This Could Be Texas. English Teacher

English Teacher played support for Dublin's SPRINTS in the winter and made quite an impression with its live show, without having an album out. The set was as diverse as This Could Be Texas proves to be. English Teacher may be lumped into the post punk class of the last six, seven years, it is not that easy to classify as many of its contemporaries.

The members of English Teacher met at university in Leeds and started the band in 2020. My guess is that not a lot studying is being done lately. Through a string of singles and an EP that band drew enough attention to itself to be able to tour and land a record contract. The result of all this work in the past few years is now in front of me.

What strikes me overhearing the whole, is the diversity of songs. Pure post punk, sure but also songs that seem more like poetry set to music. Take 'Broken Biscuits'. Singer Lily Fontaine declaims her lyrics while the band plays more improvising that with a true structure. The song is allowed to go in any desired direction, moving towards a hint of free jazz or something like it. Without losing focus and that reveals the class this band already has. The title song is another example of how differently this band approaches its songs.

Musically, you will find hints at Wet Leg and Porridge Radio. Sometimes an echo on Fontaine's voice reveals a clear influence in the sound. This makes English Teacher a more modern band than a lot of its contemporaries. The influences are modern ones and not 1980s band like with so many others. This is their own teenage record collection, not their (grand)parents'.

Another influence is Wolf Alice. Like that band English Teacher is not afraid to tone down. 'Mastermind Specialism' is an alternative ballad of the kind that seems to work towards an explosion, like Porridge Radio is extremely good at. But does it? It also shows the delicate use of the piano that can be heard in other songs as well. Softly drifting piano parts that deliver a specific sound to that diversity I already pointed to. (I also remember the drummer moving to the piano during the live show with a stand-in drummer taking his seat.)

These moods make it hard for me to state that English Teacher is a post punk band. It's just one side to the band. Without comparing the band to The Beatles, it is not that good, I can point to the fact that this band dares to experiment and very likely wound up a few times with a totally different outcome than it started with. Just listen to 'This Could Be Texas', the song. A lot happens here and more than you would think possible for a debut album. In that sense an early Bowie album like 'Hunky Dory' is certainly a reference where the anything goes attitude is concerned. Musically the two are far and wide apart. What ties the two albums is that this band proves that a lot is possible as long as you try.

English Teacher is Lily Fontaine (vocals, rhythm guitar, synth), Douglas Frost (drums, piano), Nicholas Eden (bass) and Lewis Whiting (lead guitar, synth). Together they have undoubtedly started a musical adventure. With This Could Be Texas English Teacher has set itself firmly on the roster of modern bands. Like SPRINTS, like Tramhaus, English Teacher is something different. Very talented and all underway to making it bigger and then really big.

Wout de Natris

You can listen to and order This Could Be Texas here:

https://englishteacher.bandcamp.com/album/this-could-be-texas

Festina Lente. Dog Park

"The jingle-jangle morning comes following you". Most lovers of 1960s pop and folk music will recognise this famous line. I'm reminded of it because of the way guitars are played on Dog Park's debut album. It is all over Festina Lente.

Dog Park is an indie pop/rock band from Paris, that made its debut on this blog several weeks ago with the singe 'Time', a song that made me curious to hear the album. That album is now here and does not disappoint. In fact, most of it is pretty good. For a few reasons, the songs, the variety, the sound. An album can do a lot worse.

Dog Park is Erica Ashleson, Isabella Cantani, Sarah Pitet and Jean Duffour, from the US, Brazil and France. They all play multiple instruments and sing. So don't ask me who does what, where. I don't know. It explains the variety I heard before realising the band's set up. They all met at a live show in 2021 and decided to start making music together. As good a place as any.

Musically the band's bio mentions Veronica Falls, Real Estate and Beach Fossils. I have reviewed albums of all three bands on this blog, so writing on Dog Park should not come as a surprise. The influences I hear go back all the way back to the 1960s but the 90s, 00s and 10s indie music is the most obvious.

Dog Park always plays a softer form of indie rock/pop with very dreamy vocals. Always soft and relaxed, looking at the world from a distance. My guess is that Erica Ahleson is singing then, based on the accentless English. Like in 'lalala', one of my favourite songs on Festina Lente. On top of it all a The Cure like guitar line comes in adding that final, fine coating to it, making the song perfect.

This is just one example. I could mention 'Mirror' as another example. With its fine slow bass, Robert Smith guitar and a smooth carpet from the keyboard, the song will allow for a swaying form of dancing at a live show.

With Festina Lente Dog Park has released a fine album. Not one I associate with Paris nor France. (Ok, 'Stimulation' may have a chanson side to it.) Good music can come from anywhere. The challenge is to make it reach my ears. Dog Park succeeded and I'm glad for it to have done so.

Wout de Natris

You can listen to and order Festina Lente here:

https://geographie.bandcamp.com/album/festina-lente

Feathers. Alówan

Alówan debuted on these pages with the single 'Let It Flow'. A beautiful ballad with a passive aggressive power contained within it, captured in the voice of Chantal Acda and the music of Alówan and Jean Yves Tola. Now Alowan's debut album is out and 'Let It Flow' indeed was a fantastic introduction to this beautiful album.

Jean Yves Tola over 20 years ago played in 16 Horsepower, Dave Eugene Edwards' band at the time. Tola plays on that fantastic dvd that I still play regularly, contributing to the broodingly dark atmosphere Edwards pours out over the listeners.

19 Years after the band disbanded Tola now returns with an album that leans on the sound of his former band, without copying it, while proving himself to be an excellent songwriter in his own right. What comes out on Feathers, is exactly what he brought to his former band. The dressing of the cake as it were. What comes out on Feathers is brooding music without the fear of the devil running behind your tail end, about to catch it. This still makes for intense listening, but also includes rays of light coming from Chantal Acda's voice and the electric piano notes or softly strummed acoustic strings. While the violin brings that darkness, that moodiness drawing me even more into Alówan's world.

There's more. Regularly Acda's pleasant voice is matched by the tough voice Calvin Dover of Dover Brothers. The contrast is enormous but more importantly matches. Bridging the light and the dark on Feathers. The balance between the two is excellent. Jean Yves Tola has created a delicate musical world where the two sides come together. The choice to invite Chantal Acda to sing on his songs is an excellent one. It creates a warmth the album deserves. Just listen to 'Horsewind' and you will understand why.

Musically, Feathers could be put in the folk department. Do however not expect flutes, and bells and upbeat U.K. folk tunes. Alówan is far too experimental for that. The most folky song, 'Kevnidenn' is driven off the rails when darkness sets in. From that moment I'm reminded more of Nick Cave not in the least because of Dover's voice and the exploding lead guitar. Acda's sweet voice is ostracized by the dark side of the album. She faintly tries a new role in the background without truly succeeding.

I'll admit, I had all but forgotten about Jean Yves Tola. Thanks to Feathers he is firmly back in my attention span. Feathers is a good album and surprising in a few ways. Alówan presents a lot to listen to and explore. It is an album to bond with.

