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Used To It. Sharon van Etten
A second single by Sharon van Etten. Reading her family name I can't help but wander which Etten her family descends from, as in one of them I went to high school in. There are at least three Etten's in The Netherlands though.
There's no link I can make to connect this reminiscence to, so let's proceed to Used To It without further ado. The second single of her upcoming album, is like its predecessor 'Porta', rather dark but also has less of a pop element hidden away underneath the dark coating. Used To It is an electronic song. Synth swaths and electronic drumming. Sharon van Etten's voice hovers over the synths like mist over water, giving the song a mysterious quality. At the same time this misty scene can be extremely beautiful, especially when sun gets into play as well. The sun here is two suns actually. Her singing and the electronic piano playing slow notes that meander through the already meandering music. Slowly the song gains in weight, in presence, in loudness, without truly changing in nature. What results in a song that starts hesitatingly, as in the song and in my appreciation of it, and comes out on top. Sharon van Etten has produced a second song that gets to me. Her singing is totally undercooled, yet as warm as possible under these circumstances. If I remember correctly, at one time, some albums back, I wrote that I felt like she was not singing to me, nor for me and thus was not reaching me, but also that it seemed she was not singing for herself either. It got me a reprimand from a fan, responding to my review. Not so Used To It. This song comes across, loud and clear. If this is the standard, the new, yet to be announced album, must be something to look forward to.
After the seriousness of Sharon van Etten, this punkrock little wildness is quite welcome. Weird Nightmare is the solo project of Metz' Alex Edkins. His band is a bit too much for me in general, so that made me a little hesitant to listen to Searching For You. However, I tend to give almost everything at least one chance. Heck, I even get through Concertzender's Kairos once a month on average. The opening seconds of Searching For You are electronic percussion, putting me quite off immediately. The band kicks in and all sorrows are forgotten just as fast. Searching For you is pure fun to listen to. The band does not hold back, the melody is of the kind to sing along to, even if it's only to the ahh ahhs in the background. The guitars are a complete wall of sound with a couple of overdubs added as well. Bass and drums are all that is expected in a song like this. The singing is tough, the voice has a little edge to it but all so good to listen to. Edkins may say about the single it is "nice, no-nonsense rock and roll". many will want to learn how to write a convincing no-nonsense song like this. 'Weird Nightmare' is expected on 20 May.
Coach Party returns to this blog with its first single from its upcoming EP 'Nothing Is Real', slated for 29 April, with live shows in The Netherlands in mid April. First, I'm going to point you to the video, as it shows what you can do with the, lead-windows in an old church. Beautifully done.
Weird Me Out is a hard rocking single that shows Coach Party on the level of my introduction to the band in 2020, 'Can't Talk, Won't'. It has a strong central melody/riff that really drives the song forward the whole time. There's no pause, no time to think things over, no rest for the wicked and wicked this single is. "Why should I care"?, is the central question singer Jess Eastwood poses to the listeners. Weird Me Out is all that matters and accounts for all answers. If this punkrocking kind of music is to your liking, it is all you need for this moment. Coach Party is from the Isle of Wight and together with Wet Leg some exciting music is coming from there recently. Check 'Angelina' by Wet Leg and then Weird Me Out. Enough said. Let's rock and then some more.
The Black Keys go 'I Love Rock And Roll' with enough variation to get away with it. The groove is nice, the going is good, but let's face it, this song can't compare to the best singles of the band, all found on 'El Camino' of course. As an introductory single for the upcoming album it's nice enough though. After The Doors and Lou Reed, The Black Keys come up with its own Wild Child. It has all the characteristics of a The Black Keys songs. It has that The Black Keys groove that makes it stand out. Combined with the dreamy form of singing of Dan Auerbach. The lead guitar mixed underneath the main groove, gives the song a little extra. Adding it all up, Wild Child is nice, not outstanding.
Believe it or not but Beachdog has recorded a ballad. A heavy one after the quiet intro but a ballad nonetheless. Slowly working towards the release of its debut album, the new band around John Coffey singer David Achter de Molen, shows another side to itself. Just a dark voice and a single electric guitar is enough to start Good Morning and make it interesting. The melody works. It is that simple sometimes and enough to be drawn into a bare sounding song. It does get to an explosion as the whole band kicks in. Reigned in, true as the confines of the song are restraining Beachdog. Enter Robin Piso, keyboardist in DeWolff. He is allowed to escape the confines and go full out; and does. With his warm Hammond sound he colours Good Morning deep red and warm. Am I surprised by this song? Yes, I did not think Beachdog, not so much had it in them, as wanting to have something as subtle as Good Morning in them. A pleasant surprise the song is. 29 April is the album release date.
