THIS MUSIC MAY CONTAIN HOPE. Raye

De Britse muzikante Raye heeft zich de afgelopen jaren stormachtig ontwikkeld en slaagt erin om op haar nieuwe album THIS MUSIC MAY CONTAIN HOPE. werkelijk alles dat ze aanraakt in goud te laten veranderen.

Het eerste uur van het concert van Raye in de Ziggo Dome ruim twee maanden geleden vond ik echt imponerend, maar hierna verslapte mijn aandacht wat. Ik was bang dat dit ook bij beluistering van haar nieuwe album THIS MUSIC MAY CONTAIN HOPE. zou gebeuren, maar daar is geen sprake van. Raye schiet op haar nieuwe album alle kanten op en dat geldt zowel voor de genres als voor de zang en muziek op haar album. THIS MUSIC MAY CONTAIN HOPE. is in alle opzichten een weergaloos album en laat goed horen dat Raye echt een enorm talent is. Ze heeft er aardig voor moeten knokken, maar inmiddels ligt de wereld aan haar voeten en dat is echt volkomen terecht.

Eerder dit jaar zag ik de Britse muzikante Raye aan het werk in de Amsterdamse Ziggo Dome. Het was bij vlagen echt heel erg goed tot bijzonder imponerend, maar het was ook veel, heel veel en soms net wat te veel naar mijn smaak. Raye schakelde met haar twintigkoppige band makkelijk tussen nogal verschillende genres, wat een bont geluid opleverde. 

Het ene moment maakte ze pure soul, het volgende moment was het toch meer jazz of bigband muziek, maar Raye kon ook uit de voeten met pure of juist georkestreerde pop, met filmmuziek, met R&B en met wat al niet meer. Het werd aan elkaar gepraat met soms net wat te lange verhalen en ondanks het feit dat de Britse muzikante pas één album op haar naam had staan, speelde ze een hele lange set. 

Die set was zo lang omdat Raye tijdens haar tour alvast stilstond bij haar nieuwe album, dat ruim twee maanden na haar concerten in Amsterdam dan eindelijk is verschenen. Door de concerten wist ik ongeveer wat ik kon verwachten van THIS MUSIC MAY CONTAIN HOPE. (met punt) en het in april verschenen album voldoet qua inhoud goed aan deze verwachtingen. In kwalitatief opzicht is het album echter veel beter dan ik had verwacht. 

Ook THIS MUSIC MAY CONTAIN HOPE. is veel van alles. Het nieuwe album van Raye schiet alle kanten op en bestrijkt alle genres die ook tijdens haar concert voorbij kwamen. Nu is bijna twee uur lang staan in de Ziggo Dome best een opgave en op een gegeven moment was ik ook wel klaar met alle verhalen van de Britse muzikante, maar THIS MUSIC MAY CONTAIN HOPE. houdt mijn aandacht makkelijk 17 songs en bijna vijf kwartier vast. 

Het nieuwe album is niet alleen veel, maar vaak ook behoorlijk bombastisch, maar het is wat mij betreft nergens over de top, al is dat een kwestie van smaak. Raye schakelt op haar nieuwe album razendsnel tussen genres, waardoor er enorm veel vaart en dynamiek in het album zit. In muzikaal en productioneel opzicht is THIS MUSIC MAY CONTAIN HOPE. echt een fantastisch album. Het geluid is extreem vol, maar het is ook een geluid vol details en vol dynamiek. 

Raye schakelt binnen een paar noten van zoet naar ruwe klanken en heeft ook maar een paar noten nodig om een zwoele ballad om te laten slaan in een uptempo jazztrack. Ook organische klanken en elektronica vloeien soepel in elkaar over, waardoor THIS MUSIC MAY CONTAIN HOPE. met zevenmijlslaarzen door genres en door de tijd schiet. 

Ook in vocaal opzicht heeft Raye een fascinerend album gemaakt. Net als de muziek op het album klinkt ook de zang op het album steeds weer anders en alles klinkt even goed. Raye is een geweldige soulzangeres, maar het is een soulzangeres die in alle richtingen reuzenstappen kan zetten. 

De Britse muzikante heeft een album gemaakt waarop meer gebeurt dan in een stapel albums van de meeste andere muzikanten. Af en toe vraag je je af of ze niet moet kiezen tussen genres of zich moet beperken tot één of hooguit twee genres, maar na enige gewenning is de enorme vocale en muzikale diversiteit van Raye haar grote kracht. 

Ik begon met enige reserves aan de beluistering van THIS MUSIC MAY CONTAIN HOPE., maar het album blies me bij eerste beluistering van mijn sokken en blijft dat doen. In de Ziggo Dome zag ik een wereldster in de dop, op THIS MUSIC MAY CONTAIN HOPE. is Raye een wereldster.

Erwin Zijleman

2026, week 27. 5 singles (2)

"Along with the sunshine, there's got to be a little rain sometime", sang Lynn Anderson 55 years ago in her hit single "(I Never Promised You A) Rose Garden'. It is like that here at the time of writing, together with a neighbour complaining about a barking dog on my block that is making people crazy. Thank God for double glass, it seems. 'Rose Garden' did make me wonder: which came first the book or the song? Hannah Green's bestseller is from 1964 so I've just found. The song won in my personal case. In the meantime I have five more recent singles for you, enjoy!

Dark Eyed Junco. Kristin Hersh

You have to go back to 2019 to find Kristin Hersh on this blog. She returns with a dark and intense single called Dark Eyed Junco. There is very little light that Ms. Hersh lets through in this song announcing her upcoming album 'Sugar On Blackstone' (18 September). It all starts with a guitar part somewhere between a melody and a riff. Together with the lead note that returns over and over, it already sounds eerie, like a modern version of some themes in 'Once Upon A Time In The West'. When the band kicks in, it is all papered over, blackout style. Kristin Hersh's voice is not your every day solo voice, but it fits this music perfectly. The role of drummer Rob Ahlers is prominent in several parts of the song, really sweeping it forward. Dark Eyed Junco may be a dark but it is also an intriguing song, making me look forward to hear the whole album.

Happy Sunbeam EP. Wooden Overcoat

Wooden Overcoat returns to the blog with its EP. The first of the four songs is 'Home'. There are these songs that function as a time machine. Despite the fact that no band could sound in 1967 like Wooden Overcoat does in 2026, it emulates bands like Traffic, The Lemon Pipers and what not from the day, while fitting in nicely with a whole host of psychedelic bands of the last 10 to 15 years. Although there are a multitude of angles in which to play this kind of music, from The Black Angels to Wooden Overcoat, there are more similarities than differences. Wooden Overcoat aims for the relaxed vibes coming with psychedelia, peace and happiness, adorned by kaleidoscopic fluid projections in the background. The band's frontman is Brian Hajek playing guitar and singing. He's joined by bassist Dillon Glusker, guitarist Mac and drummer Brian Levin. Including the overdubs Wooden Overcoat creates a full sound without muddying it all up. And someone must be playing the keyboard. I'm not sure if I would get through a whole album in this style. The four song Happy Sunbeam EP works like a miracle though. It's warm, relaxed and more than just pleasant.

How Long Is Too Long. The Broken Heartbreakers

More from New Zealand and a new name to me. It was twelve years ago The Broken Heartbreakers released its previous album. It may well be that I was not alerted yet on New Zealand releases at the time. For me this is a new band. How long is too long? is a good question to ask after an hiatus of twelve years. Many people will have forgotten all about you. With this single the band places a gentle reminder of its existence. How Long Is Too Long is a beautiful acoustic folk song. It fits in a tradition of British folk songs and adds a little jazzy atmosphere and even a hint of Latin American music. Someone like Bebel Gilberto will be able to translate this into a modern sounding bossa nova with ease. The Broken Heartbreakers is Rachel Bailey and John Howell with drummer Paul McLennan-Kissel. How Long Is Too Long is a song that is so delicate. From the soft voice of singer Rachel Bailey to the accompaniment, all is aimed for an effect on your soft side and it works. Album 'Imagine If We Could Just Keep Driving' is due on July 17. 

The Fire. De Staat

Classic De Staat The Fire is. These five words sum it up nicely. The heavy rhythms, the darkness, the electronics, Torre Florim Janssen (the addition of Janssen is new to me) sing talking, the band answering here and there. After 'Old McDonald' a long time ago, De Staat today is "rowing gently down the street". You will all find it all on The Fire. Nothing new under the sun then? If I'm honest, no, there isn't. Is that a bad thing? No, it's not. The energy caught in and on The Fire is obviously genuine. It's the kind of song that will get a venue and festival field going alright. As long as you don't expect any grand new insights  from De Staat, you'll be just fine with The Fire.

Waiting On Nina. Family Stereo

The family stereo entered my family in 1967 with a radio and pick up hidden in a kind of cupboard. From that day onwards, I started to collect records, slowly but surely. The band Family Stereo is the project of singer-songwriter Blake Watt, that will release its debut album on 31 June, called 'The Thread'. Watt's voice reminds me most of Dutch singer-songwriter Thijs Kuijken, operating under the name I Am Oak. Musically, the two operate in a folkish kind of music, but musically distinct. Waiting On Nina places itself in a long tradition of folkpop singers, who present their soft music in a poppy way, while smearing some contemplative melancholy over his listeners. Family Stereo strikes the right mood and notes to convince with Waiting On Nina. Now who was that singer that scored a minor hit with 'Lydia'? For the first time in decades I'm thinking about the song. You Tube tells me immediately: Dean Friedman. To my surprise all piano and strings, so very different musically. That mood is there though.

Wout de Natris - van der Borght 

Residue. Yea-Ming and the Rumours

To me it remains fascinating that young musicians have a fascination with music from way before their time and perhaps even their parents'. In the case of Yea-Ming Chen it must be her parents. Residue sounds like music coming from a time machine. With a voice like Nico (Crista Päffgen) without the German accent and too much life behind her, she emulates that dreaminess The Velvet Underground had within it also. Even more so with Doug Yule as co-singer than Nico. The prickly pears that John Cale infused into The Velvets' sound had gone by then.

The result coming out of Yea-Ming Chen's mouth is a mix of Nico and French sigh girls of the 1960s. The way she sings is completely safe. There's no danger whatsoever within earshot on Residue. The Rumours provide the exact right background for this voice. The music is somewhat indie. The lightest version of R.E.M. is not far away. Think a song like 'Nightswimming'. The indie gets a sixties twist, where I'm reminded of Nancy Sinatra as well as The Walker Brothers but both stripped of the bombast that the producers added to their most famous songs. So, indeed The Velvet Underground stripped of the danger. 'Candy Says', 'Pale Blue Eyes' and 'After Hours' are good examples of this.

With Residue Yea-Ming and The Rumours released its fourth album. For me its my first, so there's nothing to compare to. Although I understand that The Rumours are more of a project than a band, the current line up is Yea-Min Chen, vocals, guitar, organ; Eóin Galvin, lead guitar, lap steel, vocals; Luke Robbins, drums, percussion, vocals and Rob Good, bass, lead guitar, vocals. Together they lay down an album, that after the moderately loud, by comparison that is, opening track 'Paper Doll, ís an album filled with tranquil tracks. Not rocking the boat seems to be the concept. Yes, also in the faster songs, like 'Cold'.

