La Vita Nuova. Christine and the Queens

Christine and the Queens is not a new name. She already fills the larger venues of this country, I've been told. But everything I read so far spelled: this is not for me. As far as I'm aware I have never heard her music come by, so there was no interaction.

And then I received a link to her new mini album La Vita Nuovo and I decided to give it a chance. It turned out to be a smart thing to do. Yes, it is modern, it's sort of dance, it's electronic music, with samples and treated voices, but above all Christine and the Queens also presents an enticing mix of modern pop music.

There's simply not a lot I could find wrong with the five songs on the album. Even with electronics only it is possible to make a free flowing album. It may remain a bit cold, it is not the arctic. What is fascinating is how she moves in and out of languages. From English, to French, to Italian and Spanish. It is as if Héloïse Letissier speaks all languages she likes to express herself in. Not a natural thing for the French.

Opening song 'People, I've Been Sad', for some reason brings Crowded House to mind. So different but in feel the song is akin to 'Weather With You'. Don't ask me why, it is what it is. 'Je disparais dans tes bras' is more electronic, dance light, with a repetitive beat and an electronic wave that moves in and out of the song every few seconds. Over it Héloïse sings a surprisingly melodic vocal. It makes me wonder what was there first the melody after which the original song was deconstructed and rebuilt into what I'm hearing now or a person creating the beats and sounds after which a melody is stuck onto the beats? I'm inclined to go with the former.

This also goes for 'Mountains (We Met)'. But then what do I know of modern music? I'm a guy with a guitar who primarily loves guitar music. Still, I am listening to La Vita Nuova for the xth time. It has something that makes it easy to come back to it. Will I play it a lot in the future? Probably not, but I am not discarding the thought.

This album holds a spark within it. Although it may sound somewhat cold due to the electronics, it has a special something making it worthwhile to check it out.

Wo.


Listen to our Spotify Playlist to find out what we are writing about:

https://open.spotify.com/user/glazu53/playlist/6R9FgPd2btrMuMaIrYeCh6?si=KI6LzLaAS5K-wsez5oSO2g

Going Home. Tiny Fighter

Wow, looking at sleeve of Going Home I get the impression all hell has broken loose outside of the window and the lady in the picture is one second before realising it. Her face's impression on the verge of change.

Tiny Fighter returns to these pages after debuting with it's EP 'Tell Me' just under a year ago. Again the duo strikes me with its mix of pop and something more alternative. Let's say Roxette at its alternative best and then an extra indie layer on top.

Tiny Fighter is not afraid of letting some pop into its music. Sweden always had strong pop bands in the past 50 years. Those influences are one part of Tiny Fighter's background. The other one is loud guitars, tight drums and a pumping base. The voice of Therese Karlsson is somewhere in between the rough and soft. She has an extremely pleasant edge to her voice making her sound tough when needed and distinctly female in the ballads.

Together with Australian Tim Spelman she is Tiny Fighter. A Swedish truckdriver meets an Australian doctor in Stockholm and they decide to start a band. Why not? The result certainly is a band that deserves to be noticed. From the delicate 'Perfect Game', a ballad with just a piano showing the soft side of the band, the uncertain, hesitant side, to the guitar driven ballad 'Rollercoaster', the example of restraint, the band is interesting. Its influences are not hard to pick out. Just listen to little guitar parts, even specific licks that can be brought back to other songs without problem.

Promo photo: Marcos Engman

Going Home is in line with 'Soap Bubble Dreams' by Para Lia from Germany. It could well be possible that this album is part of a new European alternative pop-rock movement that is not afraid to tap into 80s rock like Simple Minds and U2 and as said Roxette and align it with pop (vocal) melodies of the past 15 years. The combination simply works as Going Home is a pleasant album to listen to.

The strength of Going Home could be that it manages to speak to many different pop lovers. It holds traces of different times and genres while managing to combine them in a successful way. This results in a diverse and colourful album including pleasant songs that hold it all.

Wo.

You can listen to and buy Going Home here:

https://tinyfighterz.bandcamp.com/album/going-home


or listen to our Spotify Playlist to find out what we are writing about:

https://open.spotify.com/user/glazu53/playlist/6R9FgPd2btrMuMaIrYeCh6?si=KI6LzLaAS5K-wsez5oSO2g

Mind Hive. Wire

De Britse band Wire gaat inmiddels ruim 40 jaar mee, maar laat op haar nieuwe album horen dat het er nog altijd toe doet en dat het zichzelf nog steeds weet te vernieuwen.

Wire leverde aan het eind van de jaren 70 een perfecte trilogie af, verdween vervolgens even uit beeld en bleef vervolgens wat anoniem opereren. De band bleef echter al die jaren actief, wat resulteerde in een aantal prima albums. Met het titelloze album uit 2015 begon Wire wat mij betreft pas echt aan haar tweede jeugd en die tweede jeugd bereikt nu haar hoogtepunt met het bijzonder fraaie Mind Hive. Wire schakelt tussen aanstekelijke gitaarpop, psychedelische songs en wat zwaarder en donkerder werk, maar het blijft in alle gevallen Wire. Ruim 40 jaar na haar debuut klinkt de Britse band fris en urgent, wat maar heel weinig voormalige tijdgenoten kunnen zeggen.

De Britse band Wire dook op in de hoogtijdagen van de punk, maar liet direct op het in 1977 verschenen debuut Pink Flag horen dat het veel meer was dan het zoveelste punkbandje. De muziek van de band uit Londen stak veel knapper in elkaar en sloeg uiteindelijk een brug richting de post-punk.
 
Met Chairs Missing en 154 voltooide de band in 1978 en 1979 een bijzonder fraaie en zeer invloedrijke trilogie, maar vervolgens was het bijna acht jaar stil rond Wire. Aan het eind van de jaren 80 pakte de band de draad weer op, maar het hoge niveau van de eerste drie albums werd niet direct gehaald.
 
Persoonlijk verloor ik Wire na die fenomenale eerste drie albums uit het oog en was ik pas met het in 2015 verschenen titelloze album weer bij de les. Dit album markeerde wat mij betreft het begin van de tweede jeugd van Wire, die met het in 2017 verschenen Silver/Lead een passend vervolg kreeg (in de tussentijd verscheen nog het bijna volwaardige album Nocturnal Koreans, dat ik voor het gemak maar als EP bestempel). De trilogie van de wederopstanding van Wire wordt deze week voltooid met Mind Hive en het is, net als aan het eind van de jaren 70, het beste album van de drie.
 
Mind Hive opent verrassend lichtvoetig. De Britse band maakte nog niet eerder gitaarsongs die zo zonnig en aanstekelijk klinken als de eerste vier songs op het nieuwe album. Het is een verrassende, maar wat mij betreft ook uitstekende openingszet. Mind Hive opent voor Wire begrippen misschien toegankelijk, maar de songs houden iets eigenzinnigs, hoekigs en stekeligs. Het zijn bovendien songs die bij herhaalde beluistering beter en beter worden.
 
Na vier verrassend toegankelijke gitaarpopsongs trekt een mistwolk over het album. Het tempo gaat flink omlaag en Wire klinkt opeens dromerig of zelfs psychedelisch. Het is een mistwolk die twee tracks aanhoudt en die aangenaam benevelt. Ook in de wat psychedelisch aandoende tracks blijft Wire natuurlijk gewoon Wire, wat je onder andere hoort in het bijzondere gitaarspel.
 
Hierna gaat het roer weer om en horen we de meer experimentele kant van Wire, dat flarden van de muziek uit haar eigen beginjaren combineert met invloeden uit de Berlijnse jaren van Bowie. Wire klinkt twee tracks lang wat donkerder, broeieriger en experimenteler dan op de rest van het album en het zijn absoluut de spannendste momenten op het album. Toch vallen deze twee tracks wat mij betreft niet uit de toon. Wanneer Wire in de slottrack terugkeert naar melodieuze en zweverige klanken, vallen ook deze klanken weer op zijn plek.
 
