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The Back Of The Beyond. JC Miller
To
me JC Miller came out of nowhere. Yet since a couple of months he's
cranking out one nice country/folk rock songs after the other and all are pretty nice and
good. The Back Of The Beyond is no different. Having made a career out
of writing music for commercials, he now produces music that makes more
of an impression on me. Expect an acoustic guitar/dobro, a banjo, a lap
or pedal steel and an easy going rhythm that does not go fast but gets
rider and horse through the desert. This song is like the chugging
freight train in the video, with JC Miller sounding like he's ready for a
drink after a long, thirsty day. It is surprising how a song that sounds like
as if there are another thousands to replace it, makes an instant
impression based on that rhythm and little solo notes coming from the
three, very different kind of guitars. When is the album coming? Not
much more and we'll have enough singles for one.
Remy
van Kasteren in the past years found his way into my inbox with
instrumental harp, modern classical music. In other words, not exactly
my cup of tea. Today you do find him on the blog, in a collaboration
with Kim Janssen, a.k.a. Cape Sleep since this year. Together they work
on an old track Van Kesteren was unable to finish himself. There was
always something missing and that something was a lot it seems. Together
they created a song in the style of Patrick Watson, where the harp is
one of the instruments. Present but not overly so. Strings and
percussion play a role and not to forget Kim Janssen's voice. The result
is a nice alternative ballad that touches the right strings with me.
The
Linda Linda's is a punk band from L.A. and with Nothing Would Change
announced the release of its sophomore album 'No Problem', which
released on 11 October. Nothing Would Change is a perfect punk pop
single. The song has a golden melody and all the strength it needs. In
Lucia del Garza the band has a singer that has that female innocence in
her voice while not giving an inch on the punk front. The result is a
song that fits in a long line of songs from The Go-Go's, The Bangles and
'Walking On Sunshine'. While at the same time running with the big boys
as well. The list of the band's support slots is endless. If the other songs on
'No Problem' are as nice as Nothing Would Change, the support slots will
be replaced by headlining shows pretty soon. This is good, period.
Michael
Kiwanuga entered my life when I had to find a third album in those buy
three for two offers. I had heard the name and read about his
reputation. That was it. It turned out to be the best buy of the three.
That was quite some time ago when 'Kiwanuga' entered my home. Finally,
there's a new song and one that resonates immediately. Lowdown has this
ultra relaxed atmosphere. Filled with a warm sound all over and that
soulful voice. Lowdown has the mood that fits the title. But then, just
start listening to that warm Hammond, that weird guitar solo. The song
moves fairly predictably, beautiful but not surprising. That is kept for
part ii, when the sound, not the mood, changes. This is pure Pink
Floyd, with a guitar solo that could have been played by David Gilmour.
If this is the quality of the new album, 'Small Changes', count me in,
game on.
And
another instrumental guitar band from Germany finds its way to this
blog (and one without Nick DiSalvo in it). It does feature Jan Korbach,
see 'Concrete Adem' on this blog in 2022. Ultra knows a few moods
Neànder share with the listener. Underneath it all is a very firm rhythm
section as tough as a hardrock, metal band should have. The intro
doesn't give anything away though. A piano intro with keyboard (effect)
underneath, giving the piano a lot of sustain. Then the band kicks in,
full force with a tough chord progression. From there melody and power
combat for the first position. This ends in a draw, I'd say, making the
song far more interesting to listen to. The loud riff is replaced by
melodic playing and shredding. No matter how tough Ultra is, there's
enough going on to keep the song interesting and good. If anything, I'm
interested in hearing more and that more is there already. Album 'III'
was released on 9 November.
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Vera
Sola, Dan Aykroyd's daughter, debuted on this blog this spring with
thanks to Erwin Zijleman. She already is releasing a new EP called
'Ghostmaker'. The Line (Redux) is the single. The word redux made me
want to check and yes, 'The Line' is a tough alternative rocker on her
album 'Peacemaker'. Here it isn't. As it were, The Line (Redux) is a
ghost version of the original. This version is acoustic and thanks to the singing with Marissa
Nadler a modern version of The Andrew Sisters. Although it is a more serious
song and the orchestra is missing, the harmony singing matches. I liked
'The Line' as it is an interesting rock song. I like the redux version
better. It has more mystery and stands out far more. Vera Sola's voice
stands out more as well. It is always a bit weird to hear a totally
different version of a song, so soon after the original and not on the
10, 25, 50 year anniversary edition. In this case it is a good decision, as it adds to what already is. The
strangest thing is, that, so I found in an old email, had I not have to
rehearse with my own band due to an unexpected gig, I would have seen
Vera Sola play live in 2019 together with a Dutch band. Without ever having heard of her at the time.