This comes with a risk. When not paying close attention, the album will pass you by. Paying only moderate attention will make you think the album is boring. That makes Residue an album to pay attention to, invest in by listening with attentive ears. The investment is rewarding, as Residue is a good album worth spending your time with. The single 'Cheap Thrill' put me on the trail of Residue and the single proves to be a great key opening up the album. If you like the first two songs on Residue, the rest will follow effortlessly.

Yes, Residue will come across like a time machine, but a rewarding one. After more than just a few years in music Yea-Ming Chen (and band) has a new fan. I'm signing up.

Wout de Natris - van der Borght 

 

You can listen to and order Residue here:

https://yea-ming.bandcamp.com/album/residue 

 

2026, week 27. 5 singles

Pffff, it has cooled down, making life a little more bearable again. Well, with the World Cup taking a bad turn for my country, how can you miss three penalty kicks in a series of five and have the bad luck that the goalkeeper stops a kick only to get it against his heel after which it goes in anyway, things are relative. Anyway, it is time for music. Here's five more recent singles to enjoy!

Baobab. Upupayāma

One of the first bands of what for the ease of argument I call the new psychedelic wave that caught my attention in a positive way was Elephant Stone. Many followed, some good and interesting, some less so. Right on the opening measures of Baobab, I'm transported back to my 2014 experience. Upupayāma remains more spacey in Baobab. Nothing becomes concrete but sort of floats around them bongos and the acoustic guitar setting the rhythm. Without being Indian, the song does give off strong Indian vibes and certainly not African, where the Baobab tree originates from. With Baobab Upupayāma provides the ideal inner mind holiday, as it is a song to surrender to, unconditionally.

Gimme Ammunition. Gene Champagne

Gene Champagne returns to the blog with a 7" single. Once again it is a charged up affair. Let's face it, if this song hadn't been just that, I would have ordered him to change its title. Champagne moves straight into punkpop tracks by the likes of Blondie around 1977-1979. Let me even add The Ramones. It is the line up and the guitar solo that brings Gimme Ammunition into the Blondie side of punkrock/pop. This song holds the combination of energy, fun and skills at songwriting to not only make it stand out but to truly enjoy as well. Singing along to the chorus is something that becomes mandatory at shows. Gimme Ammunition is one big invitation to jump around, shout and sing along with it.

Which Side Are You On?. Dan Cummings

Very attentive readers of this blog will recognise the name Dan Cummings as the singer and songwriter of the punk band Already Dead, who first made a deep impression on me with the single 'The Spirit Of Massachusetts Avenue' from the album 'Something Like A War'. In this acoustic single he dusts off a traditional, that also has been on the repertoire of Dropkick Murphies. It was a class song of the working man against the higher class. Dan Cummings takes a very political stance on Which Side are You On?, but takes the song into the third decade of the 21st century. This is about siding as decedents of immigrants with today's immigrants. To point to the fact that billionaires reap all the benefits, to return to the class war just like in the original. One more artist from the Boston area who takes a stance and leaves no doubt which side he's on. It makes me muse what the modern variant of tea will be? That harbour must still be there. 

Clarion. Tasha

Who else but Erwin Zijleman wrote about Tasha's previous album, 'All This And So Much More', on this blog? But to my credit the single 'Michigan' and Love's Changing' were reviewed by yours truly. Clarion comes to my name as well. Tasha shows two different sides to her songwriting on this single announcing her new album 'You are Spring!' that was released last week. Clarion is an ultra relaxed song. In fact, it is almost a slacker tune, were it not that the arrangement belies this completely. The other side of Tasha comes forward in the intricate arrangement where instruments and notes weave in and out of each other. Notes pop up to disappear again, while other instruments join, not to leave the song. Over it Tasha sings her lyrics in that completely relaxed way. The combination simply works, as that is how the song sounds, simple. Don't be fooled by that relaxed tempo though. There is a lot going on there.

S33.u.in/HAL. Holy Wave

A new name on the blog, or so I thought. It isn't, as the single 'Happier' was reviewed by me in 2023. As our former prime minister used to say when I a political bind, "I have no active recollection of this", and got away with it. Mine is in a digital print, that makes it a bit harder to deny. What to make of the title of this song? I really have no clue. HAL is both the Dutch Holland America Line, now an investment vehicle and the super computer in Space Odyssey. It's even the name of a band from the 00s, I think. Looked at in a more broader way, I derive at "see you in hell". A lot of options. The music is almost as weird as the title. The largest part consists of a mix of indie, psychedelia and dreampop. Enter a bit of shoegazing in the chorus and instrumental interlude. The noise is pushed to the background and turns into quite some weirdness, to be faded out when the verse starts again in all its tranquillity. The result is a song with two very distinct faces, like a musical version of dr. Jekyll and Mr. Hyde. The Texan band presents a fascinating song. Album 'I'm Dada' can be expected on 10 July.

Wout de Natris -van der Borght 

Doomsday...Don't Leave Me Here. Rosie Carney

De Britse singer-songwriter Rosie Carney bouwt inmiddels een jaar of zeven aan een indrukwekkend oeuvre, dat begon met uiterst sobere folksongs en is geëvolueerd in een groots klinkend popgeluid.

Rosie Carney beschikt over een werkelijk prachtige stem, die van haar debuutalbum Bare een album van een bijna onwerkelijke schoonheid en intimiteit maakte. Op haar vorige album koos de Britse muzikante voor een wat voller geluid en die lijn wordt doorgetrokken op het in maart verschenen Doomsday...Don't Leave Me Here. De uiterst sobere klanken van Bare hebben plaatsgemaakt voor een even groots als atmosferisch klinkend popgeluid. Dat is even wennen, maar de songs op het album zijn interessant en de stem van Rosie Carney is ook op haar vierde album weer prachtig. De muziek van Rosie Carney blijft vooralsnog wat onderbelicht, maar verdient absoluut een plekje in de spotlights.

Ik ben tot dusver zeer gecharmeerd van de albums van Rosie Carney, ook van haar in maart uitgebrachte vierde album heeft uitgebracht. De Britse singer-songwriter kreeg al op haar zestiende een platencontract, maar dat werd ontbonden voor ze haar eerste album had uitgebracht. Dat album kwam er uiteindelijk toch, want helemaal aan het begin van 2019 debuteerde Rosie Carney, inmiddels 21 jaar oud, met het werkelijk wonderschone Bare. 

Het is een album dat aan het eind van dat jaar, tot mijn verrassing of zelfs verbijstering, niet opdook in mijn jaarlijstje, maar met de kennis van nu vind ik het debuutalbum van Rosie Carney een van de allermooiste albums van het betreffende jaar. Bare is een zeer persoonlijk album met vooral intieme en sober ingekleurde folksongs en het zijn songs waarin de indrukwekkende stem van Rosie Carney centraal staat. 

De Britse muzikante was zoals gezegd pas 21 jaar oud toen haar debuutalbum verscheen, maar het is een album dat dwars door de ziel snijdt en op hetzelfde moment betovert met wonderschone songs. Bare werd eind 2020 gevolgd door Rosie Carney’s integrale vertolking van Radiohead’s The Bends. Op voorhand een kansloze missie, maar het pakte prachtig uit. 

Op het in het voorjaar van 2022 verschenen i wanna feel happy omringde de Britse muzikante, die overigens in Ierland opgroeide, zich in een aantal tracks met elektronica of met wat stevigere gitaren. Rosie Carney had het wat vollere geluid op haar derde album met haar geweldige stem absoluut niet nodig, maar ook i wanna feel happy wist me makkelijk te overtuigen en onderstreepte wat mij betreft haar grote talent. 

In maart verscheen album vier en ook Doomsday...Don't Leave Me Here is weer een sterk album. Als ik heel eerlijk ben zou ik het liefst een sober en intiem folkalbum hebben gekregen, maar net als i wanna feel happy is ook het vierde album van de muzikante uit Londen behoorlijk vol ingekleurd. 

Doomsday...Don't Leave Me Here klinkt nog wat voller dan het vorige album van de Britse muzikante en schuift ook wat meer op richting pop. Dat is voor iemand die het debuutalbum van Rosie Carney of haar vertolking van The Bends koestert niet direct goed nieuws, maar Doomsday...Don't Leave Me Here is een album dat veel te bieden heeft. 

Het behoorlijk volle geluid op het album is zeer smaakvol en is ook spannender dan je bij vluchtige eerste beluistering ervaart. Het is een geluid vol dynamiek en flinke spanningsbogen en het is een geluid dat Rosie Carney de kant van de groots aangezette en wat theatrale pop op duwt. Dat is af en toe jammer, maar ook op Doomsday...Don't Leave Me Here maakt de Britse muzikante makkelijk indruk met haar stem, die optimaal gebruik maakt van de spanningsbogen in de songs. 

Het derde en vierde album van Rosie Carney laten zich nauwelijks vergelijken met de eerste twee albums, maar de eerste drie albums vond ik geweldig en ook album nummer vier overtuigde me onmiddellijk. Het is een album met een bijzonder fraaie en wat atmosferische productie en ondanks het grootse geluid is er alle ruimte voor de fascinerende stem van Rosie Carney. Ik zet binnenkort ook het betoverend mooie Bare weer eens op, maar ook op Doomsday...Don't Leave Me Here heeft Rosie Carney veel te bieden.

Erwin Zijleman

 

Je kunt Doomsday...Don't Leave Me Here hier luisteren en bestellen:

https://rosiecarneyband.bandcamp.com/album/doomsday-dont-leave-me-here 

Regenesis. Girl With A Hawk

Girl With A Hawk is a band from Boston that I may well be following from the very first single onwards. Come 2026, here is its debut album and yes, it is as nice as I had hoped it would be. It does come with a surprise though. Based on e.g. recent single 'Wasn't It Just Yesterday', I had betted on a harder rocking album. It turns out it is more of a roots album than I had expected. An album that here and there brings Hazeldine to mind, and in a positive way, I'm more than o.k. with.

Let me start for that reason with the song 'The Fighter', the fourth on the album. When the guitar intro starts, my first thought was hey, a cover of 'Zombie' with an Oasis twist? Then the lead guitar joins and I'm back with guitarist Jeffrey Richards' lead melodies in my favourite Hazeldine song, 'Drive'. Girl With A Hawk manages to create this mix of rock and americana in a very successful way too. A twangy lead guitar, a fiddle and great harmonies. The band expands the song more and more, turning 'The Fighter' into an epic anthem by way of the long outro.

Overall, I notice how pleasant Regenesis sounds and can be listened to. Most likely the band sounds far smoother than in a live setting but as I'm not geolocated in the right place, chances are I will never know. The album allows for great listening and that is a very much worthwhile position to be in.

Girl With A Hawk formed during the pandemic and started to release singles quite soon after. Singer and songwriter Linda S. Viens (vocals, electric and acoustic guitar) was joined by Richard Lamphear (keyboards, backing vocals); Daniel Coughlin (guitars, backing vocals); Daniel George Bernfeld (bass, backing vocals); and Nancy Delaney (drums, percussion, backing vocals). Together they have created a sound that alternates between pop, rock and americana in a quite convincing way. All have a life in music and life itself behind them and decided to form a band anyway. The result is like it.