Billy combines not only musical styles but also music made at a time my parents were in their early to mid 20s. The likes of Frankie Laine sang cowboy movie soundtracks filled with mariachi trumpets and such. The Shang Hi-Los re-visited these days with a rock guitar and fiery drums. Dan Kopko plays country licks that are totally on fire. Singer Jen D'Angora has the voice for this kind of music as well. The combination does work. Billy, despite having a gun, has something sweet and innocent over it. The sweet trumpet nails that atmosphere. The threat of the gun, is badly understood by most that is happening in this song. The only one who truly seems to appreciate the situation is drummer Chuck Ferreira. His rolls on the floor tom are alarming. The rest is having fun with Billy. Unfortunately he ends up face down in the video. In cold snow too. But not before playing a great guitar solo. Well done, The Shang Hi-Los.
Usually I know how a single winds up in my list. With this one I have no clue. It may not even be new. Listening to Aversion my interest is drawn quite fast. It has that totally deranging quality The Velvet Underground had. The kind of song that barely stays on the rails. So not 'Sister Ray', where for me things stop where The VU is concerned. The Sundae Painters work in that way where spoken word, rhythm and disruptive guitar playing come together in a strong song. Bandcamp helps me. The music came to me through the Flying Nun newsletter it seems. The band is a collaboration of members from New Zealand bands The Bats, The Clean, Tall Dwarfs and Toy Love. On Thin Love the band plays somewhat more conventional but not as in playing a nice pop song. Thin Air is an alternative pop song, with a wavering voice singing and a few odd moments. The song sounds like it is was recorded almost at the moment it was thought up and not much extra was needed to make it succeed.
It turns out the songs are from 2020 but have been released as a 7" single recently. Having it would be real special, but imagine having it schlepped all over the world. Unaffordable most likely. I like, though.
For a second I thought to have put on Robert Palmer's 'Bad Case Of Loving You (Doctor Doctor)' but no, the song took a different turn quite soon. I Feel Nothing has the same sort of quality though. That kind of nice and dry kind of rocking song. What I notice most in the song, is the nice dirty guitar playing of lead guitarist John Brookhouse. He's allowed to be all over the place and is. Without being dominant or irritating, as some too present guitarists can be. He has all these nice little lines he plays to support the vocal melody. Behind him things are super tight, giving him the room to play like this. The rhythm tandem Jamie Griffith - Johnnie 'Rock' Lynch are rock solid, a monolith. Playful rhythm guitars are laid over that solid bottom, giving the song definitely some more. All Tom Baker has to do is deliver I Feel Nothing with the little rough edge he has on his voice, as if he is totally sure of himself. With a band like this behind him there's no room for doubts whatsoever.
Al enige tijd krijg ik platen toegestuurd van het label Fons Records uit België. Vaak van stevige, grungy rock bands. Nu, daar valt Niels Hendrix niet onder. Toen ik nog heel jong was, kwamen er plaatjes uit als 'Green Tambourine' of 'Lazy Sunday'. Wist ik veel dat dat best heel speciaal was, die psychedelica. Zo klonken leuke nummers toen. Nu, Niels Hendrix heeft aan dezelfde pijp gelurkt toen hij deze plaat schreef en opnam. Er gebeurt echt van alles, in de zin dat gitaren flink uit de band kunnen springen, het tempo wel eens kwijt raakt, de zang niet altijd geheel vast is. En net als bij de twee voorbeelden die ik gaf, is ook 54 jaar later een nummer als Lopen superleuk. Het komt misschien een beetje laat, maar wie kan dat iets schelen? Dit is echt een heel leuke plaat. Hij doet me een beetje denken aan Boudewijn de Groot op zijn meest psychedelisch, 'Als De Rook Om Je Hoofd Is Verdwenen' of 'Wie Kan Mij Nog Vertellen'. Hoogtepunten uit de Nederbiet. Bestaat Belgenbiet? Mocht dat niet het geval zijn, dan is dat bij deze uitgevonden. "Eerst moet je kruipen en dan moet je lopen", zingt Hendrix. Nou, missie meer dan geslaagd, want hier wordt er stevig de pas ingezet.
The final song this week is really going out of bounds. In the past few weeks Nashville Pussy was on the blog as band members of Miss Georgia Peach's solo singles. Here the band is on its own and rocking the tiles of the roof, as we say here. The sound is huge and totally dirty. ZZ Top may wish to come close to this sound. On Come On, Come On Nashville Pussy really, truly rocks. The intro is already so totally a winner that this song can't go wrong. The guitars are loud and proud, the singing deliciously rough. The band does not hold back for one second. This is rock and roll for the 21st century and hopefully for long beyond. Of course there's nothing new to be heard here but what is on offer, is done in a grand style, full out.
Wout de Natris
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