Pushed To The Edge. Don Airey

Don Airey joined Deep Purple after the late Jon Lord retired from the band in the early 00. That makes him a member fro nearly a quarter of a century. Of all the members he's the most granddad looking of the bunch. Standing behind a battery of keyboards he produces the classical side of Deep Purple as introduced by Jon Lord. Including fast paced Hammond B3 solos, at a speed as if there's no tomorrow.

Airey has had a long career, that professionally started as a member of Cozy Powell's Hammer and then Colosseum II and Rainbow. Followed by a long list of sessions and bands, until 2002 when he joined Deep Purple.

At 76 he releases another solo album, his seventh plus four live albums. If anything, Pushed To The Edge is a classic rock album, containing everything such an album should. It's almost more Deep Purple than Deep Purple itself. Having surrounded himself with a great team, this album rocks. With drummer Jon Finnigan and bassist Dave Marks.the bottom of the record is extremely solid. The latest Deep Purple member, guitarist Simon McBride, takes on all guitar duties and the two vocalists do the rest. Both Carl Sentance (Nazareth) and Mitchell Emms, who became know because of The Voice UK, have the voice to carry songs like these. If ever Ian Gillan retires with recruiting Emms the band can last into the third quarter of this century. Seeing the average age of four of the five band members retirement or worse is not too far off.

With Pushed To The Edge Don Airey has recorded an extremely potent album, where the energy simply oozes out of. The music rocks and Airey is not afraid to bring in some elements from eastern and classical music. And of course there's a ballad, which is o.k. for the balance of the album. When the band starst rocking again I'm the happier because of it.

I had not expected to write on a Don Airey solo record, but here we are. Again an ageing artist shows that age is not an impediment for writing and recording an inspired and good record. Pushed To The Edge? No, Don Airey is in extremely comfortable circumstances on his latest record.

Wout de Natris - van der Borght

2025 week 13. 10 singles

Not a week, if not a day goes by that the news does not surprise me or even shocks me. Being surprised to be surprised again, to the point where I feel like not wanting to learn more. And that is when things start getting dangerous. Ignorance is far from bliss, as it will bring many very nasty surprises as many voters are starting to notice in democracies around the world. So, I keep following the news, just like I keep on the look out for new singles to point you to. Here are another ten of them. Enjoy!

Lies (Something You Can Do). The Hard Quartet

Until today I passed the option by to write on The Hard Quartet, an alternative rock supergroup consisting of  Emmett Kelly, Stephen Malkmus, Matt Sweeney, and Jim White. Lies (Something You Can Do) deserves a spot though. The song is a nice ramshackle affair, where everyone playing seems to be doing something totally on his own. Over it Emmett Kelly sings the vocal melody, keeping things together quite nicely. The further I go into the song the more it shows how it all fits together. Who keeps the rhythm in Lies (Something You Can Do)? The drums mostly roll away. The bass follows its own melody and the guitars are all over the place and yet it all fits somehow. There are even successful backing vocals doing oohs and aahs. From interesting listening slowly Lies (Something You Can Do) moves into good and that surprised me no little after the start of the song.

Hopeful. Micha

For weeks now Radio 2 dj Jan Willem Roodbeen is pushing a singer from Zwolle called Micha. And now the station has made it its song of the week. What is it all about? I come to a simple conclusion. A typical singer-songwriter song as there are many and then some more. We hear an acoustic guitar, that is subtly picked, over which a voice with a strong rasp in it sings with a melancholy tone. Done right, this is the kind of song that can touch a person's heart straight away. It must have happened to Roodbeen, not to me though. Hopeful is a beautiful song, no doubt there, but not more than that. In my ears it misses that little extra element of stardust that makes a ballad shine. You will all have your own example. In the meantime do enjoy Hopeful because it certainly is worthwhile listening to.

No Known Known. I Am Oak

I Am Oak returns to the blog with another single. Album 'Time Drifts' is just around the corner. No Known Known is a fine representative of that album, should you have a desire to learn about what to expect of I Am Oak. The single is a slow ballad, with a hint of mystery created by the way voice and instruments were recorded. There seems to be so much open space in which both categories can settle that there is more than enough space left for the mystery. The basis of this song is the acoustic guitar that is sparsely strummed. There's one section in which a keyboard and strings join the guitar, just like more voices are let in. All Thijs Kuijken it seems to my ears. The small additions are the stardust that I missed in the review right above this one. That may have to do with experience, as Kuijken is active as musician is his third decade and Micha just debuted. It could be of choice as well of course. Choose your battle, I'd say because both are beautiful songs in their own right, but I do have my preference as you've just learned.

Happy Birthday. Black Country, New Road

Just over a month ago I reviewed 'Besties', Black Country, New Road's previous single. As you may recall it was one of the weirdest musical experiences I've encountered during the days of this blog. It did not stop me from listening to Happy Birthday. Sure, the song does not take a straight line from point a to b either, as it makes a few detours here and there. Not to mention the lyrics where the singer claims to be dead already, "as you can see by the patch on my hand". Where 'Besties' totally derailed my ears and brain, Happy Birthday does the absolute opposite. The song is stimulating and invigorating. Yes, here it is easy to accept the detours, the change in tempo and some esoteric interludes. Again nothing is what it seems, but at least everything is in its place. The result is a musical adventure that is worth taking, like a hiking trail that may have some danger but also leads to the most beautiful of panoramas. Happy Birthday is that kind of song. Album 'Forever Howlong' is released on 4 April.

Ancient Light. I'm With Her

The name I'm With Her did not ring any bells with me and cannot be found on this blog. Single Ancient Light landed well in these ears within the first seconds. Clicking on the link I read the names Sarah Jarosz, Aoife O'Donovan and Sara Watkins. Look for those names on this blog and you'll find multiple reviews. Mostly by Erwin Zijleman and where Sarah Jarosz in concerned by yours truly. The trio has already worked together, I learned and is about to release its second album, 'White And Clear And Blue' on May 9th, Judging from Ancient Light, we are bound for an acoustic folk album with acoustic guitars, a banjo and violin. Above all, the three sing together in a heavenly way. It's quite clear that you do not have to be siblings to sing together perfectly. Jarosz, O'Donovan and Watkins certainly weave in and out of each other's melody in a both charming and perfect way. A very nice song Ancient Light is.

Careful. Personality Cult

Personality Cult is from Durham in North Carolina and started when Ben Carr started to create music on his own. This led to a first, self-titled LP, but from there transitioned into a band. That band is about to release its second album, 'Dilated' (2 May), third in total. On the basis of Careful we can expect a punkrocking album filled with fast-paced songs. All but careful I'd say, as Personality Cult really goes for it with an aim to make audiences wild. The charm, in as far as a song like Careful has any of course, is that the band manages to bring in many nice and interesting twists and accents into the whole. If it wasn't so loud and fast, one could even call it subtle. Careful has some great breaks, interesting chord changes and vocal melodies. Once listening past the speed, you will hear loads of musicality the members of Personality Cult have in them.

Sangria (demo). Vera Ellen

Not all albums from 2023 come by on a regular basis any more, but 'Ideal Home Noises' is one of them. So, when Vera Ellen releases a new song, I certainly prick up my ears. The effort is paid back in full, as Sangria (demo) is one of these typical Vera Ellen songs. She is able to set the strangest of moods in her songs and is able to make the weirdest of twists in her lyrics and still I follow her any which way her wind blows me. This song does not seem to go anywhere. It's sort of slacker dragging its feet along. But just wait for it. With an apparently simple musical twist Vera Ellen changes the mood by changing her voice in the chorus. And that is where the adventure starts. I simply love how she does this and Sangria (demo) is no exception to her rule. It's a song that she already played live on her 2024 tour and may be the first of what is to come at a still unknown point in time. For one, I can't wait to hear more.

No One Like You. Girl With A Hawk 

Although Girl With A Hawk is only on this blog for a few years, the Boston band is there very regularly and No One Like You is no exception. It sounds a lot like many songs that I've heard ever since the late 70s and yet it immediately touches the right musical strings in my brain. Linda Viens' voice does that Blondie thing, although she has a far better voice than Debbie Harry. At the same time No One Like You is a streamlined song. Nothing jumps across the fence. It's like the perfect guy with all his hair's in place, not a single one sticking out. The band is a tight unit, playing almost like a monolith, tightly sealed in the song's context. Not even the warm organ or the guitar solo escapes it. And yet it totally works. The melody is so compelling. It's the kind of song I want to put on again and again.