Regenesis is not the album of older musicians that have returned to music as just a hobby. For that the songs on this album are far too serious and well-crafted. These songs are the proof of their collective ability and dedication to create and arrange beautiful songs. Take the ballad 'Beautiful Today' with its bittersweet atmosphere. The music "simply" captured the mood singer Viens was in and turns it into beautiful music.

As I wrote before, I was surprised by the americana flavoured touch of the songs, but from the second spin of the record Girl With A Hawk onwards, the band totally convinced me to be listening to a good album worth exploring wider and deeper. I hope to have convinced the readers to dive in as well.

Wout de Natris - van der Borght 

2026, week 26. 5 singles (3)

A change of the weather is coming up. It's darkish, thunder and lightning loom in the distance and the first drops of rain fall off and on, without gaining momentum yet. The storm can't make up it mins yet, it seems. It probably will when we have to go to the trainstation later this afternoon. In the meantime its clammy and sticky, while the very sporadic wind feels fresher already. In the meantime I'm setting five more recent single aside for your pleasure, so enjoy!

Jealous Lover. The Rolling Stones

And here is the third the Rolling Stones songs released before 'Foreign Tongues'. The song fits into a long line of Stones songs, that show the more pop side of the band. At 82 Mick Jagger can still put in his falsetto voice, as if time has no grip on him. Let us go back to 'Emotional Rescue' from 1980 as a starting point. It is not exactly my favourite The Rolling Stones single, but like almost all singles of the past, I found my way into it at the time. Jealous Lover in the end will go that way, as I do like the chorus and that slick guitar work shared between Keith and Ronnie sounds really smooth and nice. Newspaper 'The Times' already spoke of "a career high" when it wrote about  'Foreign Tongues'. Based on the three songs so far, the rest must be really, really exceptional, to nestle with albums like 'Beggar's Banquet', 'Exile On Main Street' and 'Tattoo You', to name but a few. Jealous Lover is nice, it's smooth, but can't tip 'Sweet Sounds Of Heaven' from 'Hackney Diamonds', to name a recent smash song.

Great Start. In Loom 

Gijs Kerkhoven and Sander van Munster have made music under many names. As In Loom they have made these pages twice this year and here is number three. As said, in In Loom it is Kerkhoven who is the lead singer, making the sound of the duo stand apart from their other collaborations. With Great Start the subtlety that characterises Sander van Munster's work is thrown overboard completely. Can a guitar sound much dirtier than in the intro and beyond of Great Start? Certainly, it can, but that would leave little room for a song. Great Start draws on some of the psychedelic songs The Rolling Stones presented on its 1967 album 'Their Satanic Majesty's Request'. In Loom adds some totally underwater bubbly experiences to it as well. Over this that dirty guitar is put, making Great Start stand out and makes it a very intriguing song. There's far more happening than I could ever have guessed when the song started. Great Start is a listening experience.

The Sweet Goodbey. Opus Kink

Recently I wrote of Opus Kink that there is a strong connection to Dutch fanfarepunkers De Kift and with The Sweet Goodbye the likeness is not taken away. The way the band uses the horns tells me all. At the same time all sorts of influences are let into the mix. Although this song is far less of a genrebender than 'The Head Tree' that featured The New Eves, you will find more than enough surprising elements. At the same time The Sweet Goodbye is more traditional post punk, with horns. Opus Kink does go one step further, at least, than the saxophone DEADLETTER uses to spice its songs for example. Again Opus Kink intrigues with its mix of music, that no matter what is straight in your face the whole time.

Moping. Personal Trainer 

A few weeks ago the first song of Personal Trainer's upcoming third album was reviewed on this blog. It surprised me with its sound and approach. With Moping Personal Trainer is back to its more traditional sound. A little lighter perhaps, maybe even with a disco rhythm guitar sound, added to by a The Stone Roses style drumming, but without doubt Personal Trainer. A female voice answers Willem Smit's vocal in parts of the song. I myself took a shine to Moping immediately, just like I did with so many songs of Personal Trainer and of Willem Smit's previous bands. "This is simply, just good", a voice says in Dutch in the middle of the song. And that comment, made by the band itself, sums it all up for me.

Pay To Play. Tornado Lobster Killer

Punk from Italy? Yes, why not. Tornado Lobster Killer is from Milan in northern Italy and plays punk(rock) as it is supposed to. Don't expect anything different then tremendously fast played instruments, releasing energy and the venting of anger of having to pay to play a show. Bandmembers need to earn some money, except when its a hobby and even then its nice to get something to pay for rehearsal rooms and gasoline. So, writing about this style of music may sound like a summing up of clichés. The music isn't, as Tornado Lobster Killer has the right energy but also the skills to make a song like Pay To Play sound interesting, because of the little melodic additions woven into the whole. So, punk from Italy? Yes, please.

Wout de Natris - van der Borght 

I Am June. Romy Liz Rose (2)

Romy Liz Rose liet de afgelopen maanden al van zich horen met twee indrukwekkende EP’s, maar met haar debuutalbum I Am June schaart ze zich definitief onder de beste vrouwelijke singer-songwriters van het moment.

Luister alleen naar de prachtige openingstrack The Remedy en je bent waarschijnlijk al verkocht. De pedal steel zorgt voor ruimtelijke en wonderschone klanken en ook de stem van Romy Liz Rose pakt je direct in. De lat ligt met de openingstrack direct hoog, maar de Rotterdamse muzikante houdt het hoge niveau op de rest van het album makkelijk vast. I Am June overtuigt niet alleen met de muziek en de zang, maar overstijgt ook op knappe wijze genres en maakt bovendien indruk met mooie maar ook zeer persoonlijke songs. Er verschijnen momenteel nogal wat albums van jonge vrouwelijke singer-songwriters, maar I Am June kan met de beste albums mee, nationaal en internationaal.

We hebben in Nederland momenteel absoluut geen gebrek aan talentvolle jonge vrouwelijke singer-songwriters. Het is daarom flink dringen in het genre, maar voor een supertalent is altijd plek. Dat Romy Liz Rose een supertalent is liet ze al horen op de EP’s die ze het afgelopen half jaar uitbracht. Dat haar deze week verschenen debuutalbum I Am June een prachtig album is geworden is daarom geen verrassing. Een deel van de songs op het album is immers al bekend van deze EP’s, maar toch weet Romy Liz Rose me te verrassen met haar debuutalbum. 

Er lopen niet alleen in Nederland veel getalenteerde jonge vrouwelijke singer-songwriters rond, maar ook internationaal is de concurrentie al jaren enorm groot. Probeer dan nog maar eens te komen met een geluid dat anders klinkt, maar het is Romy Liz Rose wat mij betreft gelukt. 

Het alter ego van de uit Zwanenburg afkomstige maar inmiddels Rotterdamse singer-songwriter Romy Laarhoven begint met ingrediënten uit de inmiddels beproefde recepten van de indiepop en indiefolk van het moment. Ze zingt zacht maar ook met veel gevoel, ze kiest voor een vol en warm geluid en ze schrijft persoonlijke songs die niet vies zijn van flink wat melancholie door een liefdesbreuk en waarin het volwassen worden centraal staat. 

Dat klinkt als een typisch ‘coming of age’ of breakup indiepop album en ook het etiket ‘sad girl pop’ zal snel uit de kast worden getrokken. En toch is I Am June geen moment een standaard indiefolk of indiepop album. Romy Liz Rose maakt op haar debuutalbum een aantal opvallende keuzes die het album ver boven de middelmaat doen uitstijgen. 

Wat direct opvalt bij beluistering van I Am June is de grote rol voor de pedal steel. Het is een instrument dat niet mag ontbreken op een goed countryalbum, maar dat is I Am June niet. De pedal steel voorziet de songs van Romy Liz Rose niet alleen van zeer sfeervolle klanken, maar laat ook nog wat extra wolken melancholie overdrijven op het album. 

De pedal steel staat centraal op het debuutalbum van de Rotterdamse muzikante, maar ook de overige inkleuring van haar songs is prachtig. De songs op I Am June zijn voorzien van een verzorgd en aangenaam warm geluid, dat zich steeds weer als de spreekwoordelijke warme deken om je heen slaat. Het is een geluid dat mij direct wist te betoveren, maar het is ook een geluid dat op hele knappe wijze bruggen slaat tussen aan de ene kant de indiepop en aan de andere kant de indiefolk en Amerikaanse rootsmuziek. 

Door de prachtige muziek op I Am June werd ik direct gegrepen door het eerste album van Romy Liz Rose, maar haar stem maakt de verleiding van het album nog wat groter en intenser. De zang op het album doet af en toe denken aan Phoebe Bridgers in haar mooiste songs, maar Romy Liz Rose leunt wat meer tegen de Amerikaanse rootsmuziek aan, wat gevoel en doorleving toevoegt aan haar stem, die ik schaar onder de mooiste stemmen van het moment. Het is een stem die in de overigens wonderschone productie prachtig meebeweegt met de ruimtelijke klanken van de pedal steel. 

De songs op I Am June waren zoals gezegd al deels bekend, maar ook de resterende songs op het album zijn van hoge kwaliteit en onderstrepen het grote talent van Romy Liz Rose. In Nederland mogen we ontzettend trots zijn op een singer-songwriter met de allure van de Rotterdamse muzikante, maar ook internationaal kan I Am June zich meten met het beste dat momenteel voorhanden is.

Erwin Zijleman

2026, week 26. 5 singles (2)

The sparrows are fallow dead out of the gutter, as we say over here. At some point it becomes hard to concentrate on anything and at times I feel somewhat light-headed. For the rest things are fine, only two to three more days to go before the weather changes back to more normal weather conditions for the time of year, that will then probably feel cold. We'll see. First four more new singles and one EP for you to explore. You can do that sitting with a fan in your hand. Enjoy!

Born Sentimental EP. Julia Greenberg

Ray Ketchem is the name of a producer that in the past couple of years I run into more and more, but as far as I can recollect, I've never heard him produce a traditional folk, roots, country album. That is exactly what I'm hearing, listening to the opening song of Born Sentimental. In the title song Julia Greenberg shares with us that she was "born sentimental" and that is what the music sounds like. An accordeon plays lonesome notes in a song that sounds as if it could have been recorded in the 1950s before rock and roll broke big. Speaking of sentimental journeys. Ms. Greenberg has the exact right voice for this song, a little dark, a nice sort of wobble in her voice. In the next song, 'Sometimes The Sea', she sings as if she is a close friend of former Californian, now Swiss singer Beth Wimmer. An accordeon remains the lead instrument on this EP, giving it an authentic sound. Julia Greenberg and her three band mates recorded the seven songs in one day, but have crafted their skills through extensive touring the northeast coast of the U.S. She comes from New York City and that is quite surprising to be honest, but why not? Tradition?, yes, nice to listen to?, yes, authentic, certainly. Born Sentimental simply is a warm mini album.