Als het album er na zo’n 35 minuten op zit heb je een album met drie gezichten gehoord. Op zich niet gek voor een band als Wire die altijd al de grenzen opzocht, maar zo dromerig, melodieus en toegankelijk als op Mind Hive klonk de band nog niet vaak. Het bevalt me persoonlijk wel. Wanneer Wire de lijn van de twee wat experimentelere tracks op het album had doorgetrokken was het een loodzwaar album geworden. Nu schiet de band van lichtvoetig naar dromerig naar zwaar om dromerig te eindigen.
 
Het springt op een of andere manier zeker niet van de hak op de tak, want het is in alle gevallen Wire en het is wat mij betreft Wire in een uitstekende vorm. Van de bands die vanaf 1977 opdoken in de Britse muziekscene is vrijwel niets meer over, maar Wire klinkt nog altijd urgent en op Mind Hive nog net wat urgenter dan de afgelopen jaren.

Erwin Zijleman


Luister naar onze Spotify Playlist om uit te vinden waar we over schrijven:

https://open.spotify.com/user/glazu53/playlist/6R9FgPd2btrMuMaIrYeCh6?si=KI6LzLaAS5K-wsez5oSO2g

Primitive Energetics. Joe Volk + Naiare

Listening to Primitive Energetics for the first time I notice how sweltering the album sounds. As if the music was made in the mid summer in the Louisiana swamps. Where every movement is met by air that simply forces the limb to lie down again or by a swarm of insects going for the kill.

Joe Volk has chosen to make a dark album, in sound, in atmosphere and feel. At the same time I was attracted immediately. There's no denying there. Forget every thought about a pop feel or easy pleasing. It just is not happening on Primitive Energetics. It is an album that rides over me like a steamroller, flattening everything in front of it. Not because of the volume but by the sheer intensity of the music. In that Volk has made an impressive album.

This album is co-credited to Naiara, Joe Volk's touring band after releasing his previous album in 2016, 'Happenings And Killings'. A review can be found on this blog some years back. Together with drummer Thys Bucher Volk laid down the basic tracks that were slowly filled in after these sessions.

At times the music on Primitive Energetics is frightening. Screams are spread out loudly over the listener, as if Volk and co are in extreme fright or pain. Bloodcurdling screams enter my ears and brain. If I hadn't known the screams came from the record, I for certain would have an ultimate fright of flight moment. It is my reptile brain Volk is communicating with, not my intelligence or less prime ordeal emotions.

Promo photo: Kim Corti

Not the whole album is a dark as this. The second song, by comparison, is an acoustic outing. Easy listening, well almost. For the rest Primitive Energetics is an album befitting the times, despite the fact Joe Volk cannot have known what would be awaiting us at the time of making this music, the real and latent fears people are experiencing since March 2020 show through completely.

At the same time the album holds some excellent songs. Take 'Whitesheet' with its driving guitar and drumming. This is an excellent song. Yes, dark, as all is, but fitting in a long alternative rock tradition going back to the 1980s. In that sense Primitive Energetics can be seen as an extension of the doom and gloom albums from the early 80s. Even some synths enter 'Whitesheet'. Only the world is in fear of something completely different than an atomic bomb. There is a comparison of course. Both situations go back to the smallest particles, atoms and cells.

It is not clear to me, for what reason Joe Volk descended into this utterly dark musical environment. The Englishman lives in Bern with his wife and children. So may be happy even. This is what it is and what we have to make do with. Primitive Energetics may not be a joy-spreading album, it is certainly an album to listen to with attention. A lot of thought and attention went in to it, into it's structure and texture, resulting in an album that is special, a little scary and good. On days like these, that is more than enough.

Wo.

You can buy Primitive Energetics here:

https://mailorder.glitterhouse.com/album/1/pop--independent/1128553/primitive-energetics.html


or listen to our Spotify Playlist to find out what we are writing about:

https://open.spotify.com/user/glazu53/playlist/6R9FgPd2btrMuMaIrYeCh6?si=KI6LzLaAS5K-wsez5oSO2g

Living In A Ghost Town. The Rolling Stones

Rumours about The Rolling Stones spending time in the studio were around for years, but last year they seemed to become more trustworthy. I had expected a new album to be released with the start of the U.S. tour - that was of course cancelled, like everything has been in the past months for months to come.

In an ongoing discussion that is still happening, to be published on these pages later, I wrote yesterday about those moments on hearing a new song by a favourite band on the radio for the first time. I can remember several from when I was much younger. One of them was pirate station Radio Mi Amigo announcing the new Stones single of 1976, 'Hey Negrita', only to be wrong as a week later 'Fool To Cry' was released.

This morning I switched on the radio and heard a man asking to hear a song that he had only heard as a tinny version on his cell. Having missed the beginning of his request, I had no idea what he was requesting. It turned out to be the new Stones single that was released the night before. Seemingly out of nothing a new song was dropped. Well done. It is still possible to surprise the world.

As many Stones singles before this one, the first listen was a surprise. What is this? A reggae song. What should I make of it? I have heard enough up tempo Stones rockers as they almost never are as good as they used to be. That made 'Blue & Lonesome' such a delightful surprise.

So why the slight disappointment when the new single isn't a Stones rocker? As those are the standard I define Stones singles by. But are are my favourite singles of the past 40 odd years? 'Miss You', 'Has Anybody Seen My Baby', 'Saint Of Me', 'Waiting On A Friend', 'Love Is Strong'. Enough said? I guess so.

Having played Living In A Ghost Town several times in a row now, it may settle in this row of singles quite neatly. It has a Stones vibe that is simply excellent. The playing, once past Charlie Watts' solid drumming, is delicate. Typical Stones licks are flying around, but listen more closely and little single note strokes, muted strings and tiny solo's come by. There are absolutely no extra's involved. The only extravaganza is the ooh-ooh-ooh harmonies and Mick Jagger's harmonica solo. Let's not forget that he is excellent on the instrument.

Has Jagger changed the lyrics to fit the times? It appears so as who would predict a lockdown in 2019? The video is certainly extremely lockdownish.

Because of the title of the song I am remembered of 'Ghosttown', The Specials' 1981 hit single. In the soft, empty part of the The Stones single the two certainly meet.

There's one part in this single where Mick sings about the things we used to do, we used to hear when going to shows, clubs, festivals, where ever we used to go to hear music, that really hits home the situation where we find ourselves in. The Rolling Stones catching the sign of the times in 2020. Who could have thought?

The world has to wait until 28 June before the song is released physically. This suggest a rush streaming release. I am happy with it. The Rolling Stones have a very nice new song. And who knows, it may be the announcement to a new album early this summer.

If this release proves one thing, it is that even in one's 70s one can be relevant and even renewing oneself. The Stones just did in one big surprise. A nice push in the back for the world that is struggling about how to get out of this fix in the most sensible way possible, where there are no easy answers in sight.

Wo.


Listen to our Spotify Playlist to find out what we are writing about:

https://open.spotify.com/user/glazu53/playlist/6R9FgPd2btrMuMaIrYeCh6?si=KI6LzLaAS5K-wsez5oSO2g

The Unraveling. Drive-By Truckers

Drive-By Truckers ziet dat het er onder Trump zeker niet beter op is geworden in de VS en combineert donkere teksten met gedreven en gloedvolle Americana.

Drive-By Truckers draait al meer dan twintig jaar mee, maar heeft nog steeds de energie van een stel jonge honden. De band liet in 2016 een andere kant van zichzelf horen met het maatschappijkritische American Band. Op The Unraveling is de band nog wat kritischer en schetst het een gitzwart beeld van Trump’s Amerika. Ook in muzikaal opzicht verkeert de band in topvorm en wordt er nog altijd geschakeld tussen countryrock, Southern rock en alles er tussenin. The Unraveling is een vaak betrekkelijk ingetogen album vol geweldige gitaarwerk en gepassioneerde vocalen, maar af en toe mag het gas er op. Geweldige plaat!