Calliope. The Underground Youth

Calliope is a daughter of Zeus and one of the muses, of eloquence and epic poetry. (Thank you Wikipedia.) Coincidentally, I read today an interview with Stephen Fry because of his new book 'Odyssey', in which he states that Homer's epic novel announced the end of the Gods in ancient Greece. There was no need for them any longer. The Underground Youth finds itself on WoNoBlog for the second time with a slow, bare and empty song from its upcoming album 'Décollage', released on 4 April. Calliope is present in the female voice that meanders in the background almost throughout the song in a heavenly way. Décollage is as much song as atmosphere. The singer sings with a dark voice, taking his time in his phrasing, as the song gives him all the time he needs. The band's "explosion" comes as a surprise but takes the song to the next level. Calliope is as interesting as it is good.

Hamelin. King Garcia

Instrumental post rock/metal band King Garcia is on the blog for the second time as well, see The Underground Youth above. After 'Sweat', that surprised me no little with a saxophone as a lead instrument, it's Hamelin's turn, the title track of the upcoming album, released on 18 April. Again, there are many familiar elements in the song's structure and approach, in the metal sense. There's is nothing like it though because of Alex Orfanos' contributions on trumpet and clarinet. This makes for such a surprising band sound. It brings in immediate references to traditional Greek folk music, regardless of the onslaught of the metal style playing guitar, bass and drums. It works for me though. If the lead instrument had been another guitar or voice, the effect would not have been half of what it is now. Where usually I am quite soon fed up with instrumental music, I would be surprised if 'Hamelin' will not go down well.

Wout de Natris - van der Borght

Metro. The Blue Stones

The Blue Stones almost had me fooled there. The start of Metro is nothing short but horrendous. I heard some electronic sound far too loud, so I never reached the female announcement voice. The beyond distortion guitar riff of 'Your Master' sounds horrific when it comes in too loud over headphones. In other words it's a wonder I'm writing on Metro at all. I am the kind of person who gives the third track a chance as well.

The effect of 'Your Master' is the same on me as I had in 1993 hearing the first song on 'In Utero' too loud. (I also knew for 100% certain my very young baby was not deaf.) By the way, the "hey" in 'Your Master' resembles the "hey" in 'Heart-Shaped Box'. The circle is round it seems here.

The Blue Stones, vocalist and guitarist Tarek Jafar and drummer Justin Tessier, is Canadian band from Windsor, Ontario. The band featured on this blog with album 'Hidden Gems' in 2021. Metro is the band's fourth album. Where in 2021 I found a host of influences, Metro is more conform. If anything The Blue Stones are The Black Keys as if that band started recently and added to their version of the blues a whole does of fiery alternative rock. And then the more dance oriented 'Kill Box' comes by.

Metro is far more dark and dirty. The Blue Stones drag us through the mud and muck, roll us over and add some spittle for good measure. The gore we wallow in is what we listen to. The lady making the announcements, is not unlike the groupie on Pink Floyd's 'The Wall'. But where the latter desperately tries to get contact with "Pink", this lady pushes band and listener into the harsh realities of our lives, on this record as far as I'm concerned.

A duo setting, unless you're Simon & Garfunkel, is a limiting environment. Just drums, a, heavily distorted guitar and a voice. This is all The Blue Stones presents. There may be a guitar and voice overdub, okay. That doesn't stop the band from presenting a great song like 'Happy Cry'. Even in the sty one can find pearls, right?

The darkness Metro presents is rather enticing and a good place to be for a while. Far more then 'Hidden Gems' Metro is an album in search of a larger audience. The Black Keys were able to make that step to a bigger audience. On the basis of Metro, nothing ought to stop The Blue Stones doing so as well.

Wout de Natris - van der Borght

 

Southern Belle Raisin’ Hell. Willow Avalon

Er verschijnen de afgelopen jaren heel erg veel countrypop albums, waardoor het niet meevalt om nog op te vallen, maar de jonge Amerikaanse countryzangeres Willow Avalon slaagt hier wat mij betreft glansrijk in.

Southern Belle Raisin’ Hell van Willow Avalon is een album waarover je zeker niet te snel moet oordelen. Bij snelle beluistering was ik zelf niet zo gecharmeerd van de stem van de jonge Amerikaanse muzikante, terwijl dit na gewenning een van de sterke wapens van Willow Avalon is. Andere sterke wapens zijn haar aanstekelijke songs, haar bijzondere teksten en de voorliefde voor countrymuziek uit het verre verleden, waardoor Southern Belle Raisin’ Hell enerzijds klinkt als een countrypop album van deze tijd, maar anderzijds als een oorspronkelijk klinkend countryalbum uit de jaren 70. Als liefhebber van het genre ben ik benieuwd wat 2025 ons gaat brengen, maar de start met Willow Avalon is absoluut veelbelovend.

Ik had lange tijd niet zo heel veel of zelfs helemaal niets met countrypop. De met flink wat pop aangelengde countrymuziek was me meestal wat te glad, te zwaar aangezet en te plastic en had wat mij betreft te weinig te maken met de pure Amerikaanse rootsmuziek en alternatieve country die destijds mijn voorkeur hadden. Sinds een jaar of wat heb ik echter een enorme liefde ontwikkeld voor het genre en die is met name de afgelopen twee jaar alleen maar sterker geworden, waardoor countrypop albums de hoogste regionen van mijn jaarlijstje weten te bereiken

Ook deze week verscheen er weer een album dat ik een jaar of tien geleden waarschijnlijk onmiddellijk aan de kant zou hebben geschoven, maar waar ik nu als een blok voor viel. Het gaat om Southern Belle Raisin’ Hell van de Amerikaanse muzikante Willow Avalon. Willow Avalon, geboren als Willow Martin, is de dochter van de eigenzinnige muzikant Jim White, waardoor ze de muziek met de paplepel kreeg ingegoten, al kwam haar muzikale talent vooral bij het lokale kerkkoor tot bloei.

Ze groeide op in een ruraal deel van Georgia maar verliet het weinig stabiele ouderlijk huis al op 15-jarige leeftijd om haar geluk uiteindelijk in Los Angeles te zoeken. We zijn inmiddels ruim tien jaar verder en Willow Avalon lijkt haar geluk te hebben gevonden in de muziek. Na het uitstekende minialbum Stranger, dat begin vorig jaar verscheen, is er nu het debuutalbum Southern Belle Raisin’ Hell, dat wat mij betreft het eerste memorabele countrypop album is dat in 2025 is verschenen.

Hoewel ik het genre de afgelopen jaren steeds meer ben gaan waarderen, kan ik zeker niet uit de voeten met alle soorten countrypop. De verhouding tussen country en pop moet in balans zijn, wat in mijn geval betekent dat er meer country dan pop is te horen op het album. Dat zit in het geval van Willow Avalon wel goed, want de muziek van de jonge Amerikaanse muzikante heeft zich stevig laten beïnvloeden door de countrymuziek die in de jaren 60 en 70 werd gemaakt door zangeressen als Dolly Parton, Tammy Wynette, Loretta Lynn en Lynn Anderson.

Zeker de stem van Willow Avalon herinnert aan de grote countryzangeressen uit de jaren 60 en 70, maar ook in muzikaal opzicht lijkt ze meer te hebben met de countrymuziek uit het verleden dan met de met pop geïnjecteerde country uit het heden. Southern Belle Raisin’ Hell zit daarom dichter tegen Sierra Ferrell aan dan tegen Kacey Musgraves, maar toch vind ik het label countrypop wel passen bij de muziek van Willow Avalon. De songs van de Amerikaanse muzikante hebben immers iets lichtvoetigs en achter alle invloeden uit de country van weleer zit wel degelijk een randje eigentijdse pop.

Zeker bij eerste beluistering vond ik de zang van Willow Avalon op het randje van country en kitsch, zeker wanneer ze wat bibbert met haar stem, maar inmiddels ben ik zeer gecharmeerd van haar stem. Southern Belle Raisin’ Hell is een album dat echt steeds beter wordt en dat is zowel de verdienste van de zang en de muziek als van de songs op het album.