My Life In England, Pt.1. Dexys Midnight Runners

46 years ago Dexys Midnight Runners slowly grew into my absolute favourite band and 'Searching For The Young Soul Rebels' became my favourite album around that time, beating The Beatles and The Stones and Pink Floyd. The singles in between the first and second album were great as well, and 'Come On Eileen' an absolute smash of an hit. 'Too-Rye-Ay' as a whole was a less good album. What happened after, I have no idea, because I played the third album about half a time, I think. And here is My Life In England, Pt.1 in 2026. Kevin Rowland's voice has certainly aged but remains totally recognisable. After having heard the song a few times the song is better than I thought during the first listen session, but can't stand in the shadow of the songs on that first album. 'I Couldn't Help It If I Tried' can still bring tears to my eyes on a good day. No matter how technically bad 'Big' Jimmy Patterson blows his trombone, as a conservatory schooled now ex-colleague pointed out to me, it is absolute heaven to me. My Life In England, Pt.1 holds nothing of that magic. It's a nice tune. Nothing more but also certainly nothing less.

Alive. Bluai

Chances are about more times than 9 out of ten that where female singers are concerned Erwin Zijleman will beat me to writing about them first. Bluai is no different. Album 'Save It For Later' was reviewed by Erwin in 2024, to be followed by the single 'Sober' by me in April this year and here is Alive already. In hindsight the album's title 'Save It For Later' has gotten a bitter meaning. In Alive singer Catherine Smet reflects on losing both her grandmothers and realises that she had not visited and talked to them enough, asked questions, finished conversations, like youngsters do or by far most of them. "I should have loved when I had the chance", she sings. And then it is too late. Musically, the theme is underscored in a beautiful way. The music is both melancholy and accusationally confrontational, while at the same time beauty is let in. The song is alive, just listen to that beautiful chord progression at the start. It is as simple as it is effective.

1999. Integra Pink

Alive, see above, and 1999 have something in common, an as simple as effective chord progression the song starts with. After that Integra Pink is the tougher band of the two. A distorted guitar, a tough drumming drummer and a big bass. The mood is not that much different though. 1999 is a melancholy song as well. The singer reflects on a situation he has been (or still is) in. The mix of rock and a little reflective sadness works quite nice here. Leo Mendez (vocals/guitar), Bardo Mendez (vocals/guitar), Nick Jauregui (drums), and Roman De La Fuente (bass) who make up Integra Pink, are announced as a punk band, but don't expect any of that here. Whether it is, you can learn on EP 'Knucks (Left)' that is out already. A tougher version of a pop-rock song is a better description.

Keep On Pushing Me. Today Junior

An indie fuzzpunk trio? Now what kind of music would that be? "Anarchy in the U.S.A.", Today Junior sings in Keep On Pushing Me. That of course brings The Sexpistols to mind with their incredibly shocking, at the time that is, single 'Anarchy In The U.K.'. Don't expect a punk anthem though. Today Junior, from Boston, keeps far from punk (and fuzz) in its latest single. As far as I'm concerned, I would file it under alternative rock with a mild pop feel to the melody. It is another sign though that in the underground of U.S. music something is brewing. There are more and more artists that do show some protest at what is going on in their homecountry on the other side of the pond. Brave? If democracy holds, far from. In the other case, God knows what will happen. With Keep On Pushing Me, Today Junior has produced an urgent song at the right moment in time.

Wout de Natris - van der Borght 

Harbour Festival Heemstede. Wednesday 24 June 2026

Two rotary clubs organised a festival at the harbour of Heemstede paid for by sponsors while all proceeds will go to a good cause, poor children in Haarlem. For my own band Sweetwood, it was a new experience to see our band name on billboards and flyers all over Heemstede. For an amateur band to be on the same bill as (semi-)professional artists is quite something.

The day was extremely warm. In fact it was hot and I felt truly sorry for the people who have been working all day to put everything up and to take it down again late in the evening. It also showed that the location at the harbour of Heemstede lends itself really well for activities like this. People come in by bike or on foot and the more fortunate people sail in with their sloop and watch the festivities from the water.

The festival opened with Haarlem based singer-songwriter Yorick van Norden. Van Norden is fairly well known at national level, as he can be heard on the radio and seen on tv. Besides that, he is also seen as an expert on The Beatles' music. I've seen him perform in the open air theater Caprera in Bloemendaal where he also introduced the film 'The Last Waltz' that was played on a big screen on nice spring evening. He started his show with a very appropriate song, 'Here Comes The Sun'. And did that sun come! I was already soaking wet from just setting everything up and soundchecking. Alternating between his own songs and another cover, David Bowie's 'Space Oddity', Van Norden played a short but very pleasant set. Accompanying himself on a beautiful acoustic guitar, he made a great impression for far too little people paying attention.

The third act was Amsterdam "volkszanger" Danilo Kuiters. His kind of music, is totally not mine. Perhaps because of that, I had never heard his name before. To my surprise there were a lot of people who could sing along to his songs and having a great time. That was deserved, because the music in a setting like this can put a smile on faces, including mine. Most "volkszangers" performed with a tape in the old days and today perform with a usb stick containing the music and sing live over it. Unfortunately this went wrong somewhere, because at some point the electricity failed and kept failing every time things were reset, so Kuiters could not finish his intended set.

The headliner was the Hermes House Band. This band started 45 years ago and has had over 140 members through the years. The members are all from the Rotterdam student fraternity Hermes, its house band. So, the version we saw were students with an average age of what, 21, 22 years?, including three singers and two horns. If I heard correctly, the bassist played his second show and the keyboard player his last. These youngsters are all so good, at an age that I did not even think I would ever play in a band, in fact, did not play an instrument. They were joined by a veteran member for a few songs, who still knew all the moves, suggesting the choreography does not change either. The repertoire is most likely what that first versions of the band must have played, all disco songs from the 70s and 80s. Almost all played in a somewhat faster version than the original. The audience, average age at a minimum 50, danced like they used to, despite the heat. I think there was only one song I could not sing along with and there was a Bruno Mars and an Avici song from 10s. The band's claim to fame, was its version of the Gloria Gaynor's 1979 (and 1988) hitsingle 'I Will Survive'. The band scored a huge hit in 1994 with 'I Will Survive (La La La)' by taking one of the horn lines in the background of the original and turned it into a prominent vocal line. It accompanies each goal football club Feyenoord scores at a home match. Of course they kept it for last. Before it, one hit song after the other, in the form of full songs, shorter renditions and medleys, was fired at the audience, with an enthusiasm and energy that was incredible and certainly under these extreme circumstances. If you want to build a huge party, this is your band.

And Sweetwood? I can only write about ourselves that we were very happy with our set. We proved that we can handle a podium like this. Our repertoire is very diverse and except for our slow blues songs, we played some of all else. The audience responded, sang along, clapped to the rhythm when invited. What more can you ask for as a cover band. So, if you are looking for party but slightly more modest than the Hermes House Band provides, come to us.

Wout de Natris - van der Borght 

2026, week 26. 5 singles

A long, long time ago Martha and the Vandellas sang a song called 'Heat Wave' and the band Heatwave scored a hit called 'Boogie Nights'. With the temperatures awaiting us in the coming days, I doubt if there is going to be a lot of boogieing. Listening to music is always an option of course, so here's four recent singles and one EP for you to explore. Enjoy, but keep cool!

CIA. Mont Loser

'CIA' is very likely the loudest song recorded by the former Dutch band Caesar on what proved to be its last album around 2003. It looks like that is the mood that the U.S.' Central Intelligence Agency conjures up within musicians. Proof of point, Mont Loser from Paris, France really goes for the jugular as well on its new single. The song flies right off the road into an orgy of guitars and sound eruptions. If CIA expresses what the youth of France thinks about the U.S., it is clear we all have to start looking elsewhere. This song is not pretty, a far cry from welcoming, total chaos, a statement of anger. Nothing is hidden, despite the sound being a mud pool of noise, with everyone playing and singing at their loudest. The message is clear.

Hollow Heart EP. Heidi Curtis

The intro to the title song opening Heidi Curtis' EP really put me on the wrong foot. Listening to the acoustic guitar I expected to be listening to a singer-songwriter song. When the band kicks in that is changed into something that mixes between 70s rock and 2026 pop rock. And Heidi Curtis' voice will ring another bell with everyone listening to 'Hollow Heart'. When the acoustic guitar returns for a short intermezzo, the Buckingham-Nicks connection is even underscored. This EP starts with an extremely strong track. This impression does not leave me in 'Behind The Doors'. Of course, the music lover with some mileage behind him will think to have heard it before, but then isn't 'Rumours' the best selling classic rock album on vinyl for several years in row? The number of youths I see walking with it in records stores tells it all. Of course a new generation is influenced by its sound.The strong point of Hollow Heart is that it does not make me want to hear 'Rumours' immediately. I do not mind spending time with the powerful poprock songs of Heidi Curtis from Newcastle in the U.K., and her powerful voice.

Making Pretty Babies. Sally Jaye

Nostalgia seems to be the theme of this and the previous singles post. Believe me, the order is random as far as I'm concerned. This is roughly the order songs come in, with leaving out what doesn't attract me at first hearing. Sally Jaye brings that mix of music that is somewhere between roots, americana, country and a little rock. My all time favourite song in that genre is Hazeldine's 'Drive', from the late 1990s. Making Pretty Babies reminds me of that song, as it catches the same atmosphere. The pedal steel guitar is a nice additions, as it gives the song a more traditional sound. The band obviously knows what is expected of it and all Sally Jaye has to do, is sing convincingly with her voice that has the right timbre for this kind of music. And she does just that.

Drunk at the Gym. Jazmine Mary

This morning I was at the gym. Perhaps there was a little alcoholic residue left in my body, but I was certainly not drunk. Drunk At The Gym, Jazmine Mary's new single, is a far weirder affair. It starts with a car park and a bag of drunks. From there you better follow the story yourself. Ms. Mary sing-tells the story to us, singing in her deeper registry, giving the song a darker mood. With that she falls into line with (former) label mates Aldous Harding and Vera Ellen, who are able to create a mood like this also. The accompaniment is not your average as well. A banjo, strings and a clarinet steel the bigger roles from the more traditional instruments. When she moves up a register with her voice, the mood changes for a short while. All together, it makes Drunk At The Gym an intriguing single.  

Beautiful Things. Donnie Vie

After 'Plain Jane' in February of this year, Donnie Vie finds himself again on these pages. Again, it is a single that has a psychedelic vibe like The Beatles created around 1967 and adds a pop element that brings the best pop singles of the era to mind. Beautiful Things is a song with nothing less than a wall of sound, in music and singing behind Donnie Vie. Nothing was held back in order to make this song shine. It's as if Jeff Lynne and George Harrison had brought together another band than The Traveling Wilburys. To create an even bigger form of pop music than ELO itself ever made. Beautiful Things is an undertaking and Donnie Vie gets away with it with ease. Beautiful Things could easily have become a pastiche of things past or worse, a failure. It isn't, and that tells you enough about the accomplishment of Donnie Vie and his team.

Wout de Natris - van der Borght 

Evergreen In Your Mind. Juni Habel

Iets meer dan drie jaar na het uitstekende Carvings keert de Noorse muzikante Juni Habel terug met Evergreen In Your Mind, dat net als het vorige album opvalt door de bijzondere sfeer en een zeer karakteristieke stem.