Toen ik aan het eind van de jaren 90 voor het eerst kennis maakte met de muziek van Drive-By Truckers, hoorde ik een leuke maar verder niet heel opzienbarende band, die invloeden uit onder andere de countryrock en Southern rock aan elkaar smeedde.
 
Een meesterwerk verwachtte ik op dat moment absoluut niet van de band uit Athens, Georgia, maar dat meesterwerk lag er in 2001 opeens wel in de vorm van Southern Rock Opera, dat anderhalf uur lang imponeerde met rockmuziek uit het diepe zuiden van de Verenigde Staten. Sindsdien heeft de Amerikaanse band een aardig stapeltje albums afgeleverd en ze zijn allemaal goed.
 
Het deze week verschenen The Unraveling is de opvolger van het alweer uit 2016 stammende American Band. American Band liet nog altijd een geweldige rockband horen, maar het was voor Drive-By Truckers begrippen ook een behoorlijk donkere plaat. American Band keek naar de Amerikaanse samenleving van dat moment en het leverde een somber beeld op.
 
Het deze week verschenen The Unraveling is, zeker vergeleken met zijn voorganger, weer gestoken in een kleurigere hoes, maar dat zegt niets over de staat van het vaderland van de leden van de band uit Athens, Georgia. The Unraveling schetst een nog wat somberder beeld van de Verenigde Staten, want het is er onder Donald Trump niet beter op geworden. Integendeel.
 
Drive-By Truckers stelt de misstanden in de Verenigde Staten nog wat nadrukkelijker aan de tand in de vlijmscherpe teksten op het album, die stilstaan bij thema’s als immigratie, racisme, armoede, uit de hand gelopen wapenbezit en grootschalig gebruik van zware pijnstillers (in de VS verantwoordelijk voor 150 doden per dag). Het voorziet de songs van inhoud en passie, waardoor Drive-By Truckers direct met 1-0 voor staat.
 
Ook in muzikaal opzicht is The Unraveling een overtuigend album. Net als op het vorige album worden ingetogen tracks afgewisseld met stevigere tracks en variëren de invloeden van lome countryrock tot stevige Southern rock (van Neil Young via R.E.M. naar Lynyrd Skynyrd). Drive-By Truckers heeft al deze invloeden opgenomen in een geheel eigen blend binnen de Amerikaanse rootsmuziek en klinkt als een goed geoliede machine.
 
Zoals altijd is het gitaarwerk op het album van een bijzonder hoog niveau, maar ook de vocalen op het album zijn uitermate trefzeker. Patterson Hood en Mike Cooley hebben allebei een duidelijk eigen stijl, wat zorgt voor flink wat diversiteit. Ik had in het verleden altijd een voorkeur voor het stevigere werk van de band en ook op The Unraveling springen de songs waarin de gitaren los mogen gaan er makkelijk uit, maar het zijn de ingetogen songs vol donkere verhalen over de Verenigde Staten van Trump die door de ziel snijden. Het zijn ook de songs die domineren op het album.
 
Drive-By Truckers draait inmiddels meer dan 20 jaar mee, maar klonk nog niet vaak zo gepassioneerd, betrokken en urgent als op The Unraveling, waarop donkere teksten en geweldige muziek elkaar op bijzondere wijze weten te versterken. Waar de teksten zwaar en donker zijn, speelt de band betrekkelijk losjes en heeft het op The Unraveling een mooi open geluid, dat prachtig uit de speakers galmt en dat aan het eind nog 8 minuten lang een prachtige psychedelische injectie krijgt.
 
Iedereen die American Band in 2016 schaarde onder de beste albums van Drive-By Truckers, zal ook genieten van The Unraveling, maar het maatschappij kritische album verdient wat mij betreft ook een veel breder publiek. Wat een wereldband, wat een goede plaat.

Erwin Zijleman

Je kunt The Unraveling hier luisteren en kopen:

https://drivebytruckers.bandcamp.com/ 


of luister naar onze Spotify Playlist om uit te vinden waar we over schrijven:

https://open.spotify.com/user/glazu53/playlist/6R9FgPd2btrMuMaIrYeCh6?si=KI6LzLaAS5K-wsez5oSO2g

Feral. RVG

Listening to Feral for the first time, I thought it to be the new album of or new band of ... I can't think of the name for some reason. The voice however sounds so familiar. From quite some time back and sounding too young to be that new band.

RVG has the ability to rock fiercely and still sounding light as if 'Alexandra' is not an indie rock song. Because it is. The song has that desperation in it that can make an indie rock song so extremely good. A touch of things taking a turn for the worst, while in the music still some lightness hovers, that signal things may not be as bad as they seem.

Suede played with a lot more pathos when it started. It's first album comes to mind, while some Johnny Marr guitar techniques have not gone by unnoticed. So in sound RVG is British. So let me look up Feral, because it would not be the first time I am listening to an album that is 30 years old. A long lost gem of U.K. alternative 80s rock.

Pfew, RVG is not "old", but not from the U.K. The band is from Melbourne in Australia and totally influenced by Australian and U.K. 80s alternative rock. The first nearly totally passed me by at the time, the second certainly did not. The mix is enticing. If the music from Australia at the time was this good, perhaps I have some back-paddling to do.

RVG recorded with Victor van Vugt behind the recording console. A name I haven't run across for some time. He helped produce an album with an incredibly light touch. The guitars sound high with some light reverb added. Singer Romy Vager is able to lay her (please excuse me for writing his first) sneery voice over the music, giving the music a streetwise attitude. A good example to listen to is 'Help Somebody'. Several guitars play themselves out over the bass and drums that are more functional than prominent. At the end a guitar like an electric saw enters the whole, varying in badness. Vager sings her lyrics with a punky tone, without overdoing it. 'Prima Donna' is not the strongest song on the album, at first, but has a great ending. The intro to the next song, 'Perfect Day', continues that level immediately. The songs make for variation securing the album the attention it deserves.

I find I am very much attracted to this mix. In a way I am surprised because I also hear influence like Lloyd Cole & the Commotions, a band I just not liked for more than two songs and even them not extremely. The same goes for The Smiths. I still can't listen to more than three, four songs tops in a row. By contrast, RVG does not pose a challenge for me at all. Why? A good question. The answer will have to wait until I know the album a lot better, sure, but I am sure it has to do with following two things. The songs, at least to me, are better, where the likes of Lloyd Cole are concerned, less so for The Smiths. Here the absence of the always on the point of bursting into tears voice of Morrissey certainly helps.

It seems like Feral is off to a good start with me. I'm truly looking forward for the album to grow on me some more.

Wo.

You can listen to and buy Feral here:

https://rvgband.bandcamp.com/album/feral


or listen to our Spotify Playlist to find out what we are writing about:

https://open.spotify.com/user/glazu53/playlist/6R9FgPd2btrMuMaIrYeCh6?si=KI6LzLaAS5K-wsez5oSO2g

Electric Feat. Electric Feat

A new album from Greece reached me recently. It is becoming something normal, now multiple labels from the Greek speaking world have found their way to my inbox. Again I find myself writing on one of them, as Electric Feat compares quite nicely with albums from several Belgium rock bands I reviewed over the past year.

It is not so normal at all, so let me first give an insight on Greek music and myself. I am quite certain that the first Greek song I was exposed to was the theme song to 'Zorba The Greek'. My aunt had the single I remember loving the way the melody sped up. Little did I know at the time that the song was the biggest hit of 1965. In fact for decades it was the best scoring song in the all time ever chart, to be disposed in 2011/12 by Gotye's hit. 'Somebody That I Used To Know'. Next is 'Rain And Tears', Aphrodite's Child's huge hit in 1968 and other hits by the band. After that Vicky Leandros, Nana Mouskouri and Demis Roussos solo, but not a single song I particularly liked. In the 80s Jon & Vangelis scored a few hits. After that nothing, barring the Greek pop music I heard busdrivers play in Greece while on holiday, until Inner Ear Records contacted me.

