Bang. Iona Zajac

De Schotse muzikante Iona Zajac speelde eerder met The Pogues, maar levert nu met Bang een buitengewoon indrukwekkend, indringend en bloedstollend mooi visitekaartje als solomuzikante af.

Bang van Iona Zajac zou ik zonder een tip van Spotify waarschijnlijk nooit hebben ontdekt, maar het is in zeer korte tijd uitgegroeid tot een album dat ik wil koesteren en de rek is er nog lang niet uit. Bang is een overwegend donker klinkend album, maar het is een album vol dynamiek. De muziek van de Schotse muzikante kan hier en daar uitbarsten, maar ze is ook niet bang voor zeer ingetogen folk. Het past allemaal prachtig bij haar stem, die niet alleen mooi en bijzonder is, maar ook over heel veel zeggingskracht beschikt. Het voorziet de songs op Bang van een bijzondere sfeer en lading, die alleen maar bijzonderder wordt wanneer je het album vaker hoort. Wat een droomdebuut.

In december werd ik zeer aangenaam verrast door een aantal bijzonder trefzekere tips van de tot op dat moment teleurstellende algoritmes van Spotify. Het zorgde ervoor dat ik mijn selectie voor deze week heb omgegooid. 

Eerder week besprak ik het werkelijk prachtige This Might Effect You van het Britse St. Catherine’s Child en vandaag is het de beurt aan Bang, het debuutalbum van Iona Zajac, dat minstens net zo mooi en bijzonder is. Iona Zajac is een Schotse muzikante, die in het verleden op het podium stond met The Pogues, maar met Bang haar eigen plek in de spotlights opeist. 

Het debuutalbum van de muzikante uit Glasgow intrigeert vanaf de eerste noten. De openingstrack Bowls opent met een langzame maar diepe percussie, waarna de stem van Iona Zajac invalt. Het is een mooie en ook wat donkere stem, die mede opvalt door de bijzondere zanglijnen. Langzaam maar zeker worden gitaren en synths toegevoegd en doet de Schotse muzikante er steeds een schepje bovenop in haar zang, wat een bezwerende track met een heftig slot oplevert. 

Bang heeft gedurende elf tracks een bijzonder geluid en houdt je een kleine drie kwartier aan de speakers gekluisterd. In muzikaal opzicht klinkt Bang vaak wat donker en dat wordt versterkt door de stem van Iona Zajac. Het doet me af en toe wel wat denken aan PJ Harvey, maar deze vergelijking gaat zeker niet altijd op. 

Bang is het debuutalbum van de Schotse muzikante, maar het album klinkt niet als een debuutalbum. Iona Zajac laat op Bang een eigenzinnig geluid horen en het is een geluid dat in alle opzichten kwaliteit ademt. De muziek op het album heeft vaak iets beklemmends, maar de vaak subtiele maar ook af en toen uitbarstende klanken op het album zijn ook bijzonder mooi en laten wat mij betreft een zeer onderscheidend geluid horen. 

Het is een geluid dat prachtig past bij de stem van Iona Zajac, die zowel ingetogen als wat expressiever kan zingen en de bijzondere sfeer van de muziek op het album versterkt. De intense zang van de muzikante uit Glasgow voorziet haar songs van een bijzondere lading en die wordt nog wat versterkt door de persoonlijke teksten, die hier en daar dwars door de ziel snijden. 

Bang is door de vaak wat donkere klanken en de intense zang af en toe best een heftig album, totdat Iona Zajac op de proppen komt met een uiterst ingetogen folky song en vervolgens nog wat meer indruk maakt met haar stem. Door de grote verschillen in de muziek en de zang is Bang een album vol dynamiek en een album met hier en daar flinke spanningsbogen, maar het debuutalbum van Iona Zajac is ook bloedstollend mooi en angstaanjagend intiem. 

Ik heb het album niet opgemerkt in de releaselijsten, maar een deel van de Britse muziekpers vond het album wel en strooit terecht met superlatieven voor een album dat als een mokerslag aan komt. Ik was altijd wat sceptisch over de tips van Spotify, maar met Bang van Iona Zajac heeft het een album getipt dat zonder enige twijfel in mijn jaarlijstje gaat terecht komen. En ik weet zeker dat ik dit groeialbum dan nog wat mooier en indrukwekkender zal vinden dan nu al het geval is.

Erwin Zijleman

 

Je kunt Bang hier luisteren en bestellen:

https://ionazajac.bandcamp.com/album/bang-2 

Can't Take My Story Away. Elles Bailey

With Elles Bailey we welcome a new name to the blog. The English singer-songwriter released her sixth album this year, excluding two live albums, since 2017. All the previous efforts passed me by and that changed recently.

On Can't Take My Story Away Elles Bailey shows a few sides to herself. With a voice well west of Four Roses' commercial saying "nothing's changed really", she takes us down a soul, country(rock) and blues adventure. In several songs this all comes together. The record starts with that voice. It almost has the grit that Janice Joplin used to have and Bonnie Raitt should wish to have. Musically I would connect the latter singer with Elles Bailey. The way all the genres are somehow connected is not unlike the albums I know by Raitt.

That is why in my opinion Can't Take My Story Away will be associated with the U.S. far sooner than the U.K. Everything ms. Bailey presents here has its origin in U.S. musical culture. She has mastered it all and made it her own signature.

For years, I am a fan of Swiss-American singer-songwriter Beth Wimmer. The start of this album reminds me a lot of several of her songs. Her voice is sweeter, as is her approach to the songs. It is all in the vibe of the two artists where the similarity lies. I can Beth easily hear singing the title song or 'Growing Roots'.