Ook in tekstueel opzicht heeft Willow Avalon wat te bieden. Ze citeert op fraaie wijze uit een aantal country clichés, maar heeft ook humor, getuige haar ode aan Dolly Parton die opent met de fraaie zin “Hey there, Dolly, I'm just like you, Got big titties and a big heart too”. En zo valt er steeds weer wat te beleven op het album, dat op fraaie en zeer aangename wijze een brug slaat tussen de countrymuziek uit vervlogen tijden en de countrypop van het moment. Ik kan er wel wat mee.

Erwin Zijleman

Every Dawn’s A Mountain. Tamino

Tamino's third album is his first one on this blog, meaning that both Erwin Zijleman and I had not noticed or appreciated them enough. Every Dawn's A Mountain caught my attention and is by now on modest repeat.

Tamino is Tamino-Amir Moharam Fouad now living in New York City but once from Belgium and also having lived in Amsterdam. He is a singer-songwriter who has a nice and relaxed depth in his voice but is not afraid to sore to greater heights as well. He manages to capture his listener with singer-songwriter songs that are meant to listen to. Songs that all meander around Tamino's guitar playing and he even presents the Arabic oud in two songs.

His music is rooted in two traditions. The first is a western mix of pop, singer-songwriter and folk music. The second is the influence of eastern music that shines through in parts of the arrangements of the songs. The mix of the two is mesmerising. Tamino is an artist that deserves a big audience, as he successfully treads in the footsteps of the likes of Paul Simon, Leonard Cohen and Jeff Buckley (minus Buckley's love of Led Zeppelin). The organic music sets him a little apart from more modern singer-songwriters like Ed Sheeran.

Another element in the music on Every Dawn’s A Mountain is mystery. There are sounds and singing that seem to come from another dimension and let in through a crack in the fabric of the universe. Eery background vocals, a weird short stab on an instrument or synth. As if they are there only there by coincidence, not belonging. At times just this short tab, then a vocal part without words that meanders and floats around the main melody of the track. It makes for extremely interesting and surprising listening.

As I already indicated, I have no idea what Tamino's previous albums sound like, so can't compare. I only know Every Dawn’s A Mountain, and I like what I'm hearing. Single 'Sanctuary' was reviewed on this blog before, but I want to pick it out anyway. Here the rhythm is totally Jeff Buckley. The musical antics Buckley could weave into his songs is replaced by the voice of Mitski. She takes the song to the next level for Tamino. Together they brew a song that is pregnant with melancholic desire for something that is over or was not to be. As electric guitars set the tone of the song, 'Sanctuary' is set apart from the songs around it a second time over. Duets can be such an asset to an album and this song certainly is.

My guess is that you will have gotten the picture by now. Tamino makes a big impression on me with his latest album. There's breakup, heartache and letting go all over Every Dawn’s A Mountain. Once again it shows that pain and misery is a source of inspiration for many artists, a condition that many music fans around the world love to listen to. Every Dawn’s A Mountain is no exception.

Wout de Natris - van der Borght

 

You can listen to and order Every Dawn’s A Mountain here:

https://taminomusic.bandcamp.com/album/every-dawn-s-a-mountain

Spelen in de voortuin, 5 jaar alweer

Foto: Anja Adank

Op 25 maart 2020 zou de Utrechtse band Wooden Soldiers in onze huiskamer spelen, maar dat ging om bekende redenen niet door. Op 7 en 8 maart heb ik nog bij de allerlaatste laatste show van Canshaker Pi gestaan in de Tolhuistuin en een dag later in het Feyenoord stadion, al met in mijn achterhoofd of dat wel slim was. Het is goed gegaan, maar een weekend later zaten we op slot.

Wooden Soldiers kwam vanzelfsprekend ook niet. Ik stelde daarom aan Mijn Lief voor om in plaats daarvan in onze voortuin te gaan staan en wat liedjes te spelen voor de directe buren. Die stonden op hun balkon of in hun voordeur te luisteren naar de acht liedjes die wij voor hen speelden. Dat werd een wekelijkse traditie met steeds meer aanloop, tot dat ons deel van de straat behoorlijk vol stond. Allemaal om auto's heen in gezinnen. Drankje mee, zakje chips voor de kinderen en zo leerden wij elkaar beter kennen en was er meer contact dan ooit te voren.

We speelden 14 keer in 15 weken, met steeds goed (genoeg) weer, tot het land weer open ging en mensen weer naar buiten mochten. In volgende lockdowns hebben we wel een keer iets online gedaan, maar het werd anders en het was te koud om buiten te staan. In totaal speelden we 93 verschillende nummers over al die weken. Eerlijk is eerlijk, soms mislukte er wel eens een, maar meestal was het gewoon leuk.

Sindsdien doen we het nog één keer per jaar. Gisteren was het alweer vijf jaar geleden dat we voor het eerst in lockdown gingen. Vijf jaren die kwamen en voorbij gingen. Opvallend was, dat er maar heel weinig mensen waren voor we toen speelden. Wel andere buren, vrienden die speciaal langskwamen, ze;fs toevallige voorbijgangers en mensen die sindsdien zijn komen wonen. Zo stonden er toch 20 plus mensen op straat voor ons huis te luisteren naar hits uit een ver verleden. Liedjes die nu eenmaal lekker klinken in een "kampvuur" setting.

Van Creedence naar ABBA en van Neil Diamond naar The Monkees (ook Neil Diamond). Een persoonlijke favoriet gooiden wij er tussendoor. 'Pretty (Ugly Before)' van Elliot Smith is een ontzettend mooi nummer en heeft ons beiden diep geraakt. Het was simpelweg emotioneel om dat samen te kunnen spelen en zingen. Een liedje als 'Bus Stop' van The Hollies is gewoon zo leuk om te spelen. "Een van de liefste liedjes die ik ken", zegt Mijn Lief.

Ja, het is anders vijf jaar later. Het feit dat het leven weer zijn gewone routine heeft hervat, betekent dat er veel minder ruimte is om (samen) te oefenen dan vijf jaar geleden. Toen was het gewone leven gestopt voor ons beiden. Dan is er heel veel tijd om samen te oefenen en nieuwe nummers te doen. Dat hebben we nu toch gedaan, wat wel tot een foutje hier en daar leidde. Boeie, zouden mijn stiefzonen zeggen. We zagen allemaal blije gezichten voor ons van mensen die werden vermaakt op een ongewone manier in onze straat.

We sloten traditioneel af met 'Laat Maar Mij Alleen', altijd goed voor het meezingen, terwijl we elkaar alles behalve alleen lieten in tijden van Covid. Het was weer helemaal geslaagd. Volgend jaar weer zou ik zeggen.

Wout de Natris - van der Borght

Nightjar. Liz Overs

Liz Overs released a beautiful album on which she explores folk music as it is played for since forever and translated it for the here and now. As if the songs sang by the people that inhabit "The Chalk" in the millennia spanning novel 'Sarum' by Edward Rutherford, have found their way to Liz Overs.

Liz Overs debuted on this blog under the name Liz Pearson, the singer of Chalk Horse Music. Three singles all found their place on this blog. Today it's time to put the spotlight on Night Jar, an album that brings the listener to another space and time immediately. A world where time does not exist, where anything to do with deadlines, hurrying and stress are works of the devil. As it is pointed out in another magnificent novel, 'De Harpij' (The Harpy) by A.N. Rijst. Moat likely it will not be translated into English and that is your loss. Liz Overs' music belongs to the world created by the fallen angel in 'De Harpij'.

No matter which song I would pick out of the twelve options on Night Jar, my story would be the same. Liz Overs takes us out of this world for a few minutes. And yes, you will hear elements of Sandy Denny's Fairport Convention or Nick Drake's folk with the jazzy accompaniment created by his producers, but what you really hear is Liz Overs' take on folk for the second quarter of this century. One song may have a full band, playing quite soft, another may be nearly bare and finally only "a few" Liz Overs singing together, the effect is totally the same. You are carried away by her voice and music.

Night Jar is an album to be carried and caressed by. This music wraps itself around my ears and makes me forget everything else. There's no other way to describe it. Accompanied by musicians Neil MacColl, Ben Nicholls and David Tomlins, Liz Overs created her own musical universe in which it is simply fantastic to roam. Together they play Liz Overs originals, four traditionals and one co-written song. Together this makes up Night Jar, an album anyone should listen to and be touched by. One of the best records of the year so far and contender for the end of year list for certain.

Wout de Natris - van der Borght

 

You can listen to and order Night Jar here:

https://lizovers.bandcamp.com/album/nightjar

Care, Are You Free? Sophie van Hasselt

De Nederlandse muzikante Sophie van Hasselt heeft met haar debuutalbum Care, Are You Free? een album afgeleverd dat mee kan met de beste indiefolk en indiepop albums van het moment, nationaal en internationaal.