Ik ben niet altijd gek op traditionele Britse folk en toch is dat het genre waardoor Juni Habel zich het meest heeft laten beïnvloeden. De Noorse muzikante geeft echter wel een eigen draai aan invloeden uit de Britse folk en voegt Scandinavische ingrediënten toe aan haar muziek. Het is muziek die een onthaastend karakter heeft, maar vergeet niet om goed te luisteren naar en te genieten van de mooie muziek op Evergreen In Your Mind en van de bijzondere stem van Juni Habel, die de muziek van de Noorse muzikante een eigen karakter geeft. Alles wat Juni Habel doet is direct mooi, maar haar intieme en soms bijna verstilde nieuwe album beschikt ook over flink wat groeipotentie.

In de eerste maand van 2023 verscheen Carvings, het tweede album van Juni Habel. Het is een album dat zich zeker heeft laten inspireren door Britse folk, maar de muziek van de Noorse singer-songwriter klinkt ook absoluut Scandinavisch. Carvings is een album waarmee je even kunt ontsnappen aan de drukte van alle dag. Het tempo is laag, de muziek is het grootste deel van de tijd uiterst sober en ook de stem van Juni Habel heeft iets rustgevends. 

Carvings is echter ook een album dat het verdient om aandachtig beluisterd te worden. De songs van de Noorse muzikante zitten knap in elkaar, de muziek op Carvings is subtiel maar is ook versierd met subtiele accenten en er gebeurt echt van alles in de zang van Juni Habel. 

In april is de opvolger van Carvings verschenen en ook Evergreen In Your Mind is een album dat vrijwel onmiddellijk een serene rust brengt. Op de cover van het album zien we Juni Habel in een weids en wat ruw landschap, waar de stilte vast regeert. De Noorse muzikante nam ook haar nieuwe album grotendeels thuis op en heeft de rust van het Noorse platteland meegenomen naar haar muziek. 

Evergreen In Your Mind is net als Carvings een album dat het predicaat folkalbum verdient. Ook op haar derde album laat de muzikante uit het Noorse Viken zich inspireren door traditionele Britse folk, maar ook dit keer geeft ze haar muziek een Scandinavische vibe mee. 

In de basis hebben de songs van Juni Habel genoeg aan een akoestische gitaar en de stem van de Noorse muzikante, maar ook op Evergreen In Your Mind zijn fraaie versiersels toegevoegd aan het sobere geluid op het album. De accenten die zijn toegevoegd aan het akoestische gitaarspel zijn subtiel, maar zorgen er door de inzet van steeds andere instrumenten voor dat er voldoende variatie tussen de sobere songs op Evergreen In Your Mind zit. 

De schoonheid van de muziek op het album hoor je vooral wanneer je het nieuwe album van Juni Habel met de koptelefoon beluistert en ervaart hoe knap de productie van Juni Habel en Stian Skaaden is. Bij beluistering met de koptelefoon hoor je bovendien veel beter hoe mooi de stem van de Noorse muzikante is. 

Juni Habel heeft een stem die het goed doet in wat traditioneler klinkende Britse folk, maar ze verloochent ook haar afkomst niet en voegt een Scandinavische touch toe aan haar zang. Het unieke karakter van Evergreen In Your Mind zit hem deels in deze Scandinavische invloeden, maar wat ik vooral bijzonder vind aan het album is de wijze waarop Juni Habel de tijd neemt voor haar songs. 

Dat hoor je terug in haar zang die nergens gehaast klinkt en ook de muziek op het album neemt alle tijd om zich te ontwikkelen en om ieder instrument een goede plek te geven. Bij eerste beluistering van het nieuwe album van Juni Habel was ik vooral geïntrigeerd door de bijzondere sfeer op het album, maar nu ik er vaker naar heb geluisterd, hoor ik steeds meer en steeds intenser de schoonheid van de muziek van Juni Habel. 

Zeker op een zondagochtend doet Evergreen In Your Mind al snel wonderen, maar ook op de andere momenten van de dag wordt de muziek van de Noorse muzikante me steeds dierbaarder. Carvings ben ik na de indrukwekkende kennismaking helaas snel weer vergeten, maar Evergreen In Your Mind gaat zeker langer mee.

Erwin Zijleman

 

Je kunt Evergreen In Your Mind hier luisteren en bestellen:

https://junihabel.bandcamp.com/album/evergreen-in-your-mind 

2026, week 25. 5 singles (5)

On the longest day of 2026, again only five singles, again due to the same reason. Add extremely warm and humid conditions, making it impossible to collect my thoughts after a long day. There are more than enough singles to listen to and that seems to work better than whole albums at the moment. Because most singles come from (to be) released albums, they get the attention anyway. So, it's your turn to explore new music. Enjoy!

Nobody’s Coming To Save You. Gurriers

Somewhere last year My Love came home after seeing old friends from London after many years and asked me "do you know the band Gurriers"? Two days later she again said a friend or colleague had gone and seen the band, just like the Londoners had. I could answer "yes, I reviewed its album not that long ago". That album was 'Come And See' (2024). With Nobody’s Coming To Save You the Dublin based band has started its campaign to release its second album with the same title (25-9). Post punk is all over the single. With deep and dark sounding guitars Gurriers sets a mood for the song that is played out excellently. It plays with dynamics but don't expect too much light in this single. If the rest of the album is as good as this, Gurriers will be in direct competition with the bands that came before it, Shame, Fontaines DC, etc. and it might just be a must watch in the fall.

Building Fences. Trixie Whitley

With Building Fences Trixie Whitley, the Belgian - U.S. singer-songwriter, returns to the blog after seven years. Building Fences is an intriguing song. Somehow Whitley manages to combine the mood of David Bowie's 'Blackstar' album with the voices of modern pop singers. An acoustic guitar starts the song played in a bossa nova style but not much later is joined by saxophones that become the lead instruments together with Trixie Whitley's voice. With a higher register harmony voice, she moves into Mariah Carey territory, without the vocal acrobatics. Because she stays away from this type of singing the contrast between the darker horns and her voice becomes ever bigger. Building Fences as a whole is far lighter than anything on Bowie's swan song album. That she manages to capture it anyway, is all the more impressive. There will be more coming up later on this year.

Cheap Thrill. Yea-Ming and The Rumors

Another new name on this blog today, although with Cheap Thrill Yea-Ming and The Rumors announced its fourth album (12-6). The music is a form of shoegazing without the gravelly guitars. Yea-Ming sings with a soft, serrated voice, almost like the French sigh girls from the mid-1960s. The negative of the sigh girls was of course Nico in The Velvet Underground. Cheap Thrill does have a 'Sunday Morning' vibe also. A lead guitar accompanies her with a little reverb and delay on its tone, played in a slow version of Johnny Marr's style of playing in The Smiths. The outcome is an extremely dreamy song. From the very first second it had caught my attention and Cheap Thrill did not let go until the very end. The Bay Area band strikes the exact right tone and notes to get away with new music that could have been made in 1966 also.

A Song Called Sha La La. The Amplifier Heads

Speaking of the 1960s. Just listen to the intro of A Song Called Sha La La and tell me you don't think of 'I Can't Control Myself', one of The Troggs' big hits, immediately. Of course you do and if you are not familiar with the song, go check it and The Troggs out. The Amplifier Heads recreate a 1960s vibe quite convincingly. Of course, you can wonder is the world in need of a new song in a style that emulates the at thee time wild rockers The Troggs? Strictly speaking the answer is no, but why pass up on the obvious fun the Amplifier Heads has in making songs like A Song Called Sha La La? I can't see why I should. There's even a Clarence Clemons style saxophone solo in there. Sal Boglio and fellow musicians strike all the right chords here.

(You Won’t) See Me. Speedfossil

With (You Won't) See Me some more nostalgic feelings for music from long ago enters the blog this week. Speedfossil, recently presented a compilation album of the first ten years of its career called 'Time Flies: 10 Years of Speedfossil'. Searching for this song on You Tube, I found that it is eleven years old. In 2015 nobody had ever told me about the band, but thanks to people in Boston pushing the local bands around the globe, I have been able to catch up, to become a fan of many Boston bands, besides the world famous Dropkick Murphies. (You Won’t) See Me brings bands to mind that for me start with The Kinks right after they left behind the powerchords of its first two hitsingle and started releasing songs like 'See My Friend'. Speedfossil takes that mood and adds a little more power. The outcome is a powerpop ballad with a nice melancholy edge that is the signature of an artist like Ray Davies.

Wout de Natris - van der Borght 

Een onverwacht klassiek huisconcert

Ik heb totaal geen verstand van klassieke muziek. Natuurlijk, door de jaren heen komen er bij allerlei gelegenheden klassieke muziek voorbij. Enkele stukken zelfs zo vaak dat ik het herken en ook de componist kan noemen. Een ander voorbeeld is popbands die klassieke muziek ombouwen tot rock. Het eerste voorbeeld uit mijn leven dat ik kan noemen, is Ekseption, een Nederlandse rock band die rond 1970 een aantal hitsingles scoorde met bewerkingen van klassieke stukken. Hun eerste hit 'The 5th' maakte grote indruk op me en ook de derde single. 'Air', is nog steeds van grote schoonheid. Ik ging voor de power in die songs, de vette drums en de enorm aangezette orgelklanken van Rick van der Linden. Tegenwoordig wordt Ekseption onder symfonische rock geschaard, neem ik aan, maar die term bestond in 1969 nog niet. Later leerde ik dat de orgelpartij in het twee jaar oudere 'A Whiter Shade Of Pale' op een stuk van Bach is gebaseerd. Ik had toen geen idee.

Waarom deze inleiding? Omdat Mijn Lief en ik vandaag op een verjaardagsfeest van een vriendin waren. Haar man gaf haar als cadeau een klassiek huisconcert cadeau. Ik heb de achternaam van de dame in kwestie niet opgevangen, Diane of Diana is haar voornaam. Zij speelde een stuk van Bach en een late variatie van Haydn. De triolen vlogen over de toetsen van de vleugel die in huis staat en allerlei andere stukjes die mij als van een ongelofelijke complexiteit voor kwamen. Het is gewoon mooi om daar zo dicht bij te staan. Bij een huisconcert maakt het bijna niet uit wie er speelt of wat, zo dichtbij de artiest kunnen staan, is altijd indrukwekkend.

Deze vrouw moet er duizenden uren oefenen op hebben zetten, als het niet meer is. En toch zie en hoor je het verschil tussen heel competent en goed zijn en virtuoos. Kleine haperingen, een foute aanslag of half aangeraakte toets. Tegelijkertijd komt het stuk volledig tot leven en weet zij de schoonheid die in de noten voor haar neus verscholen liggen naar boven te brengen en de mensen die gezellig stonden te kletsen geheel stil te krijgen (op een paar cultuurbarbaren achter in de tuin, die niet de moeite namen om te komen luisteren. Lokale politiek gaat altijd voor heb ik door de jaren heen geleerd.) Het zet mij niet aan om naar klassiek te gaan luisteren. Meestal raak ik verveeld na enige tijd.