Electric Feat is a classic rock group. The influences of 60s rock and 70s classic rock are all over the place. Hints at psychedelia play a role as well. Singer Georgios Dimakis, who we also know as Prins Obi, certainly is a Jim Morrison fan and is able to change his voice into the deeper range. like Morrison did, but without losing his ability to sing, like Morrison did. The band as a whole is not afraid to throw in some The Doors elements as well. More to stress certain parts of the album than to play at pretending to be The Doors. Just as easily classical rock parts come by with a strong riff flying around. For The Netherlands fans of DeWolff should pay extra attention here.

Photo: Eftychia Vlachou & Kostas Stergiou

Listen to Electric Feat and it is easy to spot many musical references to the era classic rock ruled. The band consists of four people who like to frequent a pub together and undoubtedly discuss and listen to music there frequently. I can imagine them deciding on one evening to start making music we love together. The result is not original, that's impossible for an album that looks backwards, but certainly strong. Just listen to how firm the rhythm section plays. Themos Ragousis' (Madam Manthos), bass guitar holds the deep end, almost too scary to look into. Kostas Stergiou's (The Tree) drumming lays a perfect foundation. This leaves all the freedom to excel for guitarist Dionysis Nanos (Dr. Nanos). His guitar is all over, without being afraid to hold back and let a song implode and lean on the rhythm section to keep it going. 'Leather Jacket' is an excellent example of how the band is able to play with melodies and dynamics.

Rock may be dead. It was The Doors themselves that proclaimed it to be so. They were proven wrong a long time ago. With bands like Electric Feat, even if the album is to be considered to be an outing by (musical) friends, we can be certain that rock will live a while longer. No matter what dance oriented people say. They existed when I was young,  called soul, then disco, house, EDM and whatever. I never cared, o.k., there's always a good exception, there always were and will be good rock bands. Electric Feat is one of them. Influences are all nice and good but without inspiration and skills there's no good album. I can bake a cake but will not sell it a bakery. Electric Feat however deserves a spot in every record store.

Rock dead? Don't make me laugh!

Wo.

You can buy Electric Feat here:

https://electricfeat.bandcamp.com/album/electric-feat


or listen to our Spotify Playlist to find out what we are writing about:

https://open.spotify.com/user/glazu53/playlist/6R9FgPd2btrMuMaIrYeCh6?si=KI6LzLaAS5K-wsez5oSO2g

7 Singles

Merry Go Round. Fridolijn
Yes, I remembered the name, but when? I could not have told you for the life of me. It turns out that nearly four and a half years ago I reviewed 'Catching Currents', in December 2015. I do not know if Fridolijn released other work in between but Merry Go Round is an exceptional single.

Merry Go Round is like a daydream of the lightest and most friendly kind. Fridolijn sings with a light voice, avoiding all strains to her voice. It hovers over the music like a strand of fog over the pastures of Holland, covering only the legs of the cows in there. Fragile and touching but untouchable. A light moisture on my sleeve is all that remains of that fog.

The music is just as dreamy, just as light and floating. Deep down in the song is an acoustic guitar that may be its very heart. Over it layers of electronics are built, accompanied by a piano, a bass guitar, drums later on.

Together Merry Go Round becomes the stuff fairy tales are made of. Sprinklings of stardust, catching the sun's rays. The only word left to write is: beautiful.

Weightless. Lizzy
A new single by Lizzy. I may start out by sounding negative, but stay around because I won't end in this vein. Why? Weightless is not for me. Lizzy makes music for a different generation than mine. Sometimes we may meet somewhere in the middle like with 'Teach Me', early this year. With Weightless she moves in another, more modern pop, dance direction. This is a smart thing to do, as this is the music that is popular in 2020. She has a nice voice to listen to, as I have written on these pages a few times. Together with producer Joes Brand, also drummer in The LVE, she is able to catch the modern times and make it her own as well. That this song is not for me, does not mean it is not for you. All who like a slow version of electropop should check Weightless out, as it simply does a lot of things right.

Seventeen. Watts
Watts featured on this blog once before with a previous single. Now 'Queens' was a nice song, Seventeen is the ultimate 'Queens'. This single starts with the same powerchord as 'Skandal im Sperrbezirk', then blends all the strongest Herman Brood & his Wild Romance songs like 'Saturday Night', 'Never Be Clever' and 'Hot Shot' into one big thrust of energy. Connect that with the pop rock side of Billy Idol and the best punk singles where some horns are allowed into and we come close to the result called Seventeen. This single is 110% excitement combined with a chorus all lovers of powerpop punk & roll will crave shouting along to. Of course at my age I'm not allowed any longer to even look at a 17 year olds, let alone shout out calls like this. It is as strange as singing one of my favourite The Beatles song, 'I Saw Her Standing There'. All 17 year old girls, please forgive me this once but I just need to sing SEVENTEE-EEN!

they told us it was hard, but they were wrong. Ela Minus
And now for something completely different. I can see John Cleese sitting in the sea, walking in rags, etc. Ela Minus has nothing to do with the Pythons, it's just the stark musical difference between her dance/electronic track and the punkrockers of the Rum Bar label surrounding her, that brought me the image. Yet they told us it was hard, but they were wrong very much is worthwhile paying attention to. Ela Minus sings softly and totally undercooled with the aid of some electronics. Everything around her comes from digital machines, sequencers, synths, beats. What it does all together is create something mysterious that I have to admit I like listening to. Somewhat to my surprise, I'll admit, but none the same true. The song is danceable and listenable. If this is to become 20s music there may be something different in store for me than guitar oriented songs only.

Do It. Ken Fox and Knock Yourself Out
The second Rum Bar Records single recently released is Do It, the second single from Ken Fox & Knock Yourself Out. The mini album was already reviewed recently but lets focus on Do It for a few seconds. Do It is the most erratic song on the album. Ken Fox just can't help himself here. He's just has to, there's no self restraint left in him. And it shows. Like I wrote before, Ken Fox is not a singer. that shows the most in this song. Enthusiasm gets him a long, long way here. This song is one energy burst, with a great guitar solo explosion in the middle. Do It has an inner power of drums and bass over which a tight rhythm guitar keeps it all together and the lead guitar can fly off in little riffs and melodies whenever it likes. "Just do it do it do it do it!


Ydin. Out of Skin
We started out this singles edition of this blog with music dreams are made of. We end with it as well. Out of Skin is familiar to the followers of this blog by now. It all started with a support slot at the The Stream release party in 2018. Now circa two years later, in a totally different world, the band has released a new single.

And what a single it is. The band moves further than it has before. The music has been brought back to bare necessities. Sparse guitar notes, and loads of atmosphere. The typical sound of the harp moves in and out of the song. There is no pretending this is a traditional single. Out of Skin plays with the mood of its listener, adding a little eeriness and suspense. Where Merry Go Round is the safe and secure happy ever after ending of the fairy tale, Ydin is the part just before things go horribly wrong. "I'm on my way" Wouter Mol sings, "Deeper than the deepest sea", not the place one wants to be on an average day. Suspense is all around.

Musically I hear faint traces of Zita Swoon and other Belgian bands, while there certainly are influences from more dance oriented, electronic music. Together Out of Skin shows it has moved in an incredibly interesting direction. I can't wait to hear more, as soon as possible.

And just when I thought I had finished my reviews I discovered:

I Contain Multitudes. Bob Dylan
A second Bob Dylan track with new original music in a few weeks. It suggests a new album is under way. I understand that 'Murder Most Foul' is Dylan's first number 1 hit in the U.S. Well, it wasn't here, I can tell you.

I Contain Multitudes is more in line with the songs I have heard from Dylan in the last twenty years. Again though, this is a bare and essentials only song. This time with guitars over which Dylan croaks his lyrics but a little less so than usual. Again the song holds numerous references to other artists. We had The Beatles, this time The Rolling Stones gets its reference as do e.g. Anne Frank and Edgar Allan Poe.