Ik had tot voor kort nog niet van Sophie van Hasselt gehoord, maar de Amsterdamse muzikante heeft me enorm verrast met haar debuutalbum Care, Are You Free?. Het is een album vol lekker in het gehoor liggende popsongs met songs een folky inslag, maar het zijn ook popliedjes vol bijzondere wendingen. Sophie van Hasselt heeft een veelkleurig album afgeleverd en het is een album dat je continu verrast met frisse maar ook eigenzinnige songs. Het sluit aan bij een aantal indiefolk en indiepop muzikanten van het moment, maar Sophie van Hasselt heeft ook een duidelijk eigen geluid. Wat een enorme aanwinst voor de Nederlandse popmuziek en wat een ijzersterk debuut.

Care, Are You Free? is het debuutalbum van de Nederlandse muzikante Sophie van Hasselt. Het is een album dat het vooralsnog moet doen met bescheiden aandacht en dat is jammer. De muzikante uit Amsterdam heeft namelijk een uitstekend album afgeleverd.

Het is een album dat zich beweegt tussen de grenzen van de indiefolk en de indiepop van het moment en dat zijn genres waarin het de afgelopen jaren flink dringen is. Sophie van Hasselt heeft over concurrentie daarom niet te klagen, maar wat mij betreft houdt ze zich met haar debuutalbum vrij makkelijk staande.

Dat doet de Nederlandse muzikante in eerste instantie met haar stem. Het is een vaak wat zachte, maar ook zeer karakteristieke stem, die de songs op Care, Are You Free? voorziet van een herkenbaar eigen geluid. Ik denk dat niet iedereen gecharmeerd zal zijn van de stem van Sophie van Hasselt en haar bijzondere manier van zingen, maar zelf vind ik de zang op haar debuutalbum echt heel aangenaam en onderscheidend.

De stem van de Amsterdamse muzikante geeft haar songs een folky karakter, maar de songs op Care, Are You Free? hebben ook het ruimtelijke en licht mysterieuze wat ook veel Scandinavische zangeressen hebben. Folk is een belangrijk bestanddeel van een aantal songs op het debuutalbum van Sophie van Hasselt, maar wanneer ze de akoestische klanken verruilt voor elektronica, verruilt Care, Are You Free? de indiefolk voor de indiepop, met hier en daar een knipoog naar de dansvloer.

Ook in de uptempo songs klinkt de zang van Sophie van Hasselt wat mij betreft aansprekend en ook in deze tracks behoudt ze haar unieke karakter. De songs van de Amsterdamse muzikante vallen niet alleen op door de diversiteit ervan, maar ook door het frisse en avontuurlijke karakter er van. De songs van Sophie van Hasselt liggen lekker in het gehoor, maar het zijn ook songs vol bijzondere accenten en wendingen, die je op zeer aangename wijze op het verkeerde been zetten.

Ik vind het niet eens zo makkelijk om de muziek van Sophie Hasselt te vergelijken met die van andere zangeressen in de genres waarin ze zich beweegt, maar Care, Are You Free? raakt in een aantal opzichten aan de muziek van Billie Eilish. In een aantal andere opzichten weer helemaal niet, wat het unieke karakter van de muziek van Sophie van Hasselt onderstreept.

Care, Are You Free? is het debuutalbum van de Nederlandse muzikante, maar de kwaliteit en het talent spatten er wat mij betreft van af. Sophie van Hasselt houdt haar songs over het algemeen vrij ingetogen, wat wordt versterkt door de vrij zachte en ingehouden zang, maar de songs op haar debuutalbum sprankelen, waardoor ik blijf luisteren naar Care, Are You Free?.

Beluister het album met de koptelefoon en je hoort nog veel meer fraaie details in de songs, in de instrumentatie en in de zang op het album. Het is dan ook niet overdreven om Sophie van Hasselt te scharen onder de grote talenten binnen de Nederlandse popmuziek van dit moment. Care, Are You Free? is bovendien een album dat ook over de potentie beschikt om internationaal potten te breken. Het maakt het extra jammer dat ik in de week na de release nog maar heel weinig lees over dit in alle opzichten uitstekende album van eigen bodem.

Erwin Zijleman

2025, week 12. 10 singles

If it's a first, I don't know, but writing the singles post still on Sunday itself is rather unusual. It was a busy week, including performing myself with a mostly new repertoire and songs I hadn't played for a year or more ago. In other words fun, but writing about music becomes a bit more difficult with the rest of life continuing. Yet, there's an interesting collection of new songs for you here, so enjoy!

Gordon In The Willows feat. Charlotte Cardin. Patrick Watson

Patrick Watson is a Canadian singer-songwriter who excels in songs that seem to aspire to float away on the softest of breezes. The beauty of the act of disappearing into thin air. In Gordon In The Willows he does not sing himself with his soft and almost ethereal voice. Charlotte Cardin is a new name for me but in Canada she has made a name for herself on the basis of her albums 'Phoenix' and '99 Nights'. Now she lends herself to a typical Patrick Watson composition. You hear a piano somehow pretending to be so much more because of the tremendously spacious way it was recorded. At first she follows Watson's way of singing but, weird vocal noises aside, she takes over the song on the basis of her own vocal prowess. It results in a song where 1+1 is obviously more than just two. This song is very well made, no doubts here at all. It is the second single of Patrick Watson on which he collaborates with another singer. Is an album in the make with this concept as a basis? We will find out I'm sure.

Shadow Raised A Star. Marathon

Another release by Amsterdam alternative rock/shoegaze/postpunk band Marathon donned in what can by now be called its typical artwork. It is extremely distinctive and works of art in its own right. An extra point scored here. As Marathon does with the music. Shadow Raised A Star is a song that slowly but surely works towards an eruption. Nina Lijzinga's bass shows the way. Nothing special but she carries the whole structure of the single. For the previous singles I noticed a Tramhaus connotation, not surprising as Marathon hired the same producer, Daan Duurland. Shadow Raised A Star is more Marathon. The song starts out as slacker rock, slow, no hurry and everything seems just groovy. Everyone knowing a little about music can tell that there's more to come soon, and it does. After bringing things back down once again, the song goes into overdrive in a way that deserves the last spot on an album. If it is, we will know in about a month when 'Fading Images' is released.

The Remedy. Romy Liz Rose

A real debut on the blog, as this is Romy Liz Rose's first single on the Excelsior Recordings label. Where Rotterdam meets Amsterdam. The Remedy is a song that is pleasant to listen to from the very first second. That makes the single totally not dangerous but also smooth sailing. In The Remedy Romy Liz Rose (Romy Laarhoven) lets a pop feel meet country and indie at the same time. All through the song a pedal steel guitar is quite present, while the lead guitar spells another genre. Over it all Romy Liz Rose sings her pop melody, somewhere between happy and sad. She starts her first single with singing "I think I'll start from the beginning", a great line for presenting yourself to your prospective audience. Not after a fairly long intro though, that is quite daring for a debut, as you let people wait a while before showing yourself as a singer. The intro does set the mood for the song in exactly the right way, as it also promises some dreampop, which is delivered upon as well. With The Remedy Romy Liz Rose made a very nice entrance into the Dutch world of music.

Voice In My Head. Steve Geraci 

In Voice In My Head Steve Geraci seems to be uncertain which way to go with Voice In My Head. On the one side I hear the strict, formalistic new wave of the late 70s, early 80s and on the other I hear an attempt to be far more pop. In fact even Duran Duran entered my head at some point, like in the pre-chorus. When all is said and done, the combination does work. Steve Geraci's voice makes me think of Dan Baird of 'I Love You, Period' fame over here. Geraci has that toughness in his voice, while being able to carry more poppy elements as well. The combination of it all simply works.

Boudoir feat. Semisi Ma'ia'i. Erny Belle

Erny Belle is an alternative singer-songwriter from New Zealand and, I'd almost write of course, on the Flying Nun label. Both her previous albums are on the blog, and most likely her next album will as well. The first taste we get is Boudoir. Last year she released a single as support of Semisi Ma'ia'i's band Marlin's Dreaming, 'Earnestly', and this time it's the other way around. Semisi Ma'ia'i wrote the music and Ms Belle started her work from there, sharing producing credits between them. The result is a song that is just as mysterious as the songs on her previous album, 'Not Your Cupid' (2023). Boudoir starts around an acoustic guitar chord progression, after which the song only modestly flashes out. A soft plopping bass guitar, electronic drumming and Erny Belle's voice hovering over the melody. Electric guitars come and go but always in great taste, in an indie, alternative way. Semisi Ma'ia'i offers his whispered support lyrics  to the whole, making Boudoir even more mysterious than it already is. Yes, I'm ready for more, Miss Belle.