Wout de Natris

You can listen to and order Feathers here:

https://glitterhouserecords.bandcamp.com/album/feathers

Desert Pavement. ISMAY

Het is al weer dringen binnen de Amerikaanse rootsmuziek, maar het zou echt doodzonde zijn als het bijzonder klinkende en in alle opzichten uitstekende Desert Pavement van ISMAY zou blijven liggen.

Binnen de Amerikaanse rootsmuziek wordt niet al te veel geëxperimenteerd, waardoor subtiele uitstapjes buiten de paden al een duidelijk ander album opleveren. Desert Pavement van ISMAY, het alter ego van de Californische muzikant Avery Hellman, is zo’n album. Het tweede album van ISMAY klinkt in vocaal en muzikaal opzicht net wat anders dan gebruikelijk in het genre en ook de songs van Avery Hellman wijken net wat af van de norm. Het pakt allemaal prachtig uit, want Desert Pavement is een geweldig album, dat deels vertrouwd en deels eigenzinnig klinkt, maar dat steeds weer het oor streelt met een mooie en bijzondere stem, fraaie warme klanken en sterke songs.

Het muziektijdschrift No Depression vind ik de laatste jaren een stuk minder interessant dan in de hoogtijdagen in de tweede helft van de jaren 90, waarin met name ontwikkelingen binnen de destijds nieuwe alt-country op de voet werden gevolgd. De website van het tijdschrift is echter met enige regelmaat nog wel een bron van interessante tips, zeker wanneer de wat obscuurdere nieuwe releases binnen de Amerikaanse rootsmuziek onder de aandacht worden gebracht. Recentelijk kwam No Depression met een geweldige tip, want ik ben echt compleet verslingerd geraakt aan Desert Pavement van ISMAY.

ISMAY is een project van singer-songwriter Avery Hellman, die zichzelf ziet als een non-binair persoon. Desert Pavement is het tweede album van ISMAY, want in 2020 verscheen, vlak voor de start van de coronapandemie, Songs Of Sonoma Mountain, al kan dat vanwege de speelduur van 25 minuten ook worden gezien als een mini-album. Het is een (mini-)album dat ik destijds niet tegen ben gekomen en dat is jammer, want de muziek van ISMAY was ook in 2020 al bijzonder.

Het is muziek die zich laat beïnvloeden door de wat traditionelere Amerikaanse rootsmuziek, maar die vervolgens wordt voorzien van een eigentijdse en ook eigenzinnige twist. Dat doet ISMAY op Desert Pavement nog een stuk indrukwekkender dan op Songs Of Sonoma Mountain. Die eigentijdse en eigenzinnige twist in de songs van ISMAY is overigens best lastig te beschrijven, want de Amerikaanse muzikant overdrijft de uitstapjes niet.

Het eigenzinnige zit deels in de stem van Avery Hellman, die anders klinkt dan de gemiddelde singer-songwriter in het genre. Het is een stem met net wat meer expressie en emotie dan gebruikelijk, waardoor de zang op Desert Pavement onmiddellijk de aandacht trekt. Ik vind het echt bijzonder mooie zang, want de stem van Avery Hellman heeft iets verslavends en tilt de songs op het album een flink stuk op.

Ook in muzikaal opzicht is niet altijd duidelijk waar ISMAY zich buiten de grenzen van de wat traditionelere Amerikaanse rootsmuziek begeeft. De percussie is meestal wat zwaarder aangezet dan gebruikelijk en hier en daar klinken ook de gitaren wat ruwer, maar Desert Pavement blijft altijd een warm klinkend rootsalbum. Daar drijft het album nog het verst van weg wanneer bijzondere soundscapes worden ingezet en de stem van Avery Hellman wel wat doet denken aan Suzanne Vega, maar ook dan is de rootsmuziek nooit ver weg.

Wat overblijft zijn de songs en die zijn net als de zang en de instrumentatie op subtiele wijze eigenzinnig, waardoor Desert Pavement de fantasie sterker prikkelt dan gebruikelijk in het genre. Het tweede album van ISMAY klinkt door de verschillende subtiele zijpaden net wat anders dan de meeste andere albums in het genre en zal hierdoor ook liefhebbers van wat minder traditionele Amerikaanse rootsmuziek aanspreken.

ISMAY verruilde de geboortegrond in Californië voor het opnemen van Desert Pavement voor de studio van producer Andrew Marlin van de band Watchhouse (voorheen Mandolin Orange) in Asheville, North Carolina, die ook flink wat instrumenten voor zijn rekening nam en het album binnen een paar dagen op de band zette. Dit deed hij zonder in te leveren op kwaliteit, want Desert Pavement klinkt echt geweldig.

ISMAY heeft met Desert Pavement een album gemaakt dat er in alle opzichten in positieve zin uit springt en dat bij herhaalde beluistering zeker niet aan kracht inboet. Integendeel zelfs. Alle reden dus om No Depression als interessante en relevante tipgever te blijven volgen. Ik ga mijn abonnement toch nog maar een jaartje verlengen.

Erwin Zijleman

Je kunt Desert Pavement hier luisteren en bestellen:

https://ismay.bandcamp.com/album/desert-pavement

Johan live. Paard, Den Haag. Donderdag 18 april 2024

Foto: Hared

Zoals door Wout op 29 januari jl. op dit blog besproken, heeft Johan een nieuwe plaat uit, The Great Vacation. Je moet er wat moeite voor doen. Dus meerdere keren luisteren, in mijn geval ook een paar maal in de auto, dan hoor ik het pas echt lekker. Maar die inzet wordt beloond, het is een echt fijne Johan CD, met wat vernieuwing hier en daar, maar wel duidelijk Johan.

Nieuwe plaat, nieuwe tour. Dus de vijf heren die momenteel deel uit maken van de band -zanger Jacob de Greeuw is de enige constante sinds het begin in 1990, eerst als Visions of Johanna en vanaf 1996 als Johan- trekken sinds begin maart door het clubcircuit. Hoewel slechts met 1 optreden per week, is het wel een bijna volledig uitverkochte tour. Petje af dus. En goed nieuws, want de tour gaat verder in november, met speciaal voor Wout het laatste optreden in het Patronaat. Deze zomer staan ze ook op enkele festivals (zie www.johantheband.com).

Foto: Hared

Aan belangstelling voor Johan dus geen gebrek en ook de grote zaal van het Paard was uitverkocht. Veel generatiegenoten, vijftigers en zestigers derhalve. Het leek wel of Johan zich aanpaste aan dit publiek, want na de verrassende opening met hun oudste single Swing (een van mijn meest favoriete Johan-nummers) werd een mix van oud en nieuw werk gespeeld. Opvallend vaak maakte De Greeuw gebruik van een stemvervormer, die ik niet in die mate op de CD had gehoord. Had voor mij ook niet gehoeven, maar goed. De nieuwe nummers passen naadloos in het oude werk, zeker So it Goes, Time for Change en I Don’t Know Man. Fijn om ijzersterke songs als Pergola, In the Park, How Does it Feel, of Coming in From the Cold weer live te horen. Nieuw nummer Cincinnati en titelsong The Great Vacation zijn ook lekker. Maar toch, het kabbelde, het was zeker mooi gebracht, er was eigenlijk niks op aan te merken, maar er ontstond ook geen uitgelaten sfeer. Het was een beetje mat, of zoals mijn vriendin zei: ‘De Greeuw staat er bij alsof hij zo snel naar huis moet om zijn powerpoint voor morgen tijdens de accountantsoverleg af te maken’.

