummer and producer Travis Harrison (Guided by Voices and Build To Spill). The result is an indie poprock track of the kind that will put a smile on the face of the people who like this kind of music. Expect an upbeat track with a nice intro containing a few nice melodies already slipping into a verse that places accents and short melodies at the right moments on the chord changes. I notice it makes my mind expect and wait for the next one. The song seems so effortless but pay attention and you'll notice how perfectly free-flowing it is, showing how much effort went into finding perfection in the different melodies you can hear going on at the same time. I know nothing else about On Lé Ore but certainly hope to hear more soon.

Wout de Natris - van der Borght 

River Shook. River Shook

Na een aantal geweldige albums van Sarah Shook & the Disarmers gaat Sarah Shook verder als River Shook, wat een indrukwekkend mooi debuutalbum oplevert, dat het talent van de Amerikaanse muzikant nog eens onderstreept.

Het eerste soloalbum van River Shook sneeuwde na de verschijning in juli wat onder, maar gelukkig wordt het album langzaam maar zeker toch nog in brede kring opgepikt. Dat is volkomen terecht, want de Amerikaanse muzikant heeft wederom een prachtalbum gemaakt. Het klinkt wat meer ingetogen dan de muziek van de band die River Shook de afgelopen jaren aanvoerde, maar het klinkt nog altijd ruw en eerlijk. De stem van River Shook is er een die van alles met je doet, waarna de indringende teksten, de geweldige songs en een fraai gitaargeoriënteerd geluid de rest doen. Na de prachtalbums van Sarah Shook & the Disarmers en het onderschatte project Mightmare is ook het eerste album van River Shook er weer een om te koesteren.

In het voorjaar van 2018 stuurde een promotor van Amerikaanse rootsmuziek uit Nashville me een album van de mij onbekende Amerikaanse band Sarah Shook & the Disarmers. Years bleek het tweede album van de band uit North Carolina en ik vond het direct een verpletterend mooi album. 

Sarah Shook groeide op in een streng religieus gezin op het platteland van North Carolina en kreeg in haar jeugd geen enkele vrijheid. Toen ze die vrijheid eenmaal had veroverd koos ze voor een ruig en zeker niet gemakkelijk leven, waarin alcohol vaak troost bracht. Ook muziek bleek een goede uitlaatklep en dat komt er allemaal uit op Years, waarop Sarah Shook en haar band op gepassioneerde wijze traditionele Amerikaanse countrymuziek vermengen met rock ’n roll en honky tonk. 

Years eindigde in 2018 op de derde plaats in mijn jaarlijstje en dat vind ik nog steeds volkomen terecht. Met Nightroamer uit 2022 en Revelations uit 2024 volgden nog twee uitstekende albums, waarop de band af en toe wat opschoof richting indierock, maar ook de traditionele countrymuziek niet werd vergeten. Tussendoor maakte Sarah Shook onder de naam Mightmare het flink afwijkende, met elektronica gevulde en totaal onbegrepen Cruel Liars, maar dat album is beter dan ik vier jaar geleden dacht. 

Sarah Shook gaat inmiddels als River Shook en als non-binair persoon door het leven en leverde vorige week een soloalbum onder deze naam af. Ik heb inmiddels al acht jaar een enorm zwak voor de Amerikaanse muzikant, die het allemaal niet voor niets heeft gekregen in het leven, maar zich knap staande heeft gehouden en was daarom heel nieuwsgierig naar het nieuwe album. 

Na vier (in 2017 verscheen het ook uitstekende debuutalbum Sidelong) fantastische albums van Sarah Shook & the Disarmers ligt de lat hoog voor River Shook, maar de Amerikaanse muzikant stelt wederom niet teleur. Het eerste album van River Shook klinkt wat meer ingetogen en wat minder stevig dan de muziek van de band, maar de verschillen moeten ook niet overdreven worden. 

De stem van River Shook is er nog altijd een die direct iets met je doet en ook de persoonlijke en indringende teksten vol ellende herinneren aan de albums van Sarah Shook & the Disarmers. Ook in muzikaal opzicht hoor ik veel overeenkomsten, zeker wanneer de gitaren wat ruwer klinken. Het debuutalbum van River Shook leunt weer wat dichter tegen de traditionele countrymuziek aan, maar de rock ’n roll is zeker niet verdwenen. 