 Zo had ik een totaal onverwachte, maar mooie muzikale ervaring en wat een mooi verjaardagscadeau, lijkt me. De jarige zat te glunderen op haar stoel voor de vleugel.

 Wout de Natris - van der Borght 

These Frightening Machines. Katherine Priddy

De Britse muzikante Katherine Priddy maakte met The Eternal Rocks Beneath en The Pendulum Swing al twee sensationeel goede albums, maar het deze week verschenen These Frightening Machines is nog wat mooier en indrukwekkender.

Katherine Priddy is in een paar jaar tijd van een veelbelovende folkie uitgegroeid tot een van de meest aansprekende Britse singer-songwriters van het moment. Ze maakt nog altijd makkelijk indruk met haar wonderschone en veelzijdige stem, maar ook in muzikaal opzicht is het deze week verschenen These Frightening Machines een imponerend album. Katherine Priddy laat op haar derde album ook nog eens horen dat ze is gegroeid als songwriter en het is een songwriter die zich niet meer laat beperken door de kaders van de Britse folk. These Frightening Machines is absoluut een prachtig Brits folkalbum, maar het is door de grote variëteit aan stijlen ook veel meer dan dat.

Aan het begin van 2021 werd Katherine Priddy door een aantal aansprekende Britse muziektijdschriften geschaard onder de grote beloften van de Britse folk. We zijn inmiddels vijf jaar verder en ik kan alleen maar concluderen dat de Britse muzikante de belofte inmiddels meer dan waar heeft gemaakt. 

Dat deed ze eigenlijk direct al in de zomer van 2021 met haar debuutalbum The Eternal Rocks Beneath, dat dankzij de prachtige stem van Katherine Priddy, maar ook door de muziek op het album uitgroeide tot een van de mooiste albums van dat jaar. The Eternal Rocks Beneath ademde Britse folk, maar Katherine Priddy zocht ook op fraaie wijze de grenzen van het genre op. 

Dat deed ze op nog wat indrukwekkendere wijze op het aan het begin van 2024 verschenen The Pendulum Swing, dat was voorzien van een voller en veelzijdiger geluid. Op haar tweede album maakte de muzikante uit Birmingham nog wat meer indruk met haar prachtige stem en was ze de drie jaar eerder voorspelde belofte inmiddels ver voorbij. 

Katherine Priddy werkte op haar eerste twee albums samen met producer Simon Weever, die twee bijzonder mooi klinkende albums afleverde. Voor haar deze week verschenen derde album heeft Katherine Priddy gekozen voor een producer van naam en faam. These Frightening Machines is immers geproduceerd door de vooral van PJ Harvey bekende Rob Ellis, die het geluid van Katherine Priddy nog wat verder optilt. 

Op These Frightening Machines zet de Britse muzikante de lijn van The Pendulum Swing door. Invloeden uit de Britse folk spelen nog altijd een belangrijke rol op haar derde album, maar nog meer dan op haar vorige albums zoekt Katherine Priddy de grenzen van het genre op en begeeft ze zich ook met grote regelmaat buiten de grenzen van de Britse folk. 

These Frightening Machines werd gemaakt met een flink aantal muzikanten, onder wie multi-instrumentalist Ben Cristophers, en klinkt nog wat mooier en veelzijdiger dan de vorige twee albums. In de openingstrack Matches hoor je een flirt met de spookachtige Keltische folk van een band als Lankum, maar de titeltrack die volgt is juist weer ontspannen en oorstrelend mooi. 

Katherine Priddy probeerde zich op haar debuutalbum al te ontworstelen aan het strakke keurslijf van de Britse folk, maar heeft zichzelf hier inmiddels echt volledig van bevrijd, waardoor folk, pop, Amerikaanse rootsmuziek en tijdloze singer-songwriter muziek op fraaie wijze samen komen op het album. 

Het was de stem van Katherine Priddy die uiteindelijk de meeste indruk maakte op haar eerste twee albums en die stem is alleen maar mooier en rijker geworden. Hier en daar hoor je nog een typische Britse folkie, met echo’s van grote folkzangeressen uit het verleden, maar de stem van de Britse muzikante kan op These Frightening Machines meerdere kanten op en klinkt nog rijker en warmer dan op haar vorige albums. Katherine Priddy is de dertig inmiddels gepasseerd en dat zorgt ook nog eens voor net wat meer doorleving in haar stem. 

Na twee prachtige albums lag de lat al heel hoog voor Katherine Priddy, maar met These Frightening Machines weet ze me met een serie prachtige en fantasierijke songs toch weer te verrassen en behoort ze niet alleen tot het beste dat de Britse folk momenteel te bieden heeft, maar ook tot het beste dat de Britse popmuziek momenteel voor ons in petto heeft. Dit gaat een van de mooiste albums van 2026 worden, let maar op.

Erwin Zijleman

 

Je kunt These Frightening Machines hier luisteren en bestellen:

https://katherinepriddy.bandcamp.com/album/these-frightening-machines 

2026, week 25. 5 singles

Yes, you've read right, only five singles this time and no album on a Thursday. Too much work, too much football, too much playing with my own band Sweetwood, too much summer days and what not? There are only 24 hours in a day. Still, here is a nice subset of songs that were presented to me in the past weeks. Old and new, so enjoy!

Brothers. Garlands 

It has been quiet around Garlands for a while. I'm glad to announce the band from Glasgow is back with a psychedelic pop rock song called Brothers. The trio around singer-guitarist Gordon Harrow excels in songs that always have a foot firmly in the past, while certainly keeping an eye on what is going on today in the more alternative forms of pop music, only to plant its second foot right there. Brothers is no exception. The song starts with just Harrow and his guitar doing his take on an earlier George Harrison in The Beatles kind of song, while the rest of The Beatles were out doing something else. When the band joins in, the song gets far more solid (of course) but is also fleshed out. The vocals are doubled, harmonies come in, making the song open up. With Brothers Garlands has done it again.

La femme qui s’était faite toute seule. Prisoner

"The woman who made herself" is the title translated into English. As a Dutchman, "God created the world, the Dutch created The Netherlands", I can relate to the title. More importantly, the French band from Bordeaux is playing a great form of garage rock, including punky guitar and a Farfisa kind of organ that gives the song its 60s vibe. Of course not a band from the 1960s played its chords with a sound like this, but the origins are totally obvious. Singer Susanne Pemmerl brings French sigh girls to mind but just as easily Debbie Harry and a host of singers from U.S. female fronted punk bands. The addition of a deep and dark saxophone gives the song an extra layer to chew on while rocking out. Great single. On 7 august there's an album as well, the self-titled 'Prisoner'. Based on La femme qui s’était faite toute seule, it may well be great fun.

Sometimes The Sea. Julia Greenberg

With Julia Greenberg this week's post already has its second new name to the blog. The indie-folk singer from New York presents an introspective song like generations before her have done both as recording artists and from the days before songs could be recorded. Despite this enormous legacy, Julia Goldberg manages to capture my attention with ease. Both with her voice, that has a typical folk edge to it but also with the music. At heart you will hear Ms. Goldberg and her acoustic guitar like she would play it at home or at a campfire. It is enough to make the song interesting already. When all is said and done, Sometimes The Sea is as good as its basis is. What is added, is an accordion (Will Holshouser), playing as an accompanying instrument and some lead notes in between. The bass strings on the acoustic guitar are recorded so well, that it is hard to tell whether there is a bass guitar or not. There is absolutely no need for anything more. Recently, an EP was released called 'Born Sentimental'.

Wasn't It Just Yesterday. Girl With A Hawk

With Wasn't It Just Yesterday Boston band Girl With A Hawk returns to this blog with a song that immediately landed well with me. From the very first second somehow it is clear that the song is going to be just fine. It starts with an intro of a lead guitar, the band is there and then an organ enters putting the cherry on the already delicious cake. Linda S. Viens once again leads the band through a song of significance. With influences from both sides of the ocean shining through, Girl With A Hawk creates a hybrid song that should work for both fans of U.S. rock and U.K. Britpop and older (Bowie!). "I've got the looks and I've got the tunes", she sings and then she looks in the mirror and realises that "time is running out" and there's even a political statement in there, as she moves from the personal to the more general before she proclaims her love of the rock and roll life. She sounds like she does for the whole of the way. It shows in every single second of Wasn't It Just Yesterday. Album 'Renegades' is there on the 19th!

Hard Luck. Hoaxxers

With Hoaxxers we have another new name on the blog but not a new kind of music. The upbeat power/punkpop of the band will resonate with fans of a host of bands playing this genre of music since the 1990s, and mostly from the U.S. or influenced by such bands. Hoaxxers is a band from Austin, Texas and holds members of the band Joe Jitsu in it. Hard Luck is the title track of a six song EP with the same name that was released on 29 May. The song is a punkrock song that at the same time strives to be a perfect pop song. Loud and punky, but with harmonies that work while at the same time sounding very familiar. Dynamics are used successfully, in other words a textbook song and still it works. Not the best I've ever heard but certainly plain good. No more words are necessary, except rock on!

Wout de Natris - van der Borght

 

Don't Give Up. The Maureens

Listening to my new The Maureens LP for the first time, I had the impression it was business as usual for me and The Maureens. Great pop songs that go down really well, but no different from what I had heard before. And then things changed with each spin I took Don't Give Up on. The title of the album became true in more than one sense.

The Maureens can be found on this blog for more than ten years. It all started with a live show at Q-Bus in Leiden in 2015, where I bought the band's then two year old debut album. This was followed by the single 'Heartbreak' announcing the album 'Bang The Drum' (2015) and me reviewing 'The Maureens'. All through past ten years, the band, with several changes to the line up, went out in search of the perfect pop song and found it multiple times.

Come 2026 and the band released its fifth album and yes, a lot of it sounds familiar, of course once again of great beauty. Don't Give Up though kicks off as if the band has to catch the last bus of the evening. Electric guitars lead the way, bass and especially the drums are prominently present. The raucous lead guitar parts are almost un-The Maureens like and regularly return throughout the album. Bands like The Posies and Teenage Fanclub from 25-30 years ago come by in my mind. Bands blending pop and 90s rock to perfection with Big Star always in the back of its mind. 'Oceans Apart' brings the Rickenbacker back into the band's sound as well. This album is, partly, a wilder sounding album and that is the development I missed in my first listening session. Yes, the most obvious in the sound of Don't Give Up.

The same happens on the up tempo pop-rock song 'Seventeen'. Here Johan has to be added as an influence on the sound. Nothing new, as in 2015 I wrote "Johan is dead, long live The Maureens". Except that in 2026 Johan has been revived for some years already, the quote still stands. The Maureens are the contenders for the crown, as a song like 'Seventeen' is so good. Despite the tempo it is pop perfection.

After the two opening songs, the tempo and intensity go down and are replaced by a different kind of intensity. The harmony vocals become more accented and enter the spotlights. 'Talking In My Sleep' is the kind of song that comes into full bloom when given half the chance. The "aah-aahs" at the end will sound familiar to The Maureens fans, but they still are very effective over the outro. The Maureens are capable of producing spine-tingling moments with very familiar components, yet reaching a maximum effect.