 
Daar kwam eigenlijk pas op het laatst verandering in, te beginnen bij Oceans, Day is Done en een mooie uitgerekte uitvoering van Why Don’t We. In de toegift ging het pas echt los. Fly on the Wall is wat mij betreft het beste nummer van de nieuwe plaat en dat klink echt heel lekker live. De afsluiters Tumble and Fall en Everybody Knows zorgden ervoor dat iedereen met een blij en tevreden gevoel de Haagse avond inging. Al met al, ondanks het rustige en overbeschaafde eerste deel, toch een aanrader. Johan blijft top.

HareD

2024. Week 17, 10 singles

A week when spring is turning colder than the average winter's day this year. Hail, wind, rain and thunder, alternating with a clear blue sky. That old Crowded House hit is totally in tune with this week. Musically, you will find me all over the place once again. There's even an almost 20 minutes long "single" in here and two EPs. More than double the regular joy, so enjoy.

Kabatomushi EP. Mei Semones

Mei Semones, the 23 year old singer-songwriter from Brooklyn of Japanese decent, can be spotted on this blog with three singles from her five song EP that was recently released. The three songs, 'Wakare No Kotoba', 'Inaki' and 'Tekami', all held this promise of exotic adventures. Mei Semones blends genres as if the borders between them do not exist. The closest in my discotheque is Steely Dan. Mei Semones goes a few up in genres and may not match this level of quality (yet) but certainly in adventure. The songs on Kabatomushi (Rhinoceros Beetle) all mix jazz with pop and rock or bossa nova. In fact anything can happen in Mei Semones' musical universe. She sings in Japanese and English, making it partly impossible to understand, while she sings over a song that would have surprised Astrud Gilberto but would have suited her perfectly. 'Takaromono' moves from jazz to bossa nova to rock and somewhere in between. Mei Semones has no limits it seems to where her imagination takes her. It may be awkward music for purists but as soon as they free their minds from the inhibitions stopping them to appreciate something new, they will find that Mei Semones delivers the goods. Kabatomushi is the EP of a very talented your artist who is not afraid of experimenting within her artform. As that is what the music on Kabatomushi is, an artform.

Intangible. Personal Trainer

Will Willem Smit ever stop to amaze me? With Intangible Personal Trainer moves into a funky kind of disco track. It is the more surprising after the huge intro that promises the listener everything but the empty beat coming after it. It takes some time to get into the groove of Intangible because of that huge intro that promises a huge over the top party. Instead the listener gets his own private party. No huge rave. Over a year ago Personal Trainer showed the promise the band holds in a sold out Paradiso that was ready for a Personal Trainer party. The next record will be very decisive for the growth potential of the band. It holds that promise in Intangible. Whether it's shown more in the huge part or the empty funk, is to be determined.

Bird. Megan de Kruijf

The contrast between the harrowing video and the song is huge. Megan de Kruijff appears to be chased through the woods, looks like a soldier without battle dress and is ready for conscription should it ever return. The song is a softly driven alternative pop-rock song. The drums and bass have this relaxed beat, slowly but very determinedly pushing the song forward. In short interludes everyone gets a breather before they continue and the song is set back into motion. Electronic elements make the song sound modern. Be on the look out for very short contributions of other instruments. It can be just a few notes before the instrument disappears again. Over it all Megan de Kruijf sings her song about a bird, building its nest, while she is contemplating what the rest of her life will be about from her dark and cold home. Listening to Bird, the positive energy the bird gave her, leads to very positive results. Bird holds a promise for the future in a few ways.

Human. Lenny Kravitz

It's been a while since I last heard a new song by Lenny Kravitz and what I heard after circa 2006 did not exactly make me run to the record store. Let's face it, he will never make another 'Are You Gonna Go My Way', which will probably remain my all time Lenny Kravitz favourite. I heard Human come by on the radio and thought it was not too bad. Listening repeatedly for this review, I'm not completely certain any more. It is ok but also remains a bit bland. Even the solo is, although nicely played, not exactly inspiring. Human has a soul element but also a part of this percussive bells that get on my nerves a bit once I seriously noticed them. All in all, Human does not make me curious for more new songs, but it won't be the first nor the last time an artist I've known for decades does return with a great song. That song is not Human unfortunately.

Clear. DAIISTAR

Texans Daiistar return to the blog with a super dreamy song called Clear, released as a 7" with a remix of 'Sonic Boom' on the flipside. Clear is clearly a psychedelic song. One of the kind that is a smooth continuous trip of the kind where this person is just sitting and smiling at the world marvelling at everything going on about him, without a worry in the world. In Clear it is all about watching the ocean and not much more. Listening closer into the song, you will find that Daiistar has found all these nice little melodies surrounding the drummer who just keeps going. The steady basis for the smooth sailing trip and keeping it all together. Daiistar's Alex Capistran (guitar/vocals) says that "the idea behind 'Clear' was to write the perfect song for a perfect day". I can only answer, mission succeeded. No matter how wavy the song is, perfect pop is perfect pop.

All Business EP. Robotic Hawks

Put on All Business and within seconds you know you've heard it all before and from Boston as well. In the next five seconds you'll start moving and after fifteen you'll know you are going to be alright. Robotic Hawks know where Abraham found his alternative rock mustard and dipped its writing pen deep into that mustard well. You will hear everything from Buffalo Tom to Gin Blossoms and back and on the side you'll find a short detour to stark punk rocking. 'Further', is the song in which the Bostonians really let go and start rocking with lead-filled riffs. The most surprising is the cover of 'Wishing Well', one of the four or five hits of Terence Trent d'Arby's debut album. The song is turned into a huge rock song without any trouble. The huge guitars fit it easily. The lead song from the EP is the opening song 'High Maintenance'. The band rocks in a melodic way but to me appears as the least itself. (I know, it's hard to judge based on four songs.) This is something different than not having produced a good song. 'High Maintenance' rocks, period. Add the fourth song 'Cab Ride', a cover of a The Squaeky Fromme song, and All Business becomes a highly entertaining alternative rock EP with more than enough songs worthwhile to get to know and to sing along to.

Drifting. Schedule 1

Schedule 1 makes its debut on WoNoBlog. The Vancouver, Canada band is ready to release its album 'Crucible'. Expect the clock to strike rock. Schedule 1 finds its inspiration in punk and post punk from the 1980s. The song kicks off in a stormy manner. An instrumental intro with the band fully going at it. When the singer joins the music does not leave off in any way. The punky vocals come straight out of the U.K. 1976-77 punk song book. The music is more from the 1980s what bands like Killing Joke played. In 2024 the combination of loud instruments, a few good riffs and a strong melody remains unbeatable still. Drifting contains it all. All through the song a new melody pops up underwriting the strength already there. Schedule 1 has released a very strong single that makes me more that curious to learn more. 'Crucible' it soon will be.