As bare as the song is, in this it is in line with 'Murder Most Foul', again it simply is o.k. Dylan delivers once more. He seems to have given up on drums, percussion and bass. Having him in the speakers seems to be enough, as the music is purely for accompaniment, not to build or flash out a song. It fills small holes around the lyrics, in which an old man sings about "All The Young Dudes".

Keep this level up Mr. Dylan I will be buying a new album on release for the first time since 'Love & Theft'.

Wo.

Anywhere But Here. Habibi

Habibi trok helaas maar weinig aandacht met een geweldig debuut, maar revancheert zich met een fantastisch tweede album dat meedogenloos verleidt en de fantasie eindeloos prikkelt.

Habibi, het is een naam die bij niet iedereen een belletje zal doen rinkelen, maar wat heeft de band uit New York met Anywhere But Here een fantastisch album afgeleverd. Habibi begint bij de Phil Spector girlpop uit de jaren 60, maar neemt je via garagerock, Surf en new wave mee naar het heden. De popliedjes van het New Yorkse viertal liggen bijzonder lekker in het gehoor, maar zijn ook veel spannender dan je bij vluchtige beluistering zult vermoeden. De prachtige zang en koortjes zorgen voor de verleiding, terwijl het gitaarwerk constant het avontuur opzoekt. De diepere onderlagen van de muziek van Habibi bevatten nog veel meer invloeden, waardoor dit album groeit en groeit. Habibi, onthouden die naam.

Habibi is een band uit Brooklyn, New York, die al een jaar of negen bestaat. De uit vier vrouwen bestaande band debuteerde in 2014 met een bijzonder lekker klinkend debuut dat een punky attitude combineerde met een vleugje Motown, Surf, Bananarama en Phil Spector girlpop.
 
De band werd destijds op één hoop gegooid met bands als Vivian Girls, Dum Dum Girls, Best Coast en noem ze allemaal maar op. Het is een hoop waarop de concurrentie moordend is, waardoor het titelloze album van Habibi in 2014 niet heel veel deed. Ik kan met terugwerkende kracht concluderen dat dit werkelijk doodzonde is, want het debuut van de band uit Brooklyn is een fantastisch debuut.
 
Het is een debuut dat duidelijk anders klinkt dan de albums van de bands die in 2014 als vergelijkingsmateriaal werden aangevoerd en het is een debuut dat destijds uitvoerig bejubeld had moeten worden. Ik heb dat helaas niet gedaan, al heb ik het album wel in handen gehad, en stond daar helaas niet alleen in.
 
Inmiddels zijn we zes jaar verder en is het tijd voor eerherstel. Habibi keerde deze week terug met haar tweede album Anywhere But Here en ook dit is een geweldig album. Sterker nog, het is een album dat nog veel beter is dan het zo ondergewaardeerde debuut.
 
De vier vrouwen uit Brooklyn zijn de invloeden van hun helaas zo genegeerde debuut gelukkig niet vergeten. Ook Anywhere But Here staat vol met aanstekelijke popliedjes, die hier en daar citeren uit de archieven van de garagerock, punk en new wave. Anywhere But Here klinkt met enige regelmaat als Phil Spector girlpop met The Undertones als begeleidingsband en het jonge Bananarama als achtergrondkoortje en dat klinkt verrassend lekker.
 
Het is muziek die ook niet zo gek ver verwijderd is van die van Vivian Girls en al haar soortgenoten, maar Habibi klinkt toch net wat anders. Dat hoor je in de gitaren die steeds weer andere invloeden verkennen en een stiekeme voorliefde voor Surf hebben, maar je hoort het vooral in de songs waarin het New Yorkse viertal gas terugneemt en dat gebeurt op Anywhere But Here met grote regelmaat.
 
Habibi klinkt dan net wat psychedelischer en verwerkt bovendien op subtiele wijze invloeden uit de muziek uit het Midden Oosten in haar muziek. Het wordt gecombineerd met bijzonder lekker in het gehoor liggende popliedjes en prachtige koortjes, waarin de stemmen elkaar prachtig aanvullen.
 
Anywhere But Here heeft de zwoele verleiding van perfecte 60s pop, het stekelige van 70s en 80s new wave en combineert deze invloeden met alles dat momenteel voorhanden is. Door de lekker in het gehoor liggende popliedjes verleidt Anywhere But Here van Habibi meedogenloos, maar het tweede album van de band uit New York is ook een razend spannend album dat steeds weer wat moois voor je in petto heeft.
 
Voor mij springen het veelkleurige gitaarwerk en de vocalen er uit, maar als je wat dieper in de muziek van Habibi duikt blijf je mooie dingen horen. Het doet misschien nog wel het meest denken aan de Amerikaanse band La Luz, die in 2018 imponeerde met het prachtige Floating Features, maar het nieuwe album van Habibi is nog wat veelzijdiger en spannender.
 
Het valt op het moment niet mee om op te vallen met een nieuw album, maar na het over het hoofd zien van het geweldige debuut van Habibi kunnen we dit veel betere tweede album echt niet laten liggen.

Erwin Zijleman

Je kunt Anywhere But Here hier beluisteren en kopen:

https://habibitheband.bandcamp.com/album/anywhere-but-here



of luister naar onze Spotify Playlist om uit te vinden waar we over schrijven:

https://open.spotify.com/user/glazu53/playlist/6R9FgPd2btrMuMaIrYeCh6?si=KI6LzLaAS5K-wsez5oSO2g

925. Sorry

Sort of out of the blue Sorry presents itself to the world with its debut album 925. Title and band name can almost not be more elementary. The title even without letters and anybody's guess what the true meaning of the title is. And sorry for what?, is the question that comes to mind. Certainly not the music Sorry presents as there is little wrong in that department.

At a certain point in life it is unavoidable that the references, experiences, knowledge lapped up along the way of life's lanes, high and byways, sets adults apart from young adults releasing their first records. Lyrically at times it becomes hard)er) to impossible to relate as the doubts, angsts and fears adolescents experience have been left behind for other doubts, etc., but also traded in for certainties and rock steady believe in better trained parts of oneself.

This is certainly the case between myself and Asha Lorenz and Louis O'Bryen the two singers and songwriters of Sorry. The lyrics of course are only half of the story: the music being the other. Those who keep an open ear for good music, always get what is good, better, best in the genres they like or grow into. This is what is happening between 925 and me.

Lorenz and O'Bryen together with bass player Campbell Baum, synth player Marco Pini and drummer Lincoln Barrett present an album that is not so much exciting (certainly not in the traditional sense of lots of noise and energy) as it is guarded, at times even pseudo disinterested. From this mid-tempo seemingly torpid atmosphere Sorry starts to work. Step by step a song is built up with details making the songs come alive. The only thing needed to make them sparkle is a cloth and some good old old-fashioned Silvo polisher.

Take your time and you will find there is so much to discover on 925. Starting with a quote from Tears for Fears' 'Mad World' in opening song 'Right Around The Clock'. Musically Sorry builds on decades of alternative rock bands, starting in the 80s up to Franz Ferdinand, Arctic Monkeys and Blood Red Shoes where the more rocking elements are concerned. These little eruption that can burst through the musical fabric to be pushed back swiftly. Also the male - female singing between O'Bryen and Lorenz reminds me of Blood Red Shoes, although here they fall in and out of a song constantly. It is far harder to guess who wrote a song here. What Sorry holds back on, is the all out exuberance that define the firsts albums of the 00s star bands just referred to.

I find myself coming back to 925 for days in a row now. The album, despite having many, potentially, too alternative moments that could drive a slightly more song, pop-oriented, music lover, which in the end I am, away. 925 does not. There are so many excellent moments returning in the melody, songcraft and strength, that it becomes irresistible. There are little doubts as to what my next new LP is going to be.

925 Is one of those debut albums a band can only dream of. One where everything seems to fall in its right place. One that puts enormous pressure on the second. The best bands continue and come up with another, others falter under the pressure. For Sorry that could be years away, but who knows. Due to Corona there's no touring so loads of time to work on that second album without all the usual distraction of touring, shows, interviews and then some more. Use it! With 925 Sorry has put itself on the map and caught my full attention. An album for the year end list of 2020 for certain.