With 'Crying For The Moon' the tempo goes down even further. It starts with just an acoustic guitar, followed by a violin and a double tracked vocal. Hendrik-Jan de Wolff is totally in his balladry element here. The song also provides the album with its title. 'Crying For The Moon' comes closest here to another Dutch band that is one of my favourites, Mountaineer. Both have played twice in my living room. It may well soon become three times as far as I'm concerned. A regular attendee apped me writing, "I'm listening to the new album here in Umbria on holiday and looking forward to the next show". Living room shows are small in size but provide a band a small but loyal following as the emotional impact of the music is so direct and intense.

Don't Give Up meanders between these four type of songs. From loud to soft, the band excels in them all. The album is still growing on me and I have no doubt that just like the previous ones, it will wind up in my albums of the year list. To return to my opening lines. For a band producing albums at such a high musical level, it becomes possible to take that level for granted. Never fall for your first impression! The Maureens belongs to the best pop-rock bands coming out of The Netherlands.

Wout de Natris - van der Borght

 

You can listen to and order Don't Give Up here:

https://themaureens.bandcamp.com/album/dont-give-up 

Dandelion. Ella Langley

Het is dringen binnen de countrymuziek en de countrypop van het moment, maar met Dandelion heeft Ella Langley een fantastisch album gemaakt dat je bijna een uur lang compleet van je sokken blaast.

De Amerikaanse muzikante Ella Langley debuteerde nog geen twee jaar geleden veelbelovend met hungover en heeft sindsdien flinke stappen gezet. Het levert deze week met Dandelion een album op waarmee de muzikante uit Nashville zich schaart onder de grote sterren binnen de country en countrypop van het moment. Ella Langley imponeert op haar tweede album met haar stem, die is gemaakt voor de muziek die ze maakt, maar ook in muzikaal opzicht is Dandelion een verslavend album, dat ook nog eens vol staat met aansprekende songs, die country en pop op zeer smaakvolle wijze combineren, waarbij invloeden uit de country het winnen van invloeden uit de pop. Verplichte kost voor liefhebbers van countrypop.

Ella Langley groeide op in het diepe zuiden van de Verenigde Staten en kreeg in Alabama de countrymuziek met de paplepel ingegoten. Op haar twintigste vertrok ze naar Nashville om haar geld te gaan verdienen met het maken van muziek. Ze boekte een aantal bescheiden successen en bracht in de zomer van 2024 haar debuutalbum hangover uit. 

Het is een album dat destijds goed aansloot bij mijn stevig aangewakkerde liefde voor countrypop, maar het verscheen ook in een jaar met heel veel geweldige countrypopalbums. Ik was in mijn recensie van hungover dan ook aan de voorzichtige kant en gaf aan dat Ella Langley nog niet het talent had van de smaakmakers in het genre, maar dat een mooie toekomst in het verschiet lag. 

Het album kreeg in de Verenigde Staten wel vijfsterren-recensies en toen ik het deze week weer eens beluisterde kon ik alleen maar concluderen dat de critici in de VS beter hadden geluisterd naar hangover dan ik. Ella Langley maakt op haar debuutalbum diepe indruk met een geweldige stem, die een stuk doorleefder klinkt dan haar leeftijd rechtvaardigt. 

Ook in muzikaal opzicht staat hungover als een huis en de met alcohol en sigaretten doordrenkte teksten van Ella Langley maken haar countrypop ook iets minder braaf dan gebruikelijk in het genre. Ella Langley is in Nederland nog vrij onbekend, maar in de Verenigde Staten is ze na de release van hungover snel uitgegroeid tot een van de grote sterren binnen de countrypop van het moment. 

Haar deze week verschenen tweede album is in de VS dan ook een van de grote releases van het moment en daar valt niets op af te dingen. Op hungover hoorde ik in 2024 persoonlijk vooral de belofte, maar die belofte maakt de muzikante uit Nashville op Dandelion meer dan waar. 

Ook bij beluistering van Dandelion valt in eerste instantie vooral de stem van Ella Langley op. Ze beschikt over een stem die gemaakt is voor het maken van countrymuziek, maar ze heeft ook een eigen geluid met een onweerstaanbare zuidelijke tongval. Net als bijvoorbeeld Megan Moroney heeft Ella Langley een lekker ruw randje op haar stembanden, waardoor haar songs wat meer in de richting van de traditionele countrymuziek worden geduwd. 

Dandelion zal vooral een countrypopalbum worden genoemd, maar Ella Langley blijft de traditionele countrymuziek waarmee ze opgroeide absoluut trouw. Nog meer dan hangover is Dandelion een album met meer country dan pop, waardoor ook liefhebbers van traditioneler klinkende countrymuziek als een blok moeten kunnen vallen voor de muzikale verleidingen van Ella Langley. 

Er was hoorbaar een flink budget beschikbaar voor het opnemen van het album, want Dandelion klinkt echt fantastisch. Het lekker volle geluid vormt de perfecte basis voor de stem van de muzikante uit Nashville, die schittert op haar tweede album en in meerdere soorten songs uit de voeten kan. 

Ik heb inmiddels al een aantal jaren een enorm zwak voor countrypop en zeker voor countrypop waarin de country het wint van de pop. Ik heb een flinke stapel persoonlijke favorieten, waaronder alle drie de albums van Megan Moroney, en na een paar keer horen ligt ook Dandelion van Ella Langley op deze stapel. Ik had twee jaar geleden, ten onrechte, nog wat reserves, maar met Dandelion heeft Ella Langley een verpletterend album afgeleverd.

Erwin Zijleman

2026, week 24. 10 singles

Another week has sped by, it seems to go ever faster. In between I have played a great live set with my own band Sweetwood, that showed that we are still progressing and become better. Below you find ten recent singles, with a surprising number of duos making their debut on this blog. Old and new, you will find it all, so enjoy!

Deny. La Sécurité

Post punk? Yes, very much so. La Sécurité dives into the postpunk coming out of the U.K. around of 1980, when melody was traded for a sort of communist five year plan kind of music. All pleasure was traded in for music of a rigorous socialist orthodoxy kind. Enter Deny in 2026. The rhythms, the talk-singing, the accents and bursts of guitars all fit. Except this song is set on fire. The Montreal art-punk collective makes the song come totally alive and manages to throw in a musical joke or two. Listen to how the electric guitars drop away revealing the synth underneath them. Slowly but surely it also becomes clear how danceable Deny is. the song is a clear winner. Eat your heart out Gang of Four and their ilk.

Tide - Prologue. The Stream

Leiden's The Stream has found its way to this blog for over a decade now. Jan Stroomer and band are true veterans. When a new record is announced, I tend to prick up my ears. Fans will remember fondly how the previous record, 'Nature Calls', was accompanied live with a host of physics and chemistry experiments while the band played on. In 2026 things have changed somewhat. The band decided to record an instrumental album, 'Flood', and had to say goodbye to its long time drummer Koen van Dijk. This results in music that is rather far detached from what I usually listen to, but then being a guitar man, The Stream always was a bit aside of my usual musical playground. I notice that it is easy to listen to Tide - Prologue. The piano plays an upbeat melody, that comes close to classical, making The Stream leave its usual habitat of pop songs with a piano as main instrument. The doubled part gives Tide - Prologue a nice darker edge, allowing some tension to enter the composition. It is the first release from an upcoming EP, ''Flood - Prologue'.

Young Hearts. Isaac Roux

I was about to write that we have a debut on the blog, were it not that Erwin Zijleman reviewed Isaac Roux' (Louis de Roo) debut album 'Troubeld Waters' two years ago. For me it is though and I'm pleasantly surprised by the uptempo song Young Hearts is. A long time ago Rod Stewart sang about "young hearts" in his hit single 'Young Turks' and Isaac Roux taps into this line of energy, while making his song rougher and more alternative. It starts right away with the intro, where an electric guitar is allowed to go for it, after which most instruments drop away when the first verse starts, to come in again on the second line. There is some Kensington in the way the chorus presents itself, except that Young Hearts avoids the platitudes in the music that band excels in. Young Hearts remains alive, fiery and energetic. Bigger and bigger seems to be the adagium used in this single and it works from beginning to end.

Precious Days. Brand New Heartache

Usually, I listen to new singles on You Tube, as most are available there and it's easier and faster to access them. So I found that Brand New Heartache, the Nashville husband-and-wife duo of Eleese and Matthew Meschery, has exactly 1 person who subscribes to their channel and and the video had 13 views. That is no reason to write a review but this song is. Based on what I'm hearing these numbers ought to rise fast. Precious Days meanders somewhere between country, folk and pop. It's a great up tempo song not unlike Emmylou Harris' rendition of Chuck Berry's 'C'est La Vie (You Never Can Tell)'. Precious Days simply rocks and is rich in sound, orchestration and vocal delivery. Far more comparisons are possible to make, but I'll let you find your own favourites. I prefer to just like Precious Days for what it is. Album 'A New Alchemy' is slated for 24 July. Based on what I'm hearing here, it's something to look out for alright.

3, 2, 1. Bente 

Bente is meer een naam voor mij dan een zangeres. Wel heb ik een paar afleveringen gezien van het programma 'Beste Zangers', waarin zij liet zien een heleboel in haar mars te hebben. Haar eigen werk gaat tot nu toe gewoonweg langs mij heen. Tot dat ik dit nummer hoorde op de Radio 2 ochtendshow waar mijn vrouw graag naar luistert voor het werk. Ik hoorde een heleboel energie en vooral een alternatieve poprock song waar de stukken vanaf vlogen. Ja, ik krijg de doorgaans jeuk van de manier waarop veel jonge, Nederlandse zangeressen zingen. Bente moet deze techniek in 3, 2, 1 grotendeels loslaten, omdat het tempo zo hoog ligt. De manier van zinnen afbreken dat lukt nog wel, nog zoiets, maar maakt het nummer niet minder goed. Hier wordt gerockt en het staat Bente goed. De opbouw is eveneens goed. De rustpunten in het nummer zal er voor zorgen dat een zaal op het juiste moment loos zal gaan. 3, 2, 1 is een sterke Nederlandstalige pop- en rocksong.

Low Sunday Ghost Machine - Black EP. Lowsunday

Lowsunday is the second of four duos making their debut on this blog in the same week. Shane Sahene (vocals, guitar, synth, bass, drums) and Bobby Spell (bass, guitar, drums) are the two members of the original band from the late 90s who came back to release new music. In 2026, I can't judge the old work, I'm afraid, Lowsunday releases music that is as dark as it used to be in the 1980s except that it lays the light side of a band like The Cure or Big Country over its Joy Division foundation. The result is music that is simply infectious. Opening song 'You're So Wired' immediately sets the stage for rock and for the typical shoegaze style of dancing, i.e. looking at the points of your shoes and move as little as possible. Should you not be a shoegazer, I'm sure other forms of dancing are allowed by Lowsunday. Tracks like 'You're So Wired' and 'Shattered' are made for moving with abandon. Should the band plan to play live again, it will need more musicians, as layer after layer of guitars and other stuff are stacked upon each other creating a huge wall of sound. Lowsunday certainly did not leave it to chance where its comeback is concerned. This kind of music makes you noticed immediately. Love it or hate it, you can't escape it. I'm all good here.