Hidden Sun. Dreamwave

Previous single 'Mindcave' was described by me as "a fierce uptempo psychedelic outing". Hidden Sun is all but. The psychedelic track sounds like French duo Air having started a psych rock band. The music floats more that it rocks, finding the perfect middle between the two acts. So expect a nice guitar riff leading the song towards the softly sung verse and chorus, under which the riff returns. Because of it I'm inclined to write that Dreamwave makes dreampop in this song. Well, my definition of it, as all the bands my colleague reviewer on this blog calls dreampop, do not exactly excite me. To me this Hidden Sun is dreampop. The Brighton, U.K. band has shown two different sides of itself but both make me curious to get to know more. We will just have to wait for that EP coming soon.

Joan In The Garden. The Decemberists

What, a single of 19.21 minutes? I already have reviewed a song of 18.22 minutes this week, 'Flight Of The Sloths' by No Man's Valley. Now, The Decemberists had an album years ago that was sort of one song. (I was sure I had it on cd but can't find it anywhere.) With 19 and a half minute the band nearly has a new cd already. The beginning sounds immediately familiar. Exactly why I like this band so much over the years. Nothing happens in a way, yet every second somehow counts. The melody is pleasant Colin Meloy's voice sooths in a roughish kind of way. The accompaniment is all soft, nice and so melodic. In the arrangement all sorts of melodies meander over and through each other. Meloy stops singing and the listener enters a mix of Pink Floyd with Mike Oldfield's 'Tubular Bells'. The melody on the tubular bells in Joan In The Garden is lifted from 'Welcome To The Machine'. The song rises in volume and denseness and becomes darker fast. Only God knows where this is going. Well, I know, The Decemberists are honouring Pink Floyd, Roger Waters and David Gilmour here. This is simply a huge surprise, as I have never any association of these two bands with eachother. From there it becomes The Decemberists' 'Echoes', sound experiments and all. Like with 'Echoes' something like too much of a good thing exists here as well. The instrumental freaking with electronic instruments is just not that interesting, I'm afraid. Before the sixteenth minute the band returns and turns into a heavy metal version of itself. Quite convincing by the way. Compensation for the previous 10 minutes is justified. The drumming is the loudest this band has ever presented. The end of Joan In The Garden is the equivalent of racing a horse on the prairie. There's nothing stopping it. Summing up, this is a composition with four very different faces.

I'm Not Hidden. Two Headed Horse

Two Headed Horse is a new folk pop band from London formed only in 2023 and already it has worked with Ride's Mark Gardener. The debut album's release is scheduled for this summer. I'm Not Hidden is the band's first single and shows that the band is a part of a long tradition and on route to its own sound. The song reminded me first of what would have happened had Steve Winwood decided to make his hit song 'When You See A Chance' as an acoustic folk song. There's a connection here to my ears. And of course the hey ho influences, translated here into ooh ooh ooh. The intro is somewhat disconnected from what follows. It sets the listener on the wrong foot. Two Headed Horse starts to trod a fine line between alternative and folk. But then listen to that piano coming in. As if heaven opens up and the clouds are gone immediately. Yes, I can mention a few names here, but I want you to focus on the strength of the song and not get distracted. I'm Not Hidden shows a few sides to Two Headed Horse that all score well. What more can you ask of a debut single?

Wout de Natris

Blue Raspberry. Kate Kirby

Katy Kirby debuteerde drie jaar geleden veelbelovend, maar maakt diepe indruk met het prachtig klinkende Blue Raspberry, dat betovert met bijzonder klanken, prachtige zang en even mooie als eigenzinnige songs.

Het valt direct bij eerste beluistering van Blue Raspberry op hoe mooi en bijzonder de songs van Katy Kirby klinken, maar vervolgens blijft ze je betoveren met bijzondere arrangementen en klanken, met een hoofdrol voor het fraai gitaarwerk en stemmige strijkers. Blue Raspberry is niet alleen in muzikaal opzicht een bijzonder album, want Katy Kirby zingt op haar tweede album echt prachtig. Het album klinkt af en toe als een singer-songwriter album uit een ver verleden, tot toch weer eigentijdse accenten opduiken. Het klinkt allemaal fantastisch, maar de muzikante uit Brooklyn schrijft ook nog eens fantasierijke songs, die steeds doen wat je niet verwacht, maar genadeloos verleiden.

Cool Dry Place, het debuutalbum van Katy Kirby, verscheen in februari 2021 in een week met zo idioot veel nieuwe albums, dat ik uiteindelijk bleef zitten met een enorme stapel hele interessante afvallers, waaronder dit album. Ik heb de schade in 2021 helaas nooit meer in kunnen halen, maar toen ik vorige week naar het album luisterde was ik absoluut onder de indruk van het debuutalbum van de muzikante die via Spicewood, Texas, en Nashville, Tennessee, in Brooklyn, New York is terecht gekomen.

Katy Kirby maakte op haar debuutalbum makkelijk indruk met een mooie stem en smaakvol ingekleurde songs, maar het bleken ook songs vol verrassende wendingen en bijzondere accenten. Reden om het debuutalbum van Katy Kirby nog eens te beluisteren is de release van haar tweede album, dat recentelijk is verschenen. Cool Dry Place was drie jaar geleden misschien nog een twijfelgeval, maar Blue Raspberry is dat echt geen moment.

Katy Kirby liet op haar debuutalbum al een geluid horen dat afweek van het min of meer standaard singer-songwriter geluid en doet dat nog veel nadrukkelijker op haar tweede album. Je hoort het direct in de openingstrack Redemption Arc, die in alle opzichten intrigeert. Het is een track die is voorzien van zeer smaakvolle klanken en bijzondere arrangementen. Het begint allemaal redelijk sober met pianoklanken, maar langzaam maar zeker kleurt Katy Kirby de track voller in met strijkers, waarna gitaren zorgen voor een rauwe twist.

De mooie klanken en avontuurlijke arrangementen keren terug in alle songs op het album, dat steeds weer de aandacht trekt met de fraaie inkleuring en de bijzondere sfeer. Het is een sfeer die wel wat doet denken aan Heigh Ho van Blake Mills, die dit album zomaar geproduceerd zou kunnen hebben (maar dat niet deed). Het is een wat broeierige sfeer, die goed past bij de songs van Katy Kirby.

Katy Kirby verwerkt in haar songs uiteenlopende invloeden en kan zowel uit de voeten met Amerikaanse rootsmuziek als met singer-songwriter pop en heel af en toe de pop en rock uit de indie hoek. De warme klanken met hier en daar een ruw uitstapje of juist bijna verstilde klanken passen uitstekend bij de mooie stem van Katy Kirby, die vergeleken met haar debuutalbum nog veel beter is gaan zingen en zich ook met haar zang weet te onderscheiden van haar soortgenoten. Het is een stem met hier en daar een vleugje Karen Carpenter, maar ook een eigen sound.