Wo.

You can listen to and buy 925 here:

https://sorrybanduk.bandcamp.com/album/925


or listen to our Spotify Playlist to find out what we are writing about:

https://open.spotify.com/user/glazu53/playlist/6R9FgPd2btrMuMaIrYeCh6?si=KI6LzLaAS5K-wsez5oSO2g

Diamonds & Liquid Gold. Jaguar Jonze

Diamonds & Liquid Gold starts as if it is a De Kift track from circa 20 years ago. An electronic sound that is hard to determine the source of. In 'Rising Sun' the sound keeps going but the song itself takes a completely different direction than the fanfare punkers of De Kift ever would have chosen.

'Rising Sun' is a modern song with mysterious under and over currents giving it a very distinct atmosphere that is easy to fall for. Singer Deena Lynch is singing right in front of my face. Although slightly treated she sounds like Blood Red Shoes singer Laura-Mary Carter would, only if she was more pop inclined than alternatively rocking out (loud).

Guitars play a huge role in 'Rising Sun', giving the song its colours. Over the drums and bass and the mysterious sound in the background, the guitar sounds and sparse notes support Deena Lynch in making the song what it is.

When the second song kicks in I notice why I am attracted to Jaguar Jonze. Although there are distinct pop influences in her music, 'Rabbit Hole' is sound and solid. The music blends pop with rock. Giving it a body without losing its pop feel. It makes me realise why I do not like most female pop artists of the last 15 years and do like Blood Red Shoes so much. Jaguar Jonze fills that hole in between in a perfect way.

Promo photo: Ribal Hosn

Deena Lynch is from Brisbane in Australia. Here she got the nick name Jaguar Jonze that became her artist name. She has a reputation to give it her whole and that shines through on Diamonds & Liquid Gold, but not without losing her head. The production shows she has a keen view of where she wants her music to go and how to make her strong voice come through in the best possible way. This mini album is very much her album. The voice is totally up front. The ruckus around her is only there to serve her. This is not a band effort but a solo singer's.

The quality of the first two songs is met easily moving into the album. Diamonds & Liquid Gold holds power combined with good songs that are well sung and played. The title song could have been on the first album of Dutch artist Kovacs. The surprising song is at the end where a more acoustic side of Jaguar Jonze is shown, although the ballad grows bigger fast.

All in all, this is a very promising debut with a promise of much more to come.

Wo.


Listen to our Spotify Playlist to find out what we are writing about:

https://open.spotify.com/user/glazu53/playlist/6R9FgPd2btrMuMaIrYeCh6?si=KI6LzLaAS5K-wsez5oSO2g

Walking Like We Do. The Big Moon

De Britse band The Big Moon kiest dit keer voor de pop, maar verleidt meedogenloos met even aanstekelijke als eigenzinnige popliedjes die alleen maar leuker en onweerstaanbaarder worden.

Het Britse viertal The Big Moon krijgt hier en daar nog het label punkpop opgeplakt, maar dat is echt verleden tijd. Op Walking Like We Do kiest de band uit Londen immers vol voor de pop, maar wat zijn de popliedjes van The Big Moon leuk en verslavend. In muzikaal opzicht gebeurt er steeds weer wat anders, in vocaal opzicht maken de vier vrouwen van de Britse band indruk en het niveau van de songs is verrassend hoog. Op hetzelfde moment is het nieuwe album van The Big Moon een album vol popliedjes die je na één keer horen voorgoed wilt koesteren. Van perfecte pop naar indiepop met een vleugje new wave en weer terug. Ik kan het echt met geen mogelijkheid weerstaan. 

Het muziekjaar 2020 is begonnen met een mooi stapeltje interessante releases. Van dit stapeltje word ik het vrolijkst van Walking Like We Do van The Big Moon.
 
The Big Moon is een uit vier vrouwen bestaande band uit Londen, die in het verleden samenwerkte met Marika Hackman en die bij de release van haar debuut in 2017 nog het label punkpop kreeg opgeplakt.
 
Op Walking Like We Do, het tweede album van de Britse band, heeft The Big Moon haar wilde haren verloren en kiest het vol voor de pop. Dat is altijd even slikken, maar The Big Moon maakt op haar nieuwe album zeker geen 13 in een dozijn pop.
 
Walking Like We Do staat vol met popliedjes die je na één keer horen alleen maar wilt koesteren. De band rond frontvrouw Juliette Jackson verrast met aanstekelijke maar interessante popsongs en het zijn popsongs die vooralsnog alleen maar beter worden.
 
De instrumentatie op Walking Like We Do steekt knapper in elkaar dan op de gemiddelde pure popplaat. Veel songs hebben pianoakkoorden als basis, maar zijn vervolgens rijkelijk versierd met elektronica, waar met enige regelmaat een gitaarakkoord doorheen snijdt. Het klinkt keer op keer bijzonder lekker, maar The Big Moon begeeft zich zeker niet uitsluitend op de platgetreden paden.
 
De instrumentatie op het album zit vol goede vondsten en zit bovendien vol invloeden. Het zijn voornamelijk invloeden uit de jaren 70 en 80, maar The Big Moon verwerkt ze op subtiele wijze in een geluid dat vooral eigentijds klinkt. Associaties met punk heb ik niet bij beluistering van het album, maar invloeden uit de 70s new wave hebben zeker hun weg gevonden naar het geluid van de band. Het is een geluid dat wat mij betreft het etiket indiepop verdient, maar iedereen die de muziek van The Big Moon pure pop wil noemen heeft ook mijn zegen.
 
In muzikaal opzicht is het dankzij de aanstekelijke klanken en de stiekem verstopte invloeden smullen, maar ook in vocaal opzicht heeft het viertal uit Londen veel te bieden. Juliette Jackson zingt uitstekend, maar wanneer de vier vrouwen van The Big Moon los gaan in harmonieën is het smullen in de overtreffende trap. Het voorziet de muziek van de Britse band van een bijzondere sfeer, maar ook van veel kracht.
 
The Big Moon blijkt op Walking Like We Do zeker geen one-trick-pony. Het ene moment word je meegesleurd door een hopeloos aanstekelijk popliedjes met flarden new wave en postpunk, het volgende moment tekent de band voor een klassieke popsong, die niet had misstaan in het oeuvre van een willekeurige grootheid uit de jaren 70 of met een eigentijdse popsong. Na één keer horen was ik verslaafd aan de heerlijke popliedjes van het Londense kwartet, maar sindsdien zijn de heerlijke maar ook eigenwijze popliedjes van The Big Moon alleen maar leuker en onweerstaanbaarder geworden.
 
Producties van popplaten klinken nogal eendimensionaal op het moment, maar het in het Amerikaanse Atlanta opgenomen en door Ben H. Allen III (Bombay Bicycle Club, Belle & Sebastian, Deerhunter) geproduceerde Walk Like We Do klinkt gelukkig anders en weet song na song te verrassen met een geluid dat het hart verovert en de fantasie prikkelt.
 
The Big Moon heeft het album gemaakt dat HAIM dit jaar nog maar moet zien te maken. Laat dit prima album met flink volume uit de speakers komen. Heerlijk.

Erwin Zijleman


Luister naar onze Spotify Playlist en ontdek waar we over schrijven:

https://open.spotify.com/user/glazu53/playlist/6R9FgPd2btrMuMaIrYeCh6?si=KI6LzLaAS5K-wsez5oSO2g

Hermitage. Ron Sexsmith

The sweetest of songwriters returns with a new album and it is welcome. Ron Sexsmith has an extended oeuvre, for me it is the third album, with 'Carousel One' being my introduction in 2015.