Regicide. New Candys

People following this blog will have noticed that more and more artists from Italy enter this blog. Where Bongley Dead for a long time was the only one. Read all about my adventures with the band here: https://wonomagazine.blogspot.com/2017/08/meeting-with-bongley-dead.html. In this decade things changed and today another new name, to me,  makes its debut on the blog. New Candys is a psychedelic rock band from Venice on route to released its fifth album, 'The Uncanny Extravaganza’ on 30 May. Regicide, killing a king or queen, was quite fashionable in history, even quite recently it has happened. New Candys goes at it from an electronic and analogue point of view. A synth and keyboards play their role in Regicide but so do firm drums, bass and a host of guitars. Subtle and full on, it can all be found. Over it all singer Fernando Nuti sings with a voice that is treated electronically in such a way that he could be singing from the grave after the killing was done. New Candys has listened to bands like The Black Angels, but that is fine. Regicide is a strong and forceful single all by itself. More will be coming soon.

The Test. Billy Nomates

Billy Nomates is the project of Bristolite Tor Maries. It is not often that I'm listening to a new song and get the impression to be listening to a modern version of a mix between Stevie Nicks and Christine McVie. But then why not? Apparently 'Rumours' is one of the best sold LPs out in the world for years now and especially by youths. Some of them will start writing music in that style at some point. So, enter Fleetwood Mac for the third decade of the 21st century. Billy Nomates gets away with it quite well I have to say. She mixes the 70s West Coast rock sound with the electronics and more modern beats her hometown is famous for, yet stays away from triphop for more than a mile at least. It is this mix that makes The Test so good to listen to. For the rest I have 'Rumours' as an LP and cd with extras. Billy Nomates, I do hope Tor Maries herself has some friends, is on route for a new album, 'Metalhorse', to be released on 16 May.

Sweet Proximity. TELL

About a year ago my review of Tell's album 'Life In Reverse' exploded and then once again, leading it to be among the best clicked on reviews on this blog. Only a little over a year later there's a new single by the band and again it has this rock feel that makes it pretty irresistible. The alternative rockband from Boston does what it is good at on Sweet Proximity. Come up with a chorus that is as tough as it is singable, while the lead guitars swirl all around the melody throughout the song. The rhythm guitar is distorted but leaves a lot of space because of the accented, stop-start way of playing for the singer and the lead guitar to fill in the spots it leaves open. Underneath there is a bed laid out by drums and bass, that gives the song the bedrock it needs. The singer has a little of Bowie theatrical kind of voice, just like the lead solo could be on Bowie's songs from around 'Boys Keep Swinging'. Don't get me wrong, for the rest Sweet Proximity has little to do with the late English artist. Sweet Proximity is a tough single that captures alternative rock, some grunge and yes, classic rock from the 70s.

The Whole Endeavour. Push Puppets

Push Puppets make it to this blog for the second time this year already. Again with a song that brings together the whole of pop music from the past it seems. Most upfront is Crowded House. The Whole Endeavour is the kind of song Neil Finn excelled in over thirty years ago. Erich Specht, like Neil Finn, has a knack for melodies within the melody. All throughout the song you hear these little extras that make The Whole Endeavour a song that I just want to listen to. There's nothing in there I haven't heard before, yet this is addictive stuff. Where it's been a while since I last took out one of my Crowded House albums, playing this single comes easy to me. It sounds fresh and new, which of course it is, as I'm playing it for the first time, but certainly not the last time. There's simply too much to enjoy. Album 'Tethered Together' is slated for 16 May. Based on the two singles, it is something to look out for.

The Maker. Nasalrod

If you're into punk, alternative rock and noise, The Maker by Nasalrod might just be your thing. It's a bit too extreme for me, like just across the borderline. Let that not refrain you from watching the video though. It's pretty weird, special, fun and nothing is what it seems. Not something we do usually, but here's the link: https://www.youtube.com/watch?v=8463dR62j6c. The Maker is a must watch. And, hey, you might even like the music.

Wout de Natris - van der Borght

and the noise settles. Isbells

Isbells kiest aan de hand van producer Chantal Acda weer voor een wat meer ingetogen en zeer sfeervol geluid, wat met and the noise settles een wonderschoon album voor donkerdere tijden oplevert.

Isbells klonk op haar laatste twee albums wat uitbundiger dan in het verleden en leek een nieuwe richting in te slaan. Die richting wordt verlaten op het deze week verschenen and the noise settles, dat weer het ingetogen of zelfs sobere geluid van de vroege albums laat horen. Dat sobere is maar relatief, want in muzikaal opzicht gebeurt er van alles op het album, al moet je wel aandachtig luisteren om alle subtiele pracht te horen. Die pracht komt ook van de zang van Gaëtan Vandewoude en zeker ook van Chantal Acda die niet alleen als producer maar ook als zangeres bijdroeg aan het nieuwe album. Het is alweer het zesde album van Isbells en ik vind het de mooiste tot dusver.

De Belgische band Isbells is een vaste gast op de krenten uit de pop, want ik heb wel wat met de muziek van de band uit Leuven. Met het deze week verschenen and the noise settles levert de band alweer haar zesde album af en het is wederom een hele mooie. Bij Isbells denk ik in eerste instantie aan uiterst ingetogen of zelfs verstilde songs, maar op Sosei uit 2019 en vooral op Basegemiti uit 2023 hinkte Isbells wat op twee gedachten en was er zowel ruimte voor spaarzaam ingekleurde songs als voor wat uitbundiger klinkende songs.

Ik heb op de albums van de Belgische band een hele duidelijke voorkeur voor de sober klinkende songs en ik ben dan ook heel erg blij met and the noise settles. Op haar nieuwe album kiest Isbells voor zeer ingetogen en bijzonder sfeervolle songs. Het grote gebaar van de vorige albums ontbreekt en heeft plaats gemaakt voor hele subtiele songs. Het zijn songs waarmee je je eindeloos wilt opsluiten in deze donkere tijden, bij voorkeur onder een warme deken.

De muziek van Isbells op and the noise settles fungeert ook als een warme deken, want wat zijn de nieuwe songs van de band uit Leuven mooi. Voorman Gaëtan Vandewoude liet de productie van het album dit keer over aan Chantal Acda, die als zangeres altijd al een voorname rol heeft gespeeld op de albums van Isbells. Chantal Acda weet als geen ander hoe een sober maar zeer sfeervol folkalbum moet klinken en ook de productie van and the noise settles is prachtig.

Er hebben nogal wat muzikanten meegewerkt aan het album, maar dat heeft zeker niet geleid tot een vol geluid. Alle bijdragen klinken even subtiel, maar uiteindelijk vallen alle puzzelstukjes in elkaar. Het geluid op het album lijkt op het eerste gehoor grotendeels organisch, maar wanneer je het album met de koptelefoon beluistert hoor je ook nog een laagje elektronica.

De songs op het nieuwe album van Isbells hebben een folky karakter, maar door de blazers en zeker ook door het drumwerk bevatten de songs op and the noise settles ook absoluut invloeden uit de jazz. En de ene keer dat het album voorzichtig uitbarst hoor ik ook nog een Pink Floyd vibe.

In muzikaal opzicht is het nieuwe album van Isbells een prachtig en fantasierijk album, maar ook de zang op het album is heel mooi. De fluisterzachte stem van Gaëtan Vandewoude kleurt fraai bij de subtiele maar bijzonder sfeervolle klanken en als Chantal Acda ook nog eens invalt met haar stem is de betovering van and the noise settles compleet.

Ik ben wel wat jaloers op het muziektijdschrift Oor, die in haar recensie spreekt van een album van 90 minuten. Mijn versie en die op Spotify duren slechts 45 minuten, maar het is wel 45 minuten heel erg mooi. De subtiele klanken op het nieuwe album van Isbells zitten bovendien zo vol met details dat het geen probleem is om het album twee keer achter elkaar te beluisteren en zo toch nog aan de 90 minuten van Oor uit te komen.