Dat onderscheiden doet de muzikante uit Brooklyn zeker ook met haar songs en haar teksten. Blue Raspberry is een ode aan de liefde, die Katy Kirby heeft ontdekt toen ze zich bewust werd van haar seksualiteit en deze ook accepteerde, maar het is ook een album dat terugkijkt op haar streng religieuze opvoeding in Texas. Het geeft een extra dimensie aan haar songs, die ook al makkelijk de aandacht trekken door de niet alledaagse songstructuren, die van Blue Raspberry een bijzonder album maken.

Het is een album dat makkelijk indruk maakt met de mooie en zeer eigenzinnige instrumentatie en de prachtige zang, maar het is ook een album dat je wat vaker moet horen voor de songs goed landen en ook blijven hangen. Ondertussen valt er heel veel te ontdekken in de persoonlijke songs van Katy Kirby, die soms klinkt als een singer-songwriter uit een ver verleden, maar minstens net zo vaak als een singer-songwriter van deze tijd. Eenmaal geraakt door de mooie en persoonlijke songs van Katy Kirby, begint Blue Raspberry flink te groeien en inmiddels is het album me al heel dierbaar. Prachtig.

Erwin Zijleman

Je kunt Blue Raspberry hier luisteren en bestellen:

https://katykirbyon.bandcamp.com/album/blue-raspberry

Chrononaut Cocktailbar / Flight Of The Sloths. No Man's Valley

Quite a long title and one that made me think, what? The music repeatedly makes me think 'what' as well. In a very positive way, as I could not believe my ears because of the changing directions the music continuously takes. No Man's Valley is not in the music business it seems to play a variation on the same idea twice.

No Man's Valley is a new band on this blog, so let me introduce the band to you first. It is a Dutch band from Horst in Limburg about to release its third album, the first after the pandemic. Band members Dinand Claessens (drums), Rob Perree (bass), Christian Keijsers (guitar), Ruud van den Munckhof (keys), Jasper Hesselink (vocals) are together circa ten years and ready to take on the world judging Chrononaut Cocktailbar / Flight Of The Sloths.

Where to start? Certainly in the 1960s, from 1966 onwards. More specifically the psychedelia that started to seep into the folk and pop music made by, nearly all popular bands of the time. No Man's Valley picks elements that it likes and drops them into (slightly) more modern music, like symphonic rock and indie rock, even postpunk. Second song 'Love' attests to the mix of a Farfisa organ sound and a postpunk rhythm and guitar parts. It results in party time and loads of energy to live that party to the fullest.

Just as easily the band moves into a brooding slow song that faintly reminds me of songs like 'The End' and When The Music's Over' by The Doors. 'Creepoid Blues' is an apt title. The band sort of creeps up on me with this song, without convincing completely unfortunately. 'Seeing Things' fairs far better, as it creeps up in a far more relaxing way, surprising the more. 'Seeing Things' isn't a relaxed song at all. It just appears to be. In the meantime these two songs are far removed from the two opening ones. Everything has changed totally.

The next song is 'Shapeshifter'. This bluesy rock song changes the mood once again. The tempo is up to a moderate rock tempo. The mood is again dark but the sound is far dirtier. A warm organ, distorted guitars and vocals. It is like a giant slug coming your way to cover you in its slime, unable to escape from it. It's alright though as 'Shapeshifter' is the kind of song I wouldn't mind having to live in.

If I had to compare No Man's Valley to another Dutch band, it would be The Bullfight. Another band that is able to play with moods and darkness, while remaining attractive enough to listen to.

'Orange Juice' is another example that No Man's Valley is not afraid to strip a song to a near bare minimum for a five piece band. All play a minimum of notes, over and over. Until a Robbie Krieger inspired bluesy guitar solo comes in showering some confetti over us all.

The album ends with the second half of the albums title, 'Flight Of The Sloths'. This time an acoustic guitar opens the song, slow, in everything but a hurry. 'Flight Of The Sloths' is the most relaxed song on the album. Instead of creepy, it is dreamlike. Not necessarily a totally happy dream but certain one that brings calm. I love how the bass guitar changes the mood several minutes into the song. Be prepared though, this is by far the longest song on the album with 18.22 minutes. Expect the song to go, as 18 minutes plus songs are supposed to go. Slow build up, long solos, deep passions and relaxed interludes. If you are into long rock compositions, it is worth exploring alright. No Man's Valley knows what it is doing here and succeeds. Listening into the composition I get the impression that the band becomes more and more itself and leaves obvious influences by the way side. 'Flight Of The Sloths' is the real thing, musically and identity wise.

Wout de Natris

On Bandcamp Chrononaut Cocktailbar / Flight Of The Sloths are two separate albums. My impression is they are released as a double LP on a German label. You can have your choice of ordering it.

https://www.tonzonen.de/no-mans-valley

or download a digital version here:

https://nomansvalley.bandcamp.com/album/flight-of-the-sloths

A few new albums. Catching up day: The Black Keys, Elbow, Adrianne Lenker

Too many albums are released to keep up with as a, mostly, one person blog. Recently a few albums were released by artists that I like a lot. But the are albums that do not reach my digital mailbox well-before the release date, they are already "old" by the time I had the time to listen. So they do not always make it to this blog. To catch up, today a few together with a far shorter post. Not unlike the weekly singles post.

Ohio Players. The Black Keys

It took me two listen sessions to be convinced. Not really paying attention the first time, while working, the album did not register. The second session a few days later was meant to determine whether I was going to write any way. Today I bought the album, on cd. The price of a new The Black Keys LP went from € 19,90 to € 24,90 to € 34,90. That's a bit more than inflation, I reckon. I have 'Delta Kream' on cd also, so the price will have been somewhere in that region as well.

Enough complaining on the LP price. Ohio Players, also the name of a soul band from the 70s, is an enormously playful album. It is too early to tell but it may well become the duo's best album since 2011's 'El Camino'. Those three big hits is what is missing on Ohio Players. More than good songs there are in abundance. Take 'On The Game', a song somewhere between pop, rock, ballad and folk ("hey", but where is the ho?) with a golden, slow riff. It shows the songwriting prowess of Dan Auerbach.

Be prepared to hear The Black Keys divert to new chartered waters, like soul and rap, even Noel Gallagher and Beck. The guests on the album take their chance to turn the album in their direction for a while, making Ohio Players more surprising than could be expected. They even all have songwriting credits, so this is no guest role but a true addition to The Black Keys' modus operandi. The duo also certainly rocks in the way it is well known for by now. It pleases fans of old, fans of the 'El Camino' era and undoubtedly new ones based on the new avenues explored.

Yes, I'm very happy with the new The Black Keys album.

Audio Vertigo. Elbow

It may well be that I've skipped one or two Elbow albums. I had become saturated with the Elbow sound. When I read the review of the album in 'Oor', I knew I'd better listen anyway. Audio Vertigo did not disappoint. Elbow is Elbow. Slow, expanded songs with a strong focus on the slow voice of Guy Garvey, who as a vocalist never is in a hurry. It is what happens behind him immediately in the first song that convinced me.