Of course Mr. Sexsmith was born under the wrong name. It should have been Songsmith, because if anything defines him to his listeners, it is his ability to write perfect pop songs that simply please the ear. Don't get me wrong. They are not to be mistaken for simple songs that enter the ear and ought to be forgotten immediately but hardly ever are. No, the songs on Hermitage are well crafted songs, like Ray Davies has been writing since the mid 60s, from right after he left his pre-punk garage rock side aside. The name of the ex-Kink is unavoidable when writing about Ron Sexsmith I notice. The similarities in the way of singing and tone of voice are too obvious to ignore. For me that's a pre as I am a lifelong fan of The Kinks and Davies' solo work, as shown on this blog by my recent reviews on the 'Americana' albums.

It also means that the large audiences pass Ron Sexsmith by like they, at least in Europe since 1970, have passed The Kinks and Ray Davies by, excepting the live version of 'Lola'. Are the free-flowing pop songs both men write just too difficult for the members of the average member of the larger audience? I can't help but wonder why, as the songs are so extremely pleasant to listen to.

As a side step I wonder what a Hermitage is. The name of the famous museum in St. Petersburg of course. It holds the word hermit in it. So I looked it up. It is the home of a hermit, so something secluded from the rest of the world. It is hard to associate a hermit's home with the court of Russia's Catherine the Great, but perhaps all royals liked to play shepherdesses in Arcadia close to a hermitage. Who can tell?

Sexsmith does the garden in his hermitage, mowing the grass with a pink boa on. The weather obviously is nice. If anything the cover art underscores the mood of the album. It presents the music of a man who, at least in my ears, is totally at ease with himself, his world and his music. This comes with a downside. It makes me wonder whether there is a Ron Sexsmith saturation point for me. The songs are extremely pleasant but do miss any form of edge. An album does become better from variation and that is not abundantly present on Hermitage. For now it remains a question answered positively. Hermitage in general is simply too beautiful to ignore.

Wo.


Listen to our Spotify Playlist to find out what we are writing about:

https://open.spotify.com/user/glazu53/playlist/6R9FgPd2btrMuMaIrYeCh6?si=KI6LzLaAS5K-wsez5oSO2g

Tears Go Upwards. Playground Theory

Tears Go Upwards is intriguing album title, as I am inclined to answer only when I'm standing on my head or having an extremely fierce wind in my eyes. All those thoughts aside, this is about the music Playground Theory makes and this is more than nice enough to listen to and give some extra attention on this blog.

Speaking of dreamy, almost lucent music. The music on this album, if only physical, could be seen right through. The electronic synth sounds hover in front of my eyes. The voice is so fine it will break at my touch. At first, superficial listen, it may even appear there's not enough happening on Tears Go Upwards. To remain stuck there would be a serious mistake. Allow yourself to be taken away, "surrender" is the invitation in opening song 'Circle'. I took that invitation and dived in.

Despite the synths basis of Tears Go Upwards, there are real drums and bass to be found on the album, giving it an organic backdrop and warmth. This isn't the whole story. My perception of it is that the album is warm from itself. All sounds are made to suck the listener into the mysterious musical world Playground Theory creates for itself and its listeners. Although I haven't listened to the album for ages, it does remind me of the Celtic folk made by Enya in the late 80s. And, the synths of many heroes of around 1980, with the difference that the songs on Tears Go Upwards are not clinical proponents of the ice cold Cold War age.

No, the music on this album allows to dream away. In that way it is a sort of drug bringing the listener into a different mind frame. One where the world becomes a little better than it actually is. The reverb guitar is missing but Donna Blue is on the same line as this band.

Playground Theory is from Athens, Greece's capital and main city. I would never have guessed as this is international music. Singer Maria Israelidis is obviously not a native singer, but guesses stop there. Together with Dimitris Negkas and Vagelis Katsoulakis she forms the band that was given a hand by Diamantis Kazouris on guitar and Tolis Metzidakis on bass for this release. This is the band's third release after, forming in 2009, releasing “Speaking of Secrets” (2013) and “Connect the Dots” (2016).

Where Tears Go Upwards succeeds is in combining the electronical side of the band with the human. Israelidis may sing in an undercooled fashion, she is very much alive. Through the synth sounds that often form the basis of a song, little melodies are woven that make the songs sparkle. When the guitar joins, Kazouris plays nice motives adding to the song. The added melodies can also be just a few notes on a piano or another kind of electronic sound, they find their way straight into my ears, spreading joy.

If I have a complaint, it is that the album is too long for me to listen to in one go. For that diversity is lacking in the dreamy beauty that is on display abundantly. So, eight songs may be enough for one day, they are eight songs that I truly enjoy.

Wo.

You can listen to and buy Tears Go Upwards here:

https://playgroundtheory.bandcamp.com/album/tears-go-upwards


or listen to our Spotify Playlist to find out what we are writing about:

https://open.spotify.com/user/glazu53/playlist/6R9FgPd2btrMuMaIrYeCh6?si=KI6LzLaAS5K-wsez5oSO2g

Kairos 115, March 2020 on Concertzender

Easter 2020, instead of watching the, all adult, grandchildren reaping chocolate Easter eggs in the back garden of their last remaining grandparent, we are all stuck to our own homes/rooms, meeting on one of the platforms. Easter 2020 is one to never forget although many people would not have minded to go back to 31 December 2019 to reset the year 2020 and see if the world can fare better and forget this one fast and forever. So why not listen to Kairos and share some thoughts with you?, Wo. thought. It looks like that now well familiar intro is sounding in his ears right now.

Sole piano notes take over the, shorter than ever before intro. Although I know who is playing, as I wrote in my review of three albums recently, I find it impossible to really distinguish between them, let alone remember a melody. Ella van der Woude is playing a song from her new album again. 'Sol Mineur' is a song in a minor key, so a bit glum, serious. Mostly played in the darker register of the piano. In the third quarter the variation sets in, lifting the song up a little. Soon it plays out and is taken over by Pieter Nooten.

'Variation in F# Minor' is a piece for a minor orchestra. Again with a darker mood, although a part of the strings give it a lighter touch. Like the first rays of the sun colour the horizon, without showing itself yet. The hint of day, at the end of the darkest hour, just before dawn as the Mamas & the Papas once sang. I've been told that the Spanish call that hour Madrugada. Talking about good music, with a deep dark mood: Madrugada.

Thus I am following my mind's wanderings. It leads me to field recordings interspersed with one of the beautiful new songs by Dutch band Donna Blue. 'In Between' is one of the most melancholy songs on the same titled EP. A triumph in a minor key the song is. Donna Blue is able to keep a song extremely small, using atmospherics and reverb to the maximum and not do more to reach a maximum effect, affecting the listener endlessly.

Harrold Roeland's field recordings can be heard all through 'In Between'. It is almost as if an unknown song, to me, by Donna Blue continues over the birds but it is Edgar Wappenhalter. 'I Travelled among Unknown Men' is a poem by William Wordsworth set to music. I can't help myself. The lauded English poet's name brings to mind Tom Tom Club immediately and this line from the band's hit 'Wordy Rappinghood: "What are words worth?". This music has nothing to do with the slow, meandering song of Wappenhalter. There is no beat, just a repeated guitar chord, somewhat less reverb than in Donna Blue's previous song, but certainly not a lot less. Wappenhalter song is fuller, more present, but also more one dimensional. A few guitars stacked above each other playing different styles and approaches. The whole is a repetition of moves. The birds from the Alps return at the end, some close, to the microphone, others more in the background. There are many birds in the Alps.

The next "band" has come by on this blog before. Pictish Trail's new album 'Thumb World' received a favourable post and for a good reason. 'Slow Memories' is a dreamy song, fitting well with what went before on this Kairos. The basis is a soft guitar motif over which all sorts of sounds are woven behind the soft, high voice of Johnny Lynch, who is Pictish Trail.

'Slow Memories' moves into a piano part that reminds me of 'You're A Lady' by Peter Skellern. It turns out to be another Pieter, Nooten, who gets a second slot in this Kairos. Again a mystical piece with dreamy strings. Nooten touches upon a territory where pop meets classic. It is not hard to imagine a singer joining in at some point and/or a rock guitar, where the composition changes into what could have been a huge hit in the 70s and now a forever classic in the Top 2000. It doesn't, but that does not make 'Theme Minimaliste II' less beautiful.