Ik vond de laatste twee albums van de Belgische band zeker niet slecht, maar heb een duidelijke voorkeur voor de eerdere en meer ingetogen albums. Het zijn albums die een vervolg krijgen op het stemmige and the noise settles, dat wat mij betreft het mooiste album van Isbells tot dusver is. Ook ik word zo langzamerhand een beetje moedeloos van de vele dagen zonder zon en de ellende in het nieuws, maar als ik me opsluit met het nieuwe album van Isbells is de wereld even warmer en mooier.

Erwin Zijleman

One Is Always Heading Somewhere. Womb

Three siblings in one band releasing their third album. Cello, Georgette (Brown) and Haz Forrester released their first album 'Like Splitting the Head from the Body' in 2018 and EP 'Holding A Flame' in 2021. I missed on these two, but not the second LP. 'Dreaming Of The Future Again' received a positive review in 2022 on this blog and to all appearances One Is Always Heading Somewhere, released one week ago today, is heading for the same treatment.

Three years ago I wrote: "Womb specialises in long held synth notes that linger all through its songs. The singer sings with a half-sleepy voice, while the tempo is in the mid range. It's the drummer that keeps the listener alert in most of the songs." If I wanted to keep this fast and simple, I could have just repeated these words. In essence, they tell all.

What you would have missed, is my underscoring how tremendously pleasant listening to Womb's new album is. Earlier this week, I praised fellow New Zealand artist Reb Fountain and wrote how her music envelops me like a warm bath. One Is Always Heading Somewhere does just that but even more tranquil. There's not a single ripple on the water, just wallowing in the warmth and enjoying every single second of it.

Cello Forrester's voice meanders over the music. It's like she's sleepwalking, caressing her pillow in the meantime and the pillow happens to be my ears. She is singing for me exclusively, and I have no need for the rest of the world for a short period of time, as in the length of this album. One Is Always Heading Somewhere is the kind of album to disappear into.

Drummer Georgette at times keeps some kind of accents going, but she not in this band because she wants to drum like one of the most famous of drummers, "Animal". She is the paragon of reticence and voluntary restraint. Haz is responsible for all the atmospherics, although there are many guitar parts that can be described as such as well. Hazy, fading, in the background swaths of chords and notes, providing a mystical fog from which the rest of the song appears, but vague and almost otherworldly.

Womb has delivered another beautiful record. A record that deserves to be heard, far beyond the seas surrounding New Zealand.

Wout de Natris - van der Borght

 

You can listen to and order One Is Always Heading Somewhere Here:

https://w--o--m--b.bandcamp.com/album/one-is-always-heading-somewhere

It's Summer, I Love You, And I'm Surrounded By Snow. Dead Gowns

Het is dringen in de indierock van het moment, maar de Amerikaanse muzikante Genevieve Beaudoin heeft als Dead Gowns een album gemaakt waar liefhebbers van dit genre echt niet omheen kunnen.

It’s Summer, I Love You, And I’m Surrounded By Snow had zomaar aan mijn aandacht kunnen ontsnappen, maar hiermee had ik dan wel een van de beste albums van februari gemist. Dead Gowns, het alter ego van de uit Maine afkomstige muzikante Genevieve Beaudoin, heeft een album afgeleverd met invloeden uit de folk en de country, maar invloeden uit de indierock domineren op het album. Het gitaarwerk op It’s Summer, I Love You, And I’m Surrounded By Snow is van uitstekende kwaliteit, maar het is vooral de mooie en emotievolle stem van Genevieve Beaudoin die het debuutalbum van Dead Gowns zo mooi en indrukwekkend maakt. Wat een droomdebuut.

Het was wederom de Amerikaanse muziekwebsite Paste die me een gouden tip opleverde. Dat deed de website zeker niet voor de eerste keer en zoals zo vaak betrof het een album dat door de meeste andere muziekwebsites helemaal niet werd opgemerkt. Ik was de naam Dead Gowns wel in een aantal releaselijsten tegengekomen, maar op basis van de naam verwachte ik eerder een metalband dan een vrouwelijke singer-songwriter.

Dead Gowns is echter wel degelijk het alter ego van een vrouwelijke singer-songwriter en om precies te zijn dat van de uit Portland, Maine, afkomstige Genevieve Beaudoin. De Amerikaanse muzikante nam haar debuutalbum met de bijzondere titel It’s Summer, I Love You, And I’m Surrounded By Snow tussen 2020 en 2023 op. Dat deed ze vooral in slaapkamers, gymzalen en kerken, want geld voor een professionele studio was er niet.

Met It’s Summer, I Love You, And I’m Surrounded By Snow laat Genevieve Beaudoin horen dat je tegenwoordig ook met bescheiden middelen een prima klinkend album kan maken, want ik heb niets aan te merken op het geluid op het debuutalbum van Dead Gowns. Het eerste album van de muzikante uit Maine opent met de akoestische gitaar en de stem van Genevieve Beaudoin, maar halverwege de track wordt de folk verruild voor de indierock en klinkt de muziek van Dead Gowns opeens een stuk voller en steviger.

It’s Summer, I Love You, And I’m Surrounded By Snow werd gemaakt met een aantal muzikanten, die met bijdragen van met name gitaar, bas en drums en af en toe de pedal steel, de songs van Dead Gowns meerdere kanten op duwen. Gemene deler op het album is de indierock en het is indierock die lekker stevig, maar ook voldoende melodieus klinkt.

Genevieve Beaudoin laat in de eerste noten van het album en in een aantal vooral ingetogen songs op It’s Summer, I Love You, And I’m Surrounded By Snow horen dat ze indruk kan maken als folkie, maar ook de wat steviger aangezette zang in de wat meer rock georiënteerde songs op het album spreekt zeer tot de verbeelding. De zang op het debuutalbum van Dead Gowns is uitstekend, maar het is door alle emotie die de Amerikaanse muzikante in haar stem stopt ook zang die iets met je doet.

It’s Summer, I Love You, And I’m Surrounded By Snow sluit aan op de indierock zoals die momenteel wordt gemaakt, maar door de grote dynamiek in de songs, door het zeer fraaie gitaarwerk, door al het gevoel dat Genevieve Beaudoin in haar songs stopt en zeker ook door het lage tempo en de vaak bijzondere sfeer op het album, klinkt het debuutalbum van Dead Gowns anders dan de meeste albums in het genre.

Ik werd eigenlijk direct geraakt door de prachtige stem van Genevieve Beaudoin en door de fraaie klanken op het album, maar na It’s Summer, I Love You, And I’m Surrounded By Snow een paar keer gehoord te hebben ben ik nog veel meer onder de indruk van de muziek van Dead Gowns en met name van de zang van de Amerikaanse muzikante.

Het album sneeuwde op de meeste muzieksites helaas volledig onder, maar Paste wist It’s Summer, I Love You, And I’m Surrounded By Snow van Dead Gowns gelukkig op de juiste waarde te schatten. Gelukkig, want dit uitstekende en intense album had ik niet graag gemist.

Erwin Zijleman

 

Je kunt het album bestellen op de site van de muzikante:

https://deadgowns.bandcamp.com/album/its-summer-i-love-you-and-im-surrounded-by-snow 

of op bandcamp:

https://deadgowns.bandcamp.com/album/its-summer-i-love-you-and-im-surrounded-by-snow

How Love Bends. Reb Fountain

Reb Fountain made quite the impression on me with her previous two albums, 'Reb Fountain' and 'Iris', and live at the Paradiso in Amsterdam. Except for an occasional single, things went quiet until late last year, when the first single announcing How Love Bends was released. The two singles announced that Reb Fountain was about to set a next step in her career. The mysticism and mystery in her music was still there but the music felt different and more electronic.

My hunch was right, but also in a totally different way. Reb Fountain recorded the album with her band, Karin Canzek on bass, Earl Robertson on drums and Dave Khan on guitar & synths who also co-produced the album with Simon Gooding. Add some strings here and there and you have the musical picture. Together they made the album more direct in many songs, perhaps more present is a better description. but on the other hand there is the very jazzy 'Ring Ring', an ultimate slow song and so bare. All the attention goes to the singer, who almost flows away to soaring heights. Her voice simply shines brighter than ever before.

Reb Fountain is from New Zealand, although born in the U..S. She is an award-winning artist there, but I founnd that her new record is not released over here. I'm sure that very good Dutch artists never see a release down under, but in the case of Reb Fountain it is a bit absurd, as her previous two are available even in my local record store. Based on the quality of How Love Bends it becomes even moe absurd.