'Things I've Been Telling Myself For Years' for starters is a title like 'Leaders Of The Free World' or 'The Take Of And Landing Of Everything'. It sounds ambitious and intriguing. The song starts with direct drumming, setting a different mood than in the average Elbow song. The slow three notes riff does the rest. When Garvey starts singing things are as expected but behind him is a female choir. There are some faint weird sounds, I think. The keyboards come in with some distracting notes and finally a blistering guitar solo, wah wah pedal and all flies from left off center. This is more than enough to start me listening to Elbow once again.

The rest of the album does not disappoint either. With Alex Reeves the band has a new drummer and this obviously pays off. On Audio Vertigo the band is exploring how far it can take its songs and perhaps even encountered a little Radiohead like music here and there. Weird rhythms can be heard and it suits the band well. In how far Reeves is responsible here I can't tell of course.

With 'Balu' the band goes 80s style synth disco, creating a hug sound. Again I notice how rhythmically present Elbow is. Not something I associated the band with over the years. A little horns are thrown in as well, making the song even bigger.

All throughout Audio Vertigo keeps surprising. This is Elbow and yet I'm listening to a newer version as well. Well 20 years into its recording career, Elbow manages to surprise once again. Something the world can be quite pleased with.

Bright Future. Adrianne Lenker

My introduction to Adrianne Lenker was, most likely unlike many other people, through a solo album, 'Abysskiss' in 2018. Of course I discovered that she played in Big Thief, but I never really found my way into that band until its last album 'Dragon New Warm Mountain I Believe In You'. There is no review of Big Thief on this blog from my hand. They are all by Erwin Zijleman.

Today there's a new solo album. Again, I have to work my way through her voice, but I have gotten used to it sufficiently to not run away from it anymore. The album starts with a really small, yet intense song, 'Real House'. A piano and Lanker sings, well almost tells it all from her. Her youth, the strained relation with her mother, it is all there.

Adrianne Lenker decided to make music with three friends and see what happens. This is exactly what we hear on Bright Future. The music on the album is like a holiday where nothing had to happen and in the meantime lots did but all in an extremely relaxed way while absorbing one memory to treasure after the other.

Most of the songs are laidback while there is an intensity anyway because of the wobbly delivery of Lenker. And in the lyrics of course. Her acoustic guitar is the main instrument, besides that voice, which can be counted as one. Her friends join when there is a reason to. Singing or adding an instrument and it is enough. With Bright Future Adrianne Lenker shows once again that she is one of the greater singer-songwriters of the day.

Wout de Natris

Flying On Instruments. Vanessa Peters

Vanessa Peters maakte de afgelopen twintig jaar een serie fantastische albums en ook het deze week verschenen Flying On Instruments staat weer vol met songs die je na een keer horen eindeloos wilt koesteren.

De naam Vanessa Peters zal niet bij iedereen een belletje doen rinkelen, maar de afwisselend vanuit de Verenigde Staten en Italië opererende singer-songwriter heeft inmiddels minstens een handvol geweldige albums op haar naam staan. Ook het deze week verschenen Flying On Instruments is er weer een. Het is een wat voller klinkend album waarop folksongs worden omgetoverd in perfecte popsongs. Het is deels de verdienste van de warme klanken op het album en de fraaie wijze waarop piano en gitaren elkaar versterken, maar ook de stem van Vanessa Peters slaat zich weer als een warme deken om je heen. Flying On Instruments is het volgende prachtalbum van deze helaas nog altijd wat onbekende muzikante.

De Amerikaanse singer-songwriter Vanessa Peters debuteerde eenentwintig jaar geleden met het fraaie Sparkler, dat makkelijk overtuigt met folky songs, hier en daar een ruw randje en een mooie en aangename stem. Het zou vervolgens nog twaalf jaar duren voordat ik de muziek van Vanessa Peters ontdekte, want mijn eerste kennismaking met haar muziek stamt uit 2015, toen het prachtige With The Sentimentals verscheen. Sindsdien heb ik een enorm zwak voor de muziek van Vanessa Peters, die afwisselend in het Italiaanse Lucca en in de Verenigde Staten in Dallas, Texas, verblijft.

Op With The Sentimentals verpakte Vanessa Peters haar rootsmuziek in bijzonder lekker in het gehoor liggende popsongs en dat is ze sindsdien blijven doen. Het heeft sinds 2015 een stapeltje albums opgeleverd dat ik koester, want na With The Sentimentals werden de albums van de Amerikaanse muzikante alleen maar beter, wat prachtalbums als The Burden Of Unshakeable Proof (2016), Foxhole Prayers (2018) en Modern Age (2021) opleverde, maar ook het met covers gevulde tussendoortje Mixtape (2020) is me zeer dierbaar.

De opvolger van het inmiddels al weer bijna drie jaar oude Modern Age heb ik al een tijdje in mijn bezit en ook Flying On Instruments is weer uitgegroeid tot een album dat ik intens lief heb. Voor haar nieuwe album toog Vanessa Peters met haar Italiaanse muzikanten en echtgenoot Rip Rowan naar een studio in Dallas, waar de songs voor het nieuwe album zoveel mogelijk live werden opgenomen. Flying On Instruments heeft hierdoor een lekker vol bandgeluid, dat nog wat werd aangevuld met strijkers en dat fraai is geproduceerd door Rip Rowan.

Het nieuwe album van Vanessa Peters heeft niet alleen een mooi vol geluid, maar heeft ook een heerlijke flow. Centraal in het geluid staan de piano en de keyboards van Matteo Patrone, die in de meeste songs de lijnen uit zet. Het wordt prachtig aangevuld met de akoestische gitaar van Vanessa Peters en de elektrische gitaar van Federico Ciancabilla, die er af en toe heerlijk stekelige gitaarakkoorden tussendoor gooit.

Door de belangrijke rol voor de piano en de fraaie wijze waarop piano en gitaren blenden klinkt Flying On Instruments weer net wat anders dan zijn voorgangers, maar Vanessa Peters verleidt nog altijd meedogenloos met haar folky songs die zijn verpakt in nagenoeg perfecte popsongs. Die verleiding komt niet alleen van de mooie klanken en de melodieuze songs, maar ook van de zang van Vanessa Peters, die beschikt over een van de meest aangename stemmen in het genre en die alleen maar mooier gaat zingen.

Vanaf de eerste noten van Flying On Instruments had ik overigens associaties met de muziek die 10,000 Maniacs maakte in de jaren met Natalie Merchant, vooral vanwege het door de piano gedomineerde geluid, maar zeker ook door de zang op het album en door het snarenwerk. Flying On Instruments is echter ook weer een typisch Vanessa Peters album en het is een album dat de hoge kwaliteit van zijn voorgangers makkelijk weet vast te houden.

Ik heb het album zoals gezegd inmiddels al een tijdje en er staat geen song op het album die ik niet goed vind. Ook Flying On Instruments is weer een album waar ik heel vrolijk van word, maar het album bevat ook een aantal wat melancholischere tracks, die weer andere gevoelens raken. Vanessa Peters blijft helaas redelijk onbekend, maar ontdek haar nu en je krijgt niet alleen een nieuwe prachtplaat, maar ook een werkelijk fantastisch oeuvre cadeau.