A slow piano returns to Kairos, with some atmospherics behind it. 'They Could Have Saved The Universe' is the instrumental track from Klangstof's latest album, with the extremely beautiful cover. Over and during it all sorts of things happen.

A large section that is up next is a Depeche Mood song, 'Goodnight Lovers'. Why it is mentioned several times in the playlist, I do not know. It is a song that I wouldn't have associated with the electro rockers in a million years. It is a soft ballad, with some electronic sounds here and there interspersing with the soft harmonies. .No at work?

A piano takes over. It is a second song today by Ella van der Wouden. Less sweet than the song that opened Kairos. She plays less harmonious notes, though they still can belong together but are not the obvious choices. Like I wrote on Microplaza's new single a few days back.

Something electronic moves in. As if the municipality is cleaning the streets. On the other hand, it could be a neighbour in my street working with a sanding device or something. Who can tell with Kairos? Anything can happen, right? Sometimes my own environment because a logical part of the experience, where with any other music it usually is an intrusion. Kairos magic I call it.

Melancholy electronics move into and over the slow piano. It is not Depeche Mode, although it was hidden somewhere in Van der Wouden's music, this is Pieter Nooten once again. His album 'Stem' is filled with magical sounds and compositions. For some reason I have the image of Yorkshire moors in my head, with sheaths of fog moving in and out over the heather. Kate Bush is singing about Heathcliff and dancing in the fog between the heather that covers her ankles.

'Fieldz' becomes darker and darker, but it turns out the reason for this is that Ethernet (Tim Gray) is mixed into 'Fieldz'. Dark electronic sounds vibrate in my ears. Slowly meandering in volume. Higher notes played in the background with some cymbal playing in a corner. Real or synthetic, there's no telling. This is not the whole story as 'Dodecahedron' is mixed with sounds from a rain forest to. I can't call 'Dodecahedron' beautiful, yet the mysterious repetition does get to me in unsuspecting ways. The only thing is that I can't make out what it does. It isn't beauty, it isn't loathing, but it does involve some distancing from my daily musical attraction. Back to Corona days it seems.

Next, Eleni Era returns to Kairos with a song from her album 'Rise Love'. 'How' sounds more mysterious than I remember it. .No at work or a flawed memory? It doesn't matter as slowly but surely the beauty of Elena Era's music reaches me once again. Why do I not play this album more regularly? It's time for a physical copy, I think.

Luka is a singer from South Africa who lives and works in Rotterdam. Her debut singer 'Lost Today/Found Tomorrow' features in Kairos. The electronic song has that mystery woven into itself that makes it fit with the theme I've discerned from what I have heard in the past 50 minutes. A lot of the music brought me in a mood removed from reality. Music for fairytales and fantasy stories.

Slowly Luka's voice goes under in the electronic sounds of House of Cosy Cushions, one of .No's favourite Dutch artists. 'Halo' brings me to the beach. I'm under water. Serene and secure. Above me the sea is raging. Wave upon wave crashes on the water on top of me. While I'm below just looking up at the spectacle. Something that cannot be for a human but is in my mind right now.

Kairos ends with a more eastern oriented composition. 'Salve Me' by Thomas Barquee on the one hand sounds like the orchestra is warming up, all independent from each other. And in a way this is the case. Percussion sets in, bringing everyone together, kicking some instruments out even. "Omm" is sung, the musical meditation, that despite the different instruments seeming to tune up, had already announced itself. This music definitely sets a person in a specific mood. It is also almost tangible after all the mystery that went before in the previous 53 minutes. What a way to end this Kairos. Beautiful is the right word here.

Wo.

P.S. It even set me in a mood that while next listening to a new record to test it for a potential review, I thought it beautiful. This morning for the life of me I could not understand the attraction. Sorry, no review of Zsa Zsa. 

You can listen to this Kairos here:

https://www.concertzender.nl/programma/kairos_546763/


or listen to our Spotify Playlist to find out what we are writing about:

https://open.spotify.com/user/glazu53/playlist/6R9FgPd2btrMuMaIrYeCh6?si=KI6LzLaAS5K-wsez5oSO2g

This is this month's playlist:
00:00 – 03:23  Ella van der Woude. Sol Mineur. Album ‘Solo Piano’. Snowstar Records.
02:57 – 06:21  Pieter Nooten. Variation in F# Minor (fragment). Album ‘Stem’. Rocket Girl RGIRL115.
05:29 – 07:31  Harrold Roeland. Field Recording Set 4 – New South Wales (fragment). Album ‘The Long Way Round’. Self-released.
06:21 – 10:43  Donna Blue. In Between. Album ‘In Between’. Snowstar Records.
09:09 – 15:10  Harrold Roeland. Good Morning Southern Alps! (fragment). Album ‘The Long Way Round’. Self-released.
10:43 – 17:04  Edgar Wappenhalter. I travelled among unknown men (W. Wordsworth). Album ‘Morc #58’.
16:17 – 18:04  Harrold Roeland. Good Morning Southern Alps! (fragment). Album ‘The Long Way Round’. Self-released.
17:04 – 20:51  Pictish trail. Slow memories. Album ‘Thumb World’. Fire Records.
20:35 – 24:34  Pieter Nooten. Theme minimaliste II. Album ‘Stem’. Rocket Girl RGIRL115.
24:17 – 26:26  Klangstof. They Could Have Saved The Universe. Mind of a Genius.
24:37 – 24:45  Depeche Mode. Goodnight Lovers (fragment). Album ‘Exciter’. Mute RecordsLtd./Venusnote Ltd. 7243 8102432 4.
25:02 – 25:11  Depeche Mode. Goodnight Lovers (fragment). Album ‘Exciter’. Mute RecordsLtd./Venusnote Ltd. 7243 8102432 4.
26:01 – 26:10  Depeche Mode. Goodnight Lovers (fragment). Album ‘Exciter’. Mute RecordsLtd./Venusnote Ltd. 7243 8102432 4.
26:15 – 26:31  Depeche Mode. Goodnight Lovers (adapted fragment). Album ‘Exciter’. Mute RecordsLtd./Venusnote Ltd. 7243 8102432 4.
26:20 – 30:09  Depeche Mode. Goodnight Lovers. Album ‘Exciter’. Mute RecordsLtd./Venusnote Ltd. 7243 8102432 4.
29:49 – 32:22  Ella van der Woude. Fear of sleep. Album ‘Solo Piano’. Snowstar Records.
30:25 – 30:33  Depeche Mode. Goodnight Lovers (adapted fragment). Album ‘Exciter’. Mute RecordsLtd./Venusnote Ltd. 7243 8102432 4.
31:22 – 31:32  Depeche Mode. Goodnight Lovers (adapted fragment). Album ‘Exciter’. Mute RecordsLtd./Venusnote Ltd. 7243 8102432 4.
31:45 – 38:10  Pieter Nooten. Fieldz. Album ‘Stem’. Rocket Girl RGIRL115.
37:28 – 44:52  Ethernet (Tim Gray). Dodecahedron. Album ‘Opus 2’. Krank 173
40:51 – 41:40  Polyphony of deep rain forest (fragment). CD Ethnic series 4. Victor VDP-1100.
44:23 – 47:44  Eleni Era. How. Album ‘Rise Love’. Louvana Records.
44:57 – 45:35  Eleni Era. How (fragment). Album ‘Rise Love’. Louvana Records.
47:22 – 50:02  LUKA. Lost today, found tomorrow. Single. Snowstar Records.
49:30 – 53:56  House of Cosy Cushions. Halo. Album ‘Underground Bliss’. Outcast Cats.
53:02 – 59:57  Thomas Barquee. Salve Me. Album ‘Sacred Movement White Swan Yoga Masters Vol. 1’. White Swan.