Although it is always dangerous to state the biggest of words so soon after a release, How Love Bends is an extremely good record. It may well become my favourite of the three. Despite having a little fright from the electronics in single 'Nothing Like', when I first heard it. Vocally Reb Fountain is in great shape and the band supports her for the whole of the way.

While the band setting may by elementary, drums, bass and keyboard or guitar, it is all else that enriches the songs no little. The use of seemingly endless reverb is an electronic effect, the strings and atmospherics are what gives How Loves Bends its depth. In every single song this richness is presented to the listener. It's what makes Reb Fountain mysterious 2.0. The whole album is next level Reb Fountain. No matter how good I think 'Reb Fountain' and 'Iris' are, How Love Bends seems to have have something on top of it all. Of course, fans will recognise familiar musical references. Things only start there, is my opinion.

I do not feel like bringing out individual songs for you. It simply feels inappropriate. Let 'Ring Ring' stand as an example. It suffices, as How Love Bends is a total experience. An album to submerge in. It is like a warm bath that keeps its temperature without having to change anything. The team, singer, band and producers, went for the best and together achieved even more.

How Love Bends is one of the best records, if not the best, released in 2025 so far. And now for that release or distribution in NL. Anyone interested?

Wout de Natris - van der Borght

 

You can listen to and order How Love Bends here:

https://rebfountain.bandcamp.com/album/how-love-bends

Automatic. The Lumineers

Ik heb al jaren een enorm zwak voor de muziek van de Amerikaanse band The Lumineers en ook met album nummer vijf, Automatic, stelt de band rond Wesley Schultz en Jeremiah Fraites me echt geen moment teleur.

The Lumineers is in de Verenigde Staten echt een hele grote band, maar ook in Nederland beginnen we de muziek van de Amerikaanse band langzaam maar zeker op de juiste waarde te schatten. Dat doe ik zelf al sinds het tweede album van de band en vooral sinds het geweldige III, dat wat mij betreft een van de allerbeste albums van 2019 was. Ook met Automatic hebben Wesley Schultz en Jeremiah Fraites weer een uitstekend album afgeleverd. In muzikaal opzicht klinkt het allemaal fantastisch, de songs zijn stuk voor stuk aansprekend en dan is er ook nog de geweldige stem van Wesley Schultz, die de songs van The Lumineers omtovert in pareltjes. III blijft onaantastbaar, maar Automatic komt dicht in de buurt.

Toen de Amerikaanse band The Lumineers in 2012 opdook met de single Ho Hey vond ik het eerlijk gezegd maar een flauw bandje, maar het titelloze debuutalbum van de band uit Denver, Colorado, bleek een stuk beter. Toch had ik op dat moment niet verwacht dat de band tot grootse dingen in staat zou zijn.

Dat bleek de band echter wel, want Cleopatra uit 2016 en met name III uit 2019, overigens allebei geproduceerd door Simone Felice, vond ik echt fantastische albums. III eindigde aan het eind van 2019 zelfs op de tweede plek van mijn jaarlijstje en het is een album dat ik nog altijd met enige regelmaat beluister.

Het in 2022 verschenen BRIGHTSIDE was niet zo goed als III, maar ik vond het nog altijd goed genoeg voor mijn jaarlijstje. Alle reden dus om erg nieuwsgierig te zijn naar het nieuwe album van de Amerikaanse band, die in de basis bestaat uit Wesley Schultz en Jeremiah Fraites. De twee worden ook dit keer bijgestaan door producers David Baron en Simone Felice, maar Automatic is zeker geen fantasieloos vervolg op de vorige albums van de Amerikaanse band.

Het album, dat overigens volgt op het prima live-album Live From Wrigley Field van vorig jaar, liet zich voor het opnameproces inspireren door de Beatles documentaire Get Back. Wesley Schultz, Jeremiah Fraites en de twee producers van de band propten de studio in Woodstock, New York, vol met instrumenten en gingen vol enthousiasme aan de slag. Dat hoor je, want Automatic is een album waar veel vaart en energie in zit.

Het klinkt vanaf de eerste noten onmiskenbaar als The Lumineers, maar ook Automatic voegt iets toe aan het fraaie oeuvre van de band. Centraal staat nog altijd de zo herkenbare stem van Wesley Schultz, die ook dit keer het geluid van de band voor een belangrijk deel bepaalt. De door piano gedragen songs klinken dit keer zowel ingetogen als behoorlijk uitbundig, wat bijdraagt aan de vaart die in het album zit.

Als ik Automatic vergelijk met het titelloze debuutalbum van dertien jaar geleden valt op hoezeer Wesley Schultz en Jeremiah Fraites gegroeid zijn. Automatic klinkt in vocaal opzicht nog aansprekender dan het debuutalbum, maar vooral in muzikaal opzicht is sprake van een muzikale aardverschuiving. De songs op Automatic zijn gevarieerd, bestaan uit vele lagen en verraden niet alleen een enorme muzikaliteit, maar ook het vermogen om zeer aansprekende songs te schrijven.

Heel af en toe hoor ik een vleugje Beatles in de songs op Automatic, maar de Amerikaanse band heeft toch vooral haar eigen geluid geperfectioneerd. Ik hou altijd wel van de wat meer ingetogen en wat intiemere songs van The Lumineers en die liefde wordt op Automatic uitvoerig bevredigd. Het album bevat flink wat door piano gedomineerde songs en het zijn songs waarin Wesley Schultz de sterren van de hemel zingt.

De band verkoopt inmiddels ook in Nederland de AFAS Live uit, maar met albums als III, Cleopatra en Automatic moet er nog veel meer mogelijk zijn. Sinds III is mijn liefde voor de muziek van The Lumineers onvoorwaardelijk en ook met Automatic, dat ik aansprekender vind dan BRIGHTSIDE, stelt de band uit Denver, Colorado, me geen moment teleur. Dat had ik dertien jaar geleden echt niet verwacht van het bandje van Ho Hey.

Erwin Zijleman

 

Je kunt Automatic hier luisteren en bestellen:

https://the-lumineers.bandcamp.com/album/automatic

Devil's Got It. The Devils

"Brace yourselves, dear readers. We are going all the way with the new The Devils album, 'Let The World Burn Down"', I wrote 13 months ago on this blog. I might as well repeat it today, as The Devils do it again and I would say a little bit better than before to.

The Devils is an alternative rock/garage rock duo from Napels in Italy. Gianni Blacula plays the guitar and sings here and there. Erika Switchblade plays the drums and is the principle singer. She got that devil on my tail kind of voice. Without becoming hysterical, she is the kind of woman who dared to go to that famous crossroad somewhere in the deep south of the U.S. Her voice has a tough edge that allows her to yell and scream in a deep, convincing way.

The music is pure modern style rock and roll, influenced from anyone between Link Wray, T. Rex and Jack White. There are dozens of duos active in this context and in 2024 The Devils was another nice addition. With Devil's Got It the band moves to the front runners. The Black Keys, no matter how much I like the band, may wish to be as alive as The Devils today. This band has the groove, the dirty sound, the rock and the roll, in other words this is pure musical sex.

Photo: Nathalie Rei

Devil's Got It becomes even stronger because of the moments that The Devils tone down, like in the field holler inspired song cum acoustic blues ballad like 'You Got to Take Sick and Die Some of These Days' and in the final song, Everyone Loves A Winner', when all the steam and pressure has been released and the duo can show another side of itself. 

Napels is a town sitting next to a volcano and volcanic fields and could erupt any moment. Humans are fantastic in just living their lives and pushing clear and present danger from their minds, unless it's acute. The Devils show it, as some of its songs either simply erupt or rumble fiercely and threaten the listener with what not. Danger is always present in this music, yet the duo remains where it is. It's Devil's Got It's great attraction for me. This album is more than just alive, it's on fire.

Wout de Natris - van der Borght

 

You can listen to and order Devil's Got It here:

https://thedevilsduo.bandcamp.com/album/devils-got-it

2025, week 11. 10 singles

Week 11 comes with cold and sunshine, no rain in sight. Pollen are in the air super abundantly, my eyes are watering for most of the day, but for the rest this year it's fine for a change. Musically, you will find a few familiar names but also totally new ones. It's time to explore once more, enjoy!