Erwin Zijleman

Je kunt Flying On Instruments hier luisteren en bestellen:

https://vanessapeters.bandcamp.com/album/flying-on-instruments

Somehow, Here We Are. Faulty Cognitions

Faulty Cognitions is a band from San Antonio. It formed when Chris Mason packed up in Portland, Oregon and moved to Texas, where he formed a band with long time friend Yole Centeno. Together with Nick Obregon and Mike Nera they decided to start rocking. And is the world the better for it!

Of course, folks, there is nothing new under the sun on Somehow, Here We Are. Faulty Cognitions play punkrock with the heart in the right place and a beer in both hands (when not playing). Think of Dropkick Murphys without Irish stuff. Songs ready to shout along to in the local pub. Except that the quality of the band is obvious and way beyond playing at local pub level. This band can play and the singer has exactly the right voice for all of this.

More importantly, the band has the songs. In a way it is amazing that it is still possible to come up with great songs in this genre. Faulty Cognitions wrote twelve of them and plays them with pride and joy.

I had missed the origins of this U.S. alternative rock genre in the 1980s. Bands people are always on about like The Resentments, Hüsker Dü and The Pixies all passed me by. I was busy doing other things, without the money to keep up with music, like getting a degree. In the 1990s there was Slobberbone and that Texas band struck a chord for a while with me. Although Slobberbone remained an exception, with Buffalo Tom, deeper into this century, things landed where it should have been 40 years ago. (How long?) Like with bands like Faulty Cognitions.

Somehow, Here We Are is filled with U.S. rock somewhere between punk and country rock. In other words, at least two guitars, drums and bass that really go for it. The result is an energised shot of rock and roll for the masses. It looks like to me that this is really all the information you need. Listen to it, buy it, support bands like Faulty Cognitions.

Wout de Natris

You can listen to and order Somehow, Here We Are here:

https://faultycognitions.bandcamp.com/album/somehow-here-we-are

I Wish You More Than Luck. Lo Moon

Funny how a brain works when hearing music for the first time. Since I have read the bio accompanying I Wish You More Than Luck, Lo Moon's third album. It continues for pages explaining the inspiration for the album, the band's history, places where inspiration struck, the fears surrounding 9-11. All I heard was a modern make over of Peter Gabriel's characteristic songs. I'm a lukewarm fan of the British progrocker of old, at best. I fell for Lo Moon's latest with ease though, as the band brings so much more to the equation.

Lo Moon is songwriter and singer Matthew Lowell, keyboardist and bassist Crisanta Baker, guitarist Samuel Stewart (son of Dave A, and Siobhan Fahey) and drummer Sterling Laws. The band started in 2016 and formed around one song of Lowell 'Loveless'. He sought bandmembers to play it with and they fell for the song. For me it's my first Lo Moon, so there's no comparing as far as I'm concerned.

If I have to put another tag on Lo Moon music's, I end up more in the U.K. than the U.S. Surprising as Lo Moon is from Los Angeles. The name I pose is Elbow. Lo Moon, in part, has these slow moving, atmospheric songs as well. The arrangements are fuller than Elbow's, the mood identical. The Gabriel reference is in the style of singing and the deeper, more complex levels of playing music.

In the U.S./Canada region I will mention bands like Half Moon Run and City and Colour, because Lo Moon has that same kind of slow but rich balladry quality. It creates a mood that is comparable. The songs are allowed to expand in sound making listening to I Wish You More Than Luck a satisfying experience, because there is so much to enjoy,

Press photo

Finally, there is this 80s kind of pop the likes of ABC played. The 80s synths are all gone, so that I Wish You More Than Luck sounds far more modern. The pop element is present in several songs, in which the band has found several nice riffs that make a song so much more interesting to listen to.

All together it makes Lo Moon's album rich in sound and in songs. Although the album as a whole gives me a melancholy feeling, listening to it is extremely pleasant. The songs are inherently different. The band has managed to find a few voices for itself, and that is where Lo Moon found its own voice and strength. Not to forget that Matthew Lowell's voice is extremely pleasant to listen to. He dares to be totally vulnerable, like in 'Mary In The Woods'. The rest of the band totally matches this, with help from some horns and/or woodwinds. Until slowly but surely the reigns are loosened and all start up a storm in ballad form.

The differences in the approach to most songs on I Wish You More Than Luck makes for great listening. Lo Moon made one of those warm albums very much worth while getting to know intimately.

Wout de Natris

You can listen to and order I Wish You More Than Luck here:

https://lomoonband.bandcamp.com/album/i-wish-you-way-more-than-luck/

2024. Week 16, 10 singles

Spring is all around. The birds are whistling like crazy, flowers everywhere, the first trees are showing leaves and pollen fly around creating the dark side of spring for a host of people. Hayfever time is upon us once again. Watery eyes, runny noses and worse. In the meantime more songs are released a person can ever keep up with. Once again, we have ten recent singles for you from a very diverse set of artists, so, enjoy!

Long Way Home. Myriam Gendron

It's time for a breather after all the (punk) rocking songs of last week. Myriam Gendron delivers this. Her soft song and dark voice provide a moment of rest in a stormy world, where anything, even the most dark things can happen at any moment. We are off our moorings with no clear direction. Long Way Home provides that sort of anchor. Just basic instruments in the singer-songwriter tradition where not a single one escapes attention, nor wants to escape the serving role to the song and its singer. "A very sad" song, Myriam Gendron sings. Long Way Home is the first single announcing Gendron's new album 'Mayday' out on 10 May. On the album she's accompanied by fellow guitarist Marisa Anderson and drummer Jim White (Dirty Three). Especially White is a busy man, as the duo not only released an album of its own recently, there's also a new Dirty Three album announced. Gendron in the meantime has released a song that is a far cry from a distress call musically. It is a gem that will attract lots of people to 'Mayday'.

Big Machine. Liz Lawrence

Back to rock with Liz Lawrence. Funny how one can write rock and how different songs can be that can be put under that moniker. Big Machine has a few angles to it, that all work very well. Liz Lawrence may have gone through a rough patch due to the effects of the pandemic on her life and ability to work, listening to the first single of her upcoming album 'Peanuts', she has gold in her hands. And who knows because of it all. Big Machine starts with this pulsing rhythm guitar. Her clear voice taking command of the song. "I want to live in the wild", as opposed to living in the London that she lived in before the pandemic. Moving back to her hometown changed her perspective on life and on topics to sing about. Listening to Big Machine it is more like she wants to bounce through the wild. In the second part of the song, the mood changes, more pop is let in and a little psychedelia as well. It is as if "mother nature" has brought her energy level down to her new life. Usually, a song works towards a big finale. Big Machine works down towards a total unwinding. And succeeds.

