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Amazon. Rob Munk
Rob Munk, a new name to me, sounds as a 20 something at first, until I read about him playing in commercials with Bill Cosby. (I doubt there are any recent ones with him.) He's far from a 20 something but sounds like one with the enthusiasm to boot. Amazon is a song about climate change and wanting to make things better but as much about being a fading shooting star as well. Despite the sombre lyrics, the single has an upbeat 90s vibe. I'm reminded of one of the most obscure albums I own, 'Whirligig' by The Caulfields from 1993(?). It has that same jumpy rhythm, slightly alternative, some punk and some indie. Amazon may not be an earth-shattering experience, it wants to save it after all, but certainly is nice and that is enough.
And another song about climate change and yes, that is a coincidence. The Morning Line is a band from Boston and releases its first record on Red on Red Records, another independent label releasing many a fine single and album over the past few years. Stephen Smith has been active in bands since the 90s and shared stages with the biggest acts of the decade, including Nirvana. With The Morning Line he has moved way beyond grunge and alternative rock from Boston around 1992. Junebugs In April is of the bittersweet kind. The kind that instantly pleases and makes me want to hear more of the band. In between loud and soft, the music is mixed right, it allows some synths in to float in between the tougher instruments. Label manager Justine Couvault writes: "I’ve had single “Junebugs in April” on repeat play in my house for weeks. I love it more every time I hear it, which to me underscores the beauty of the song". I could not put it any better.
A while ago Karen Jonas covered a song by Counting Crows, in 2022 it's Bruce Springsteen's turn to get the Jonas treatment. I'm On Fire was The Boss' second, and last, number 1 hit in my country and I never liked it. Too synthesized but then I was biased, never having been a Springsteen fan. So, it becomes tricky, as I am a fan of Karen Jonas for over a decade now. I'm On Fire remains I'm On Fire of course but gets a treatment that only a woman can give the song. Karen Jonas puts a longing into the song turning it into something I can believe in. Guitarist Tim Bray plays as if he just had a lesson from James Burton. In short I'm On Fire is set on fire. I may even start to like it, in this version that is. A great voice, and Karen Jonas has one, makes a whole lot of difference.
A double-sided digital single? Mmm, how does this play out? I don't care, as The Jacklights returns to the blog with some nice punkrockin' songs. The guitar, drums and bass rage like Green Day in its hey-day in Underachiever, where Womanchild pushes in the pedal some more. Rocking at breakneck speed Womanchild is. Nilagia McCoy spits out her lyrics here over the heavily distorted double tracked guitar. The result is excitement, as this is exactly what The Jacklights offer on its new single. There are days that nothing else is called for.
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Pom returns as well. The band's new single holds a mix of alternative rock riffs with huge rock chords. It makes the new single a great mix of two worlds. The vocal melody tends more to the alternative rock with a hint towards the Belpop of the 1990s. All together Amsterdam band Pom created a great sound that is bursting out of its digital chains. Despite the great use of dynamics in Just (Good) Enough the thought of a huge rock song is what I wind up with when it's all over. The lyrics deal with having the idea to never be good enough or being able to live up to expectations, whether real or perceived. Singer Liza van As captures these feelings perfectly with her voice. Desperation, exasperation, it's all there up to the point of wanting to be somebody else. Pom is releasing singles and an EP for some time now. The band is ready for an album.
One more alternative rocker but more as if John Lydon from PiL has become active again as his 25 year old self. Nothingheads is a London based band. It formed in 2020 and is ready to release an EP in 2023. This is the first single on route to the release. 3000 Years In Showbusiness is as dirty as the outer edges of showbusiness are, far from the glitter and glammer crowd. Rob Fairey has that weird vocal sound Lydon/Rotten had in the 1970s. In such a convincing way that I would have bought it had Nothingheads been announced as his new band. The voice would be nothing had not the song itself been convincing and that 3000 Years In Showbusiness is. Dirty, muddy, sleazy but full of energy, great hooks and licks, with a forever forward propelling drums, driving the song on and on and on. There's not a second of contemplation here, it's all action right up to the exploding end.
Beck Black is a new name to me. Right in the first seconds of Gotta Get Back To My Baby Again my ears pricked themselves up. This is one voice Ms. Black is sharing with the world. It is tough, has an edge to it, giving the impression she's not one to approach without gloves on. At the same time this single is a rock ballad with strings and all. Gotta Get Back To My Baby Again is one of the singles of her EP 'Electric Cowgirl'. Beck Black is also the name of a Hollywood based band. In the video it's just the singer we see. The song itself is beautifully layered. Musically it has a few layers and is exquisitely arranged. The same goes for the vocal performance. We can hear Beck Black singing several vocal melodies over the same chords. In other words, work has been put into her single and it pays out. Gotta Get Back To My Baby is a great single.
X-Mas Business. Gary Kaluza & The Figgy Puddings
It's that time of the year again. X-mas Business is a song about Tinder, among other things. That must be a novelty. It's all about mrs. Claus looking for X-mas Business, if you get my drift. Gary Kaluza and band incorporate Jingle Bells' main riff into its Christmas song. All tongue in cheek of course. Gary Kaluza plays a nice punk rock song and sings with a nice rasp in his voice. Don't search for any depth here or strong messages. Just go with the rocking flow and let yourself be entertained, just like the song is intended to do. Nudge, nudge, wink, wink, know what I mean, know what I mean", with thanks to Eric Idle.
Sorry, folks, but we have some more musical onslaught for you. The Bellwether Syndicate debutes on this blog with a raging single called Dystopian Mirror. The band around William Faith and Sarah Rose Faith plays and sings like it is the 1980s. The voice sounds like the devil is on its tail. Here it sings not about the end of the world, but the fear in one's own mind. The individual angle makes the song a 21st century one of course. Musically the song also has elements from later metal music. In the credits it is not mentioned who plays the bass. This song is worthwhile checking out solely for the bass part. A "walking" bass plays itself out in the solo to wind up in a dual with the lead guitar. A great plus to Dystopian Mirror. The song as a whole convinces more than enough though. This is rock and roll incarnated. Standing still is not an option.
Somewhere before the whole pandemic when Amber Arcades played Amsterdam's Tolhuistuin, singer-guitarist Annelotte de Graaf told me that her next album could well be a dance album, as she had many dance tracks ready. With the pandemic sort of over in its third winter, the first new track of her upcoming album has been released. I will not go as far and call Just Like Me a dance track. At the start of the song, that was my impression though. Elements of dance, the pulsing synths, the rhythm all point in a direction that the big beats of Armin van Buren or David Guetta's fog horn could be just around the corner. The song's rhythm takes a dive though towards serious introspection, twice, before the finale brings two worlds together. The alternative, dreamy pop rock of Amber Arcade in the 2010s and the dancelike rhythms blend into a beautiful song, where De Graaf harmonises with herself as if she takes on The Supremes all by herself. Despite starting out somewhat hesitatingly, Just Like Me turns out to be not only an intriguing song but also a very nice one that was extremely well made. I have only one complaint. The album, 'Barefoot On A Diamond Road' is not released until 25 February.
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