Zeker de wat meer ingetogen countrysongs laten horen hoe mooi en doorleefd de stem van de muzikant uit Chapel Hill, North Carolina, is. River Shook werkte op het album van Mightmare en op het laatste album van Sarah Shook & the Disarmers samen met gitarist Blake Talent en hij speelt ook een voorname rol op dit album. River Shook en Blake Talent zijn verantwoordelijk voor de productie van het album en voor het overgrote deel van de muziek, waarin het fraaie gitaarspel van Blake Talent een belangrijke rol speelt. 

Ik luister nog altijd regelmatig naar de albums van de voormalige band van River Shook, die wat mij betreft moeten worden gerekend tot het allerbeste dat de Amerikaanse rootsmuziek de afgelopen tien jaar te bieden had. Het eerste soloalbum van River Shook voegt iets toe aan deze geweldige albums en doet er zeker niet voor onder. Knap werk weer.

Erwin Zijleman

 

Je kunt River Shook hier luisteren en bestellen:

https://rivershook.bandcamp.com/album/river-shook 

Rammstein. Live in Mexico City

For the second time, I went to see Rammstein in a movie theater. I own two DVDs also, but have never seen the band play live in a stadium. I am convinced of two things. The live experience can not be as close up as this movie shows and the quality of the music in the way it is presented will be ten times better. At the same time, I almost felt the heat of the explosions in the movie theater.

The previous movie was called 'Rammstein in Paris' and no doubt my review will be along the same lines. Yes, everything may be even even one notch up, but that is what Rammstein is. The band is larger than life. It is the musical equivalent of a Nürnberg meeting of the NSDAP. An audience that is enraptured and totally under a spell, moving in unison. A German band singing for 99% in German and having a Mexican audience of tens of thousands singing along. Singing a phrase like "Deutschland über alles", no less. (See the comment below. It seems I've heard wrong. The next line here remains very true, WdN.) I personally do not know of a band not singing in English that has managed this at a level like Rammstein: stadiums.

The band is getting on in life. Most members are in their late 50s here. That much was clear from their faces and that not all members are as fit as they once were. Most are though and were more than willing to show it. Keyboardist Flake Lorenz walking in his personal "treadmill" during parts of the show. Bassist Oliver Riedel showing off his trained, lean torso. Till Lindemann is his grotesque self.

But it is about the music, after all has been said and done about the visuals. Rammstein is not a band I put on regularly at home. In fact, I realised that I had not even listened to the album after 'Deutschland'. When I do play Rammstein, each time it's clear why I love this band. The metal is almost always interspersed with the melodies that Lorenz brings in with his keyboard. His contribution is a playfulness that as it were undermines the deep sound of the band. As the music is so deep, you can not just feel it but almost touch it. In the movie theater it became a presence. The great rhythms and playing with time and measures. It will take a lot of practice to perfect and perfect it was. The music is so overwhelming that it's easy to forget I was listening in a movie theater.

From the music comes the show and the experience the band offers. Seeing these huge towers spew fire. The ever larger flame throwers on stage. It is all familiar but can go one step further each year it seems. In the end, they do play with their well-being. One mistake and they will have cooked another member, literally during 'Mein Teil'. The orchestration of the show and the build up must be flawless, because of the consequences should one mistake be made.

Sitting in the theater made it a larger than life experience as well. Seeing things from so up close and from far away for the larger pyrotechnics, is simply fantastic. Rammstein, there's no other band like it.

Wout de Natris - van der Borght 

Tapes & Demos. The Pretty Graves

Today I, again, present a new name on the blog. It appears I've missed the band's debut album, 'The Pretty Graves' this May. Tapes & Demos is, as the title suggests, not the sophomore album but the one in between, sharing the band's music from before the debut. Tapes & Demos is a collection of b-sides, left overs and live favourites that did not make it to 'The Pretty Graves', but are too good to leave behind in the mystery of time or for that 30th anniversary edition. Chances are I won't make it to 2056, so thank you for releasing them in 2026.