One Last Dance. Baby Rose

"Undoubtedly one of the decade’s most striking voices", starts the bio announcing Baby Rose's upcoming album 'Slow Burn', released on 12 April. I had no idea what to expect. On starting the video on You Tube I heard a voice sounding as ancient as an echo of the wife of a pharaoh in the faintly illuminated shafts in a pyramid. The music is almost as old. One Last Dance is a mix of 60s soul music and a 60s ballad, including the flute. Baby Rose is a relaxed version of Alabama Shakes' Brittany Howard. This single is slow, sad and liberating in the lyric. She calls it a country song. It's not to my ears. This is a true ballad that many a great soul singer from decades ago would have loved to sing at the time. Even Dusty Springfield in her Memphis sessions would have craved for a second song as good as 'Son Of A Preacher Man'. One Last Dance comes close. With the plopping bass made famous by Serge Gainsbourg and later Air, as the finishing touch. Baby Rose a.k.a. Jasmine Rose Wilson, is on her way to fame.

How Do We Go Back To Being Normal? Sarah Julia

Sisters Sarah and Julia Nauta besides growing up together have acted in tv series , films and on the stage. Then Julia was playing guitar and mumbling some words and from there the duo's what is now its second single, 'Mount Fuji', grew. Sarah Julia's first EP is a folk album with slightly jazzy undertones. The ballads are slow paced, widely mixed with so much space between the instruments. Over the beautiful and subtle music the two voices weave and mix like sisters can sing together. Both have deeper registers, that make the songs more relaxed, yet also more impactful. The bio dares to compare the level of songwriting with Phoebe Bridgers, Adrianne Lenker and Joni Mitchell. Those are very big names to live up to and almost unfair to compare to. It sounds like "the new Bob Dylan", to be never be heard from again. Sarah Julia's debut EP How Do We Go Back To Being Normal? deserves to be heard because of its own strength. All four songs please at a few levels. That is when a debut record can be called a success. This is not the last we have heard of Sarah Julia I'm sure.

Mind. Marathon

Slowly but surely Marathon is becoming a new favourite of mine. With Mind, which makes up the second half of a 7" single, the band now released, with 'Fire' on the other side. Alternative rock of the heavier kind is the best way to describe Mind. Nirvana like dynamics, a great riff from the postpunk era, a heavy bass really carrying the song. The solo interlude is totally psychedelic thanks to what seems like flanging to me. If the bass wasn't propelling me forward anyway, it would be like floating in outer space, weightless. The band goes full out again in the chorus making sure we do not forget its post punk attitude. Marathon can really rock and be melodic. Yes, Tramhaus is not far away (well, where is Tramhaus? It's quiet for quite some time now). Marathon is more melodic than a lot of the other Dutch postpunkers of the last five, six years. The louder little cousin of Moss is another description. Slowly but surely Marathon is building a nice oeuvre. What's next, please?

Occupied Territory. Hood Rats

Of course, punk is never far away in this weekly post on singles. Today, enter Hood Rats and for the first time here as well. Hood Rats is a punk band from Montreal in Canada and around for about seven years. After releasing individual songs, the band is ready for its debut album that was released last week, 'Crime, Hysteria, & Useless Information'. If Occupied Territory is anything to go by, this album must be fantastic. What a load of energy comes out of this song. The trio has a rhythm section that certainly listened to Green Day's Tré Cool and Mike Dirnt. Just like the main riff comes out of that band's playbook. It's the voice of Tony Salador that makes it real for Hood Rats. Combined with the golden riff of the song and the loads of guitars flying around in the mix, Occupied Territory can't be beat, as the song reaches back 17 years beyond Green Day's breakthrough singles as well. In short, Occupied Territory may be as real as it gets in 2024.

Taxi Driver. The Hollywood Stars

The fact that Taxi Driver is lifted off an album that is the first by the band in 47 years makes it a Guinness Book or Records kind of fact! Unlucky people do not even live that long. It might also be a nice fact to memorise for Trivial Pursuit but here it is important whether the song is okay. The two previous singles did not make me hopeful nor expect much. Taxi Driver however is a song with a great riff and has that touch that made and make so many songs from the second half of the 60s and early 70s so nice to listen to. The Hollywood Stars, with two original members, the singer and drummer, return to the musical game with the album 'Starstruck' which is slated for the summer. Based on Taxi Driver, I would say that fans of good old pop rock music, who are up for original work will find their fill on 'Starstruck'. Taxi Driver is a song that has a great drive and is filled with tiny references, I will let you play your own game with. So, enjoy, I'd say.

Can't Go Out. The Loyal Cheaters

Yes, yes, yes, more punk rock and roll please. This music is around since Joan Jett and the Blackhearts. Female fronted rock and roll with a punkrock attitude. Can't Go Out really rocks and has a great melody that begs singing along to. The Loyal Cheaters will make everyone jump, sing and who knows what more. Singer Lena McFrison has that edge to her voice that makes for a true rock female vocalist. She has that combination somewhere between tough and feminine. A whole bunch of people sing the background vocals, as if the band invited the whole bar to come along to the studio. Here they are: Lello Lellino, Danny Savanas, Lu Silver, Silvio Pasqualini, Jack Corzani, Joe Riviera, Marianna Venturi, Angie Paganelli, and Maya Cito. Add two band members as well. The Loyal Cheaters is a German-Italian band about to release its second album, 'And All Hell Broke Loose' on 26 April. I don't know who plays the solo guitar on Can't Go Out, either McFrison or Max Colliva but its searingly blistering. Rock and roll as it was meant to be around 1980 and here it is for all to enjoy 44 years later.

In Your Diary. Disintegration

In Your Diary? Remember that Yazoo song, the band's first single? and The Cure's album 'Disintegration'. Well, In Your Diary has that sense of pulsating nervousness all through it. 80s synths and fake drums are all over the song. Over it sings Haley Himiko not very much unlike Allison Moyet, except that her voice goes up regularly, showing more emotions. Speaking of, in as far synths can have emotions, they have them on this Disintegration song. The more I listen to the song, the more Kim Wilde comes to mind. Listen to those floating synths underneath the pulsing ones and the same goes for the singing. Coincidence has it Ms Wilde played the local hall this Wednesday, while I was there for Hackensaw Boys. Rumour has it, she sang horribly off key. Not Haley Himiko, with every note she gets closer to me it seems. Later this year Disintegration, from Cleveland, Ohio, will release an album with the same name as the single.

Running. Pearl Jam

My God, I hadn't seen a picture of Pearl Jam for some years. I was shocked how old the members had become. Not me of course. I age only by the day. This year it is 32 years ago that the world and I bought '10'. What still is the band's best and probably always will be their best album. When I heard there would be a new album, it left me cold. I stopped following the band years and years ago. And now I'm listening to Running. Let's face it. Pearl Jam is rocking here like there's no tomorrow and they are not out of breath half way the song. Running is extremely urgent. What The Rolling Stones can, 20 something years their seniors, we can do, it seems. This is punkrock combined with melody and energy. Pearl Jam not only rocks but seems totally inspired. Nothing was left to chance here. I'm listening to the best Pearl Jam song since '10'. If all songs on the upcoming album are like this, it will probably kill them on stage. But then, the fans will only want to hear the old stuff, so they'll be alright. 'Jeremy', eat your hear out, I say.

Wout de Natris