Bug In The Cake. Violet Grohl 

Going by the name Grohl, no matter what you say, will open a lot of doors. Father is famous for well over 30 years, first as drummer and then as front man of Foo Fighters. Violet has recently released her debut album 'Be Sweet To Me' and received a lot of attention surrounding the release. It made me somewhat sceptical, next to having too many albums to listen to already. And then I ran into this video. I can only admit straight up that Bug In The Cake is a great alternative rock song. In fact, I love it. It fits in very nicely with alternative rock songs coming out of the U.S. since the 1990s. It has just enough of a pop vibe, because it has a few great hooks and an instantly singable (pre) chorus. Not to forget some great guitar solos. Bug In The Cake has a lot of urgency that Violet Grohl is sharing with the world and the song is simply a lot better than many, not all, her dad gave the world. It looks like I have another album to listen to.

Backstabber (Tailor's Version). The Dresden Dolls

And here is another new name on this blog. Although I have heard the name The Dresden Dolls before, I do not recall having heard its music. That may have been a great miss, as Backstabber (Tailor's Version) is a great song. Duos come in a lot of ways but usually it is guitar and drums ever since The White Stripes, with some doing bass - drums like Royal Blood. The Dresden Dolls present themselves as a piano - drums duo. Reading up on the band, I found that the band formed in 2000 and released two albums in the 00s. One of these albums, 'Yes, Virginia' is getting a re-release with a pun on Taylor Swift's re-releases of her first albums. For me, I'm glad to hear this song because of the re-release. Amanda Palmer's piano playing is forceful and rhythmic, while Brian Viglione fills in everything else with his drumming, besides providing background vocals. Backstabber is an ideal song to get to know the band in the 2020s.

Diablo. Deep Purple 

Deep Purple is around for 58 years in 2026. Everyone with the slightest knowledge of hard (classic) rock knows the band went through several line up changes through the decades. The current line up is four old timers and new guitarist Simon McBride. They already present their second album soon. Deep Purple is acting as if El Diablo is on its tail and given the average age of the members, that is not far beside the truth. With Diablo Deep Purple again, after first single 'Arrogant Boy' shows that it has not lost its chops. Don't expect anything new, but do expect the classic Deep Purple sound at its best. A driving rhythm, dualling guitars and organ, a great riff or two and Ian Gillan singing in his older gentleman voice, that fits this music perfectly. In 2026 Deep Purple still is a great band, no doubt about it.

Socialism Ditty. Mr. Dinkles

After The Dresden Dolls a forth duo features for the first time on this blog. This time The White Stripes is the blueprint. Mr. Dinkles, vocalist/guitarist Mac Rettig and drummer Rocco Ramos, is more a punk band though than the blues rock The White Stripes based its music on. The title and lyrics refer to what 'The Economist' recently dubbed "Gen-Z socialism". It is a spot on description as ms. Rettig shout-sings "you don't really need that, just give me that". We all know it doesn't work that way, although there definitely is a point to gen-z socialism and rethinking wealth distribution. Musically, Socialism Ditty is a raucous song, dirty for the whole of the way. A distorted guitar and ever dirtier overdubs make up the body of the song, with drummer Ramos hitting everything else home. The song starts like many other punk/garage rock songs do. The energy is there, creating the fun and expectation of wanting to listen to it. The explosion comes and does not go back into its corner until the very end. In fact, more flares start exploding, making Socialism Ditty more urgent by the second.

Wout de Natris - van der Borght 

 

Somebody Help Me, I’m Being Spontaneous!. Melanie Baker

Melanie Baker laat zich op haar debuutalbum Somebody Help Me, I’m Being Spontaneous! vooral beïnvloeden door indierock uit de jaren 90, maar geeft wel een bijzondere eigen draai aan alle echo’s uit het verleden.

De Britse muzikante gaat op haar in april verschenen debuutalbum flink los met de gitaren, die af en toe stevig ontsporen, maar ze maakt ook indruk met lekker in het gehoor liggende rocksongs. Het zijn rocksongs die de muzikante uit Newcastle met veel passie en energie vertolkt, maar ook als ze op de tweede helft van het album wat vaker gas terugneemt, blijven de songs, de muziek en de zang van Melanie Baker makkelijk overeind. Somebody Help Me, I’m Being Spontaneous! is hierdoor een album dat zich weet te onderscheiden van de meeste andere indierockalbums van het moment en dat is gezien het enorme aanbod van de laatste jaren echt een flinke prestatie.

De Britse muzikante Melanie Baker oogst direct bonuspunten met de titel van haar debuutalbum Somebody Help Me, I’m Being Spontaneous! en doet dat ook met de ruwe openingstrack AAAAAAAAHHHHHHHH!!!!. Het is een openingstrack die laat horen dat we van Melanie Baker niets anders dan een pittig rockalbum mogen verwachten. 

Dat is haar eerste album dan ook en als ik er een etiket op zou mogen plakken, zou ik kiezen voor indierock. En om nog wat preciezer te zijn 90’s indierock, want de Britse muzikante vindt haar inspiratie eerder in de door vrouwen aangevoerde indierock uit de jaren 90 dan in de indierock van het moment. 

Dat betekent dat ze moet concurreren met stapels geweldige albums uit het verleden en dat is geen eenvoudige opgave, maar Melanie Baker heeft een album vol bravoure afgeleverd. Het is een album dat een stuk steviger klinkt dan de meeste indierockalbums van het moment. De Britse muzikante schuwt de hoge gitaarmuren en opvallend gruizig gitaarwerk niet en de gitaren mogen ook op andere manieren ontsporen. 

Het herinnert me direct aan bands uit het verleden, zeker als ook nog een randje grunge wordt toegevoegd, maar Melanie Baker is ook een kind van deze tijd. Dat hoor je vooral wanneer de gitaren even gas terugnemen en Somebody Help Me, I’m Being Spontaneous! dichter tegen de indierock van het moment aankruipt, maar het grootste deel van de tijd plaats ik het debuutalbum van Melanie Baker eerder in de jaren 90 dan in het nu. 

Dat betekent zeker niet dat het album klinkt als een retro indierockalbum, want de songs van Melanie Baker klinken ook fris. Het is in muzikaal opzicht een knappe niche die Melanie Baker heeft gevonden en ik vind haar debuutalbum bij herhaalde beluistering alleen maar indrukwekkender worden. Dat ligt vooral aan het gitaarwerk, dat steeds weer net wat anders klinkt en de 90s indierock ook zomaar kan verruilen voor het gitaarwerk dat is te horen op de albums uit de Berlijnse periode van David Bowie, om maar één voorbeeld te noemen. 

Niet alleen de muziek, maar ook de zang op Somebody Help Me, I’m Being Spontaneous! herinnert op een of andere manier aan de jaren 90. De zang van Melanie Baker klinkt soms prettig onderkoeld, maar klinkt meestal aanstekelijk uitbundig, wat nog wat extra energie toevoegt aan het geluid op Somebody Help Me, I’m Being Spontaneous!. 

In muzikaal opzicht bevat het album misschien flink wat echo’s uit het verleden, maar in tekstueel opzicht past het album goed in deze tijd met de teksten waarin Melanie Baker geen geheim maakt van haar queer identiteit, waarmee ze aansluit bij een aantal groten uit het genre. 

Af en toe is het allemaal wel erg ruw en stevig, zoals in het punky Cabin Fever, maar zeker als Melanie Baker kiest voor lekker in het gehoor liggende rocksongs, en dat doet ze met grote regelmaat en zeker op de meer ingetogen tweede helft van het album, weet de muzikante uit Newcastle me makkelijk te overtuigen. Als ze dat niet direct doet is het even wennen aan al het gitaargeweld, maar ook dan wint de Britse muzikante mijn sympathie redelijk makkelijk. 

Er verschijnen momenteel nogal wat albums die zich keurig houden aan het stramien van de indierock van het moment en wat dat betreft klinkt het debuutalbum van Melanie Baker fris en anders. Ik ben er van overtuigd dat ze met Somebody Help Me, I’m Being Spontaneous! een breed publiek kan aanspreken, maar ook een ieder die normaal gesproken niet zo gek is op het soort muziek dat op dit album te horen is, zou eens moeten luisteren naar de songs van Melanie Baker.

Erwin Zijleman

 

Je kunt Somebody Help Me, I’m Being Spontaneous! hier luisteren en bestellen:

https://melaniebaker.bandcamp.com/album/somebody-help-me-i-m-being-spontaneous

Real Life Evolution. Joan as Policewoman

Everyone seriously involved in music will recognise the following. You follow an artist for several albums and see a few live shows and then for reasons that are not determinable, you miss an album and another one and even forget to play older albums. That happened to me with Joan as Policewoman somewhere in the 10s. Come 2026 and I'm alerted to a new version of her debut album, Real Life.

Many artists say that they would have liked to spend some more time recording or that a song takes on a different guise due to the many times it is played live. It is less usual that an artist reimagines his/her own recordings. More often it is a remix by another producer or musician. Not Joan Wasser, she went back into the studio, well a few actually, to come out with new versions of the songs from her first album.

To prepare for the new version, I decided to look into my backlog of WoNo Magazines, but to my surprise I did not find a review of 'Real Life' there. That makes it impossible to share my original thoughts with you. My guess is that my response then, would not have been that much different as it is today with the Evolution version. Joan as Policewoman does not go for immediate effect but for longevity. She does not play easy to digest pop music but commands listening to get to know the songs better with each spin, to unlock the inner richess of the melodies and arrangements.

What I decided not to do is compare the two versions. The new voices, Krystle Warren on 'I Defy' and Iggy Pop in 'Save Me are totally obvious, but other changes will be far more subtle. A difference is also in Joan Wasser's voice. It has aged in a pleasant way. This little extra edge to it, makes for good listening.

With her music Wasser hovers somewhere between pop and jazz. Opener 'Anyone' with its fretless bass makes that clear from the very start. The singing of the harmonies gives a little soul edge to the song as well. I only have faint memories of Ella Fitzgerald records of the generation preceding mine, but I can imagine Ella singing a song like 'Anyone' in a more jazzy arrangement. The song gives the album a very serious, yet pleasantly and good start.

I hadn't played 'Real Life' for quite some time. I gave a copy in the 00s to my now wife, but unfortunately she is a little less accurate storing her records, so good luck finding it somewhere. The songs all sounded instantly familiar though. Even in such a way that it is hard to pinpoint to the new elements. My gut tells me they are there though. A little slower tempo, a new harmony vocal, a different setting of instruments? I think it's all there, but what is more important, 'Real Life Evolution' is a good album. The album shows off the richness of the songs but also the musicianship and musical imagination of Joan Wasser. Listening to the Evolution version is a joy.

Do I recommend buying the album should you have the original version? Yes, I do. Joan as Policewoman shares her evolution with the 'Real Life' songs in the past twenty years with her fans or even newly interested individuals who missed out on the first time. There is a lot of beauty to discover on the new version.

Wout de Natris - van der Borght

 

You can listen to and order Real Life Evolution here:

https://joanaspolicewoman.bandcamp.com/album/real-life-evolution-album-2026