Coincidentally, I bought a new version of The Velvet Underground's 'Loaded' last weekend. It is not just because of this that I'm reminded of the legendary band. The Pretty Graves play on the brink of pop music and alternative, garage and psychedelia, just like The Velvets do on 'The Velvet Underground', 'Loaded' and 'VU'. The comparison is not fair, as I put Tapes & Demos in competition with albums I know and love for (over) forty years. But, I'm writing, am I not?

Tapes & Demos is an album that spoke to me right from the very beginning of my listening to it. Going through some new albums quite fast, this was the one where I stopped skipping songs, thinking well could be the one, followed by an affirmative yes. Putting the album on again, only made the resolve stronger.

Just listen to opening song 'Sorry I Left The Way I Did'. The melancholy pop song is inspired by every band between Big Star and Teenage Fanclub (in the 1990s). That sad feeling is translated into eternal pop beauty. Enough indie to be credible, yet so commercially inclined it should catch everyone's ear who is looking for a great pop song. The guitar solo catches it all perfectly as well.

A more alternative feel enters in the second song, 'Bluebird'. Enter a shrillish little organ playing just one note for the whole time, while the band does its own version of a song like 'What Goes On' from 'The Velvet Underground' album around that note. 'Bluebird' has an identical drive, making it a song I instantly related to.

Tapes & Demos swings between the kind of alternative pop songs and more 60s inspired songs, making the album as varied as it is interesting. Of course, there are more modern influences but it does boil down to music that was created well over 50 years ago. Because some of the tracks are demos, they even sound more primitive. 'Return To Love' is such a song. There's so much energy there, while singer Chris Lisorti is singing over it, as if he's got all the time in the world.

'She's A Killer' takes us back to the Velvets once again, but by then I'm more than convinced. It's time to check out 'The Pretty Graves' album, but it may well be that Tapes & Demos is more than enough. The honesty, rawness and energy captured on these tapes tell it all.

Wout de Natris - van der Borght

 

You can listen to and order Tapes & Demos here:

https://theprettygraves.bandcamp.com/album/tapes-demos 

Tomorrow Is Now Today. Lesoir

A new name on the blog, Lesoir. To my surprise the band is from Maastricht in the province Limburg in The Netherlands. I would never have guessed, as I thought the band to be from the U.S. or perhaps the U.K. While names that popped listening for the first time were Within Temptation, The Gathering and Kovacs (the voice). That should have pointed me to The Netherlands. It didn't.

I am not a big fan of the symphonic-goth rock of the two Dutch bands mentioned. Lesoir does go into their territory but is not trespassing. By broadening its sound, being far more subtle, names like an alternative act like Finom (formerly Ohmme) pop up in my mind as well. Besides, the band can rock in a huge way also. 'Is It Nothing' simply explodes in the outro, after holding back for most of the time. A great guitar solo, with a layer of delay on top makes the song sparkle more and more.

This is exactly what attracts me throughout the album. No matter what influence is let in, you can a hear a little Pink Floyd from the 'Animals' album for example in the title track, it is always worked into its own sound and plans. Who are physically a part of this plan, is a hard to determine. I see a picture containing seven people, read a bio saying a five piece band band, while online information mention six persons. Whatever the outcome, the lady in front, also responsible for the lyrics is Maartje Meesen. She can also be heard on guitar, piano and flute. The latter instrument makes Lesoir stand apart from most other bands.

Promo photo

In general, I would start comparing Lesoir with a band like Marillion, as on my personal (and only) favourite 'Misplaced Childhood'. Lesoir manages to blend very direct music with an ethereal, dreamy component. In the 90s a band like The Gathering managed to do the same, once they left the metal behind. It is not a coincidence that Lesoir will be supporting Anneke van Giersbergen on her upcoming European tour.

Taking in the whole album, Lesoir maintains a high level of musicianship. The adventurous composing is mixed with a flawless execution, creating an album that is like a fantastic ride to listen to. A lot of different components are presented, making the listening experience an adventure as well. I had never heard of the band, as far as I'm aware that is, and I'm glad to have picked Tomorrow Is Now Today up.

Wout de Natris - van der Borght

 

You can listen to and order Tomorrow is Now Today here:

https://lesoirmusic.bandcamp.com/album/tomorrow-is-now-today-2