Mei
Semones debuted on this blog with (the singles of) her EP 'Kabatomushi
EP'. This EP now knows a vinyl release with on the b-side her previous
EP 'Tsukino'. With her new single she, again, does everything different
from what the average singer-songwriter around the world does. Were it
not that I recently had the pleasure of having a Japanese singer-songwriter playing in my own living
room in October. It sounded different than usual as well, despite it
being a girl with a guitar. Mei Semones, a Brooklyn based artist from
Japanese descent, sets herself apart through on the one side the
arrangement of her songs and on the other the way she uses these
instruments. It sounds different. Yes, there is bossa nova in the rhythm of her song(s) but there is so much more. It's just where the story
starts. Also Dangomushi holds all this adventure in the way notes glide,
smooth playing ends abruptly in stop-start notes before it all starts
flowing again. Next, the way instruments are played changes and so the
song changes a little at the time. In my EP review I compared Semones to
Steely Dan. Not the music as such but the approach to and effect of
both artist's music. Dangomushi shows that I was not far of the mark.
Ria
Aursjoen made her debut on this blog as a solo artist with her single
'Nytár' in early October. Today the member of San Francisco band
Octavian Winters returns with her debut EP Strand. She takes the mood of
her single to greater depths. She creates atmospheric moods with the
help of synthesizers making me think of the music of Clannad and Enya
around 1990. Celtic in other words. Her voice is not. I place that more
in a gothic sort of music. Aursjoen's music is electronic in nature and
that gives it its own vibe. Everything else has to subject itself to the
electronic source of the instruments. To create this sound, she worked
with producer William Faith (The Bellwether Syndicate, Faith and the
Muse). The result is that all songs hover somewhere between direct and
mystery. From the tough guitar opening of 'Apollo' to the soft floating
of 'Lilypad'. The influences here go right back to the 1980s
synth bands that scored a few hits at the time, like A Flock of
Seagulls, Nik Kershaw or Thomas Dolby. Ria Aursjoen has picked up what
she needs to create her own musical universe that fits her voice and
gives the listener an experience to slowly undergo and submerge in.
More
music from New Zealand. I had never heard of Arthur Ahbez & The
Flaming Ahbez. I read that Ahbez is around musically since 1987. INXS'
big year in music to name one. With Sister I get a strong Love vibe.
This is very, very 60s and eclectic. Just like Arthur Lee's band from
the 60s. Combine this with a Rickenbacker (then) Jim McGuinn style and you
come close to what Sister sounds like. Ahbez c.s. throw in a dozen moods
changes into a few minutes. It is almost too hard to follow rationally.
It's best to just go with the flow and let the band take you where it
wants to go. I promise you, you will get there as well. Sister has
nothing to do with 2024 and everything with the second half of the 60s.
There's even a little The Monkees thrown in for good measure. People
used to take trips at the time that were far out and groovy, a
description that does right to Sister. Album 'Arthur Ahbez & The
Flaming Ahbez' is out since last week.
Lambrini Girls, the Brighton duo (and a mighty drummer I suppose), returns to WoNoBlog with an aggressive punk song. I'd almost say Amyl and The Sniffers on steroids. The D*** in D***Energy as the label advertises it, most likely to avoid conservative filters, stands for dick of course. Phoebe Lunny (vocals/guitar) and Lilly Macieira (bass) have a message to share and do not hesitate to do so. What an energy is unleashed in this song. I have a hard time to conceive how they cope live should all Lambini Girls' songs be like this. They do build in a musical breather into the second half of the song before it all stops. And then things go at it full force once again. There's no way this song gets played on a radio anywhere in the world is my guess. It should be played in the home of every punk rock lover though. Things do not get much closer to the real thing of nearly 50 years ago. What a storm!
Wout de Natris - van der Borght
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