Praying For Your Downfall. Jensen McRae

Jensen McRae is an American singer-songwriter who taps in to female singer-songwriters from the U.S. from around 1995, with names we have all but forgotten, like Nathalie Imbruglia and Joan Osborne. Her single Praying For Your Downfall has the same kind of light touch in her music, but the lyrics are rather vindictive. Whoever she's singing about, this relationship did not end well. That makes the song from today, as the lyrics are very direct and far from subtle. "Keep whistling, as I never was your dog". There's not a lot left to imagine there, is there? Musically, the contrast is huge, as I'm not afraid to mention how light the music sounds and even Jensen McRae's way of singing. "What if God was one of us", it sounds like that alright. It makes for a pleasant single nonetheless. Album 'I Don't Know How But They Found Me!' is out on 25 April.

Again Again EP. Dana Gavanski

Last year I reviewed Dana Gavanski's third album 'Late Slap' and Erwin Zijleman her first album 'Yesterday Is Gone' in 2019. Early in 2025 she is back with an EP, Again Again. Let me start with the downside for a difference. Again Again delivers on its title. If anything, there is a lot of conformity on the EP where the choice of songs is concerned. Piano-driven songs in a slow to at best medium tempo. From there the enjoyment starts though. Dana Gavanski sings with an undercooled, somewhat dreamy voice, carried by the music mixed underneath her voice. In between pursuing life in many and very ways, somewhere between touring and silversmithing, Gavanski turned to her piano and learned to play better and started to record the songs she wrote on it with Syd Kemp to assist her finding a more live sound in the studio. Mission accomplished, I'd say. Again Again may be subdued but far from bare or lifeless. Give the songs some attention and beauty opens itself for you. In many and varied ways. One of these ways is a touch of New Zealand singer-songwriter Aldous Harding, which suits this music well. With Again Again Dana Gavanski has given herself another musical avenue to explore and more options for the future.

Trouble. Voom

And yet another gem from our antipodes in Auckland. After two singles in 2024, you can find them on this blog, Voom returns with an alternative rock song, that could also be named alternative slacker rock. It has a Beck kind of 'Loser' vibe, without the dance rhythm. Buzz Moller, Murray Fisher, Nick Buckton, and Josh Sorenson released their previous record nineteen years ago and have been working on dozens of demos all through these years and now is the time to get them out to fans of old and new, like me. 'Something Good Is Happening' is slated for 16 May. In the meantime we have Trouble. A song with an irresistible groove. One of the kind that makes me nod my head and move my shoulders in this concept of a dance. The kind of groove that takes over my mind and body. Trouble sounds tremendously familiar, like a thousand other songs I like. With ease I'm grooving to number 1001.

No Front Teeth. Perfume Genius feat. Aldous Harding

No Front Teeth is a single of six plus minutes, with a video that's rather confrontational on a few levels. The song has as many twist as the video. Nothing is what it seems. From the very first seconds I'm captured though. Perfume Genius, the alter ego of Mike Hadreas, sings with a voice that reminds me faintly of Roger McGuinn. He sings with Aldous Harding, who has frequented this blog often, then she sings alone with an angelic voice, just before the song explodes in your face. The music takes you from a soft flowing brook to a the wildest cascades right over the edge of a waterfall and back in to soft flowing water but with deep dark depths beneath you. No Front Teeth is musical danger, that may be the best description. Album 'Glory' is out on 28 March.

You're Right There. NoVanGogh

I certainly am not a painter, so that makes me a no Van Gogh as well. Duo Doug Sparks and Colin Hastings are musicians and may want to be Lennon and McCartney or Fagen and Brecker or Crosby and Nash, I digest from listening to You're Right There. NoVanGogh aspires to writing and producing the perfect pop song and come a long way reaching it. Sparks wrote the song with Robin Goodchild, who plays guitar and sings. In fact, You're Right there is a duet sung with Lydia Salnikova. Somehow everything is in its right place. Nothing is overdone and just perfect. My ears are pleased from the very beginning right up to the final seconds. All the elements that make up a good pop song are present it seems. Perhaps it's better I write what used to make a good pop song, as I truly do not hear anything in what is called pop nowadays. NoVanGogh taps into the greats of the 60s and 70s and those artists and bands that used these elements for their own pop songs since then. You're Right There is a song that deserves to be heard.

Save Me. Diederik Nomden

The name Diederik Nomden can be found on this blog many times. Today he returns with the single Save Me, announcing his upcoming album 'Sooner/Later'. Now The Analogues appear to have reached the end of the road with the three final shows in the Ziggo Dome in 2024, it is time for a new solo record. Save Me shows that being able to play The Beatles songs perfectly does not exclude writing extremely good songs yourself. In fact Paul McCartney may wish he writes a song as Save Me today. I haven't hear one approaching it for decades. Save Me is full of confidence, but also so subtle. A pop song like it has to be. Fellow Analogue Jac Bico lays down some nice solo licks, a warm Hammond organ does the rest. Save Me overflows with dedication and warmth for this song. I hope that the people who came to hear Diederik Nomden sing The Beatles will come out to hear him sing Save Me as well. It would be so well deserved. Save Me is a top song.

Westside Pavillion Of Dreams. Hooveriii

Hooveriii? Wasn't that the band that played nice psychpop/rock songs? Not on the first single of it's upcoming album 'Manhunter'(16 May). Westside Pavillion Of Dreams is a very direct song, that goes for it from the get go. Sure, it still has a pop feel, especially in the vocal melody. The band is going for it and is more or less hammering away on my eardrums. In a nice way, sure, but not what I was expecting to hear. Hooveriii is the brainchild of Bert Hoover  III with an ever changing band behind him. On the new album there are many guitarists. Westside Pavillion Of Dreams is a guitar song. The drums may be sweeping things up in the background, rather loud, it is the stack of guitars playing riffs and loud chords that set the tune. Westside Pavillion Of Dreams is a clear change but certainly not for the worse. Let's wait and see what 'Manhunter' will bring.

Only You. Womb

From psych rock with an edge is a small step in the weekly single session to dreampop, just like moving from the south of the U.S.A is to New Zealand. Trio Womb releases another single of its just released third album, 'One Is Always Heading Somewhere. Only You is an extremely soft and floating song. With only a little exaggeration the way a foetus might hear music in the womb. The band, Cello, Haz and Georgette Forrester, are not afraid to tone down completely and let the atmosphere of the song do the talking. Yes, there is drums playing, a bass and guitars and all sorts of sounds going on, what strikes me most is the mood of the song, dreamy and subdued. So. I'm okay with calling Only You dreampop, but not without some relative scary moments in the dream, in the form of unexplained darker sounds in a few moments. Summing up, Only You is more than just nice.

Tuesday. Julien Baker & Torres

So far, I've refrained from writing on the duo's releases. That changes with Tuesday, the third single from the upcoming album of Torres and Julien Baker, 'Send a Prayer My Way', to be released on 18 April. With Lucy Dacus releasing her new solo album soon, two of the three boygenius members are releasing new work. But first, Tuesday. This is a country song of sorts, with a quite dark lyric. A song about a deeply disturbed girl/woman and the impact she has on the "I" in the song. The music is sort of a backdrop to the story, ending in self-mutilation of the "I". Things sort of turn out alright but there is a sense of shame that keeps hanging there, despite Tuesday's shame is not the "I"'s. Being a parent, I can't help feeling worried for someone I do not know and may not even exist in the sense of beyond this song. It's downright scary.

Alexa, What Is There To Know About Love?  Brian Bilston and The Catenary Wires

I know nothing of poetry. I do not have the mind for it and can't understand it somehow. While I love reading, I can't read poetry. It can't be helped. So, when I received an email about a song based on a poem set to music, I did not warm for the concept immediately. Brian Bilston is one of currently famous poets in Great Britain. The title is to be taken literally. Bilston is asking Alexa, to answer the question "what is there to know about love"? This is answered by Alexa with an angelic singing voice. This is just the start of existential and post-existential questions, not without humor at that, Bilston fires at Alexa. Who, perhaps in confusion, resorts to just singing 'oohs'. The music though is driving and almost exhilarating, if anything I'd say belated Britpop. The Catenary Wires, Amelia Fletcher, Rob Pursey and Ian Button, have set 13 poems to music. The album 'Sounds Made By Humans' is to be released on 6 May. In the meantime I've let me be surprised by Alexa, What Is There To Know About Love?. This is actually a very good single.

Wout de Natris - van der Borght