Photo: R. Blackham

Where the use of instruments is concerned, Elles Bailey obviously has a wider budget. The use of the horns, the warm sound of a Hammond organ, it all gives the music a broader sound, which brings soul songs of Aretha Franklin or 'Dusty In Memphis' to mind. Elles Bailey without a doubt uses the past for her music but in such a way that most songs have an urgent feel and fit perfectly in the 2020s. I have no way of knowing whether this music will attract young people to shows or mainly grey haired men and grey women at the roots of their hair.

I must admit that towards the end of Can't Take My Story Away, I have heard enough. For now I blame myself, as this music is somewhat towards the fringe of my musical tastes. All before that moment is consumed with pleasure. Elles Bailey has made an album that has a great sound and her voice is almost one of a kind. It's certainly enough for now.

Wout de Natris - van der Borght 

2026, Week 4. 10 singles (2)

Because of the ladies' singles special edition of earlier this week, here's the second new singles edition of this week. Again, there is a very diverse set of songs and artist to explore, so enjoy!

New Leafs. The Reds, Pinks and Purples

The Reds, Pinks and Purples so far is Erwin Zijleman territory as those following this blog will recognise. Recently this single reached me and I decided to give it a chance. New Leaf is a nice indie ballad, that is built around a riff played on an acoustic guitar that just goes on and on and on. On top of it this gentle song is played with on top of that the soft, almost whispering voice of The Reds, Pinks and Purples' front man Glenn Donaldson. Despite the chords changing in the chorus, that riff does not. The other instruments do. it could be a piano playing a few notes, a raging slide guitar mixed deep into the background, like a thunderstorm in the distance, or an electric guitar. The bass and drums provide the solid ground for the others to play around that one riff. Beautifully done and full of atmosphere.

Marathon. Maria BC

Listening to Marathon, the title track of Maria BC's upcoming third album (27-02), the sentence "I've got a good reason, for taking the easy way out", sprang into my mind. The quote from The Beatles' 'Day Tripper' is appropriate, as darkness was enveloping me from all sides. In 2023 I reviewed a previous single, called 'Amber'. It made me think of a church song. Marathon does not, the artist's name of course does. If Maria was 13 or 14 when she gave birth to Jesus, as some say, I can only hope for her that her thoughts were never a bleak as this Maria BC in 2026 portrays. Marathon is somewhere between dark sounds and song, with Maria BC singing over it with a high voice. I can't make out any words though. Dark guitar chords put themselves as a pillow over soft piano notes. They rise even more when the singing starts. Like a prisoner in a too small cell, the music wraps itself around her voice. And then I make out the word "afraid". This is some dark music, folks.

Panacea. Celine Cairo 

In September 2021 Erwin Zijleman reviewed Celine Cairo's album 'Overflow' and was obviously very enthusiastic. With Panacea she returns to the music front. Panacea is a very cool sounding song. It is as if everybody is holding back to not show too many emotions. The result of this restraint is that Celine Cairo's voice starts to glow more and more. The instruments wrap themselves around her in a very organic way. The lyrics speak of undertow and counterflow but also that her head is above water now. Luctor et emergo set to music. Although Celine Cairo is a new name to me, she has multimillion streams on Spotify and performed with the Metropole Orkest. With her new single she is announcing her upcoming album also called 'Panacea' It is scheduled for 18 June.

Dr Love. Would-be-goods

Dr. Love is a single with the length of a mid-60s pop song. It has the melancholy feel of a French sigh girl song from the age but not the poppy innocence songs of the age had. The melancholy feeling is so much deeper. This is the expression of a grown woman and Jessica Griffin is, with issues almost no 17 year old singers, nor their 27 year old songwriters experienced then. Griffin returns to the record releasing world with this second single of the Would-be-goods new album 'Tears Before Bedtime'. Dr. Love is a bittersweet song that reminds me of the time when songs were just fun, while putting my two feet firmly on the ground in the here and now. Like a wake up call pulling me back into the real world. That will not stop me from listening to Dr. Love and dream a little anyway.

Designed To Lose. The Twilight Sad

When did I listen to Big Country for the last time? A very good question that popped into my head listening to Designed To Lose for the first time. I really wouldn't know. It may well be decades. The Twilight Sad does not use that guitar as if a bag pipe sound, but the guitars do have that high sound. To add to the feel, there is the Scottish accent of the singer, even if it's light. The band produces an 80s feel on this single, including the gloom that comes with the territory. When I read that the singer of The Twilight Sad battles with mental illness, the comparison I've just made becomes rather scary. To end on a positive note, the band will release its new album on 27 March and it is called 'It's The Long Goodbye'.

I Wish You Well. Mylo Bybee

As reported late last year, Mylo Bybee is from Boise, Idaho and on route to release an EP called 'Revisions' on 20 February. After 'Time Machine' this is the second time the band finds itself on WoNoBlog. With I Wish You Well the band shows two sides to itself. Between the loud intro and second half of the song, the band shows that it is able to contain itself. The two sides make for interesting listening, like enjoying that wild bass guitar parts that go on in the background and the drummer who wants to escape the whole of the time, until he can finally lead the way in the second half. Mylo Bybee is really playing with the fabric of the song. No, this single has not succeeded to convince me for 100%, but only by trying can one become better and reach the goal. For now I Wish You Well is certainly good enough.

Second Time Around. The Spackles

Okay, Spackle McKraken will not be invited to sing in a Bach choir (sorry, if this is your ambition). His voice works like a miracle for a song like Second Time Around though. The Spackles return to the blog with a fine, up tempo garage rock song in which the guitar of Marie Slurrie plays fast chord changes and progressions. The kind of song that puts a smile on your face if you are a fan of an uncomplicated rock song like Second Time Around is. Energy is there the whole time and there is a quieter interlude, in a 2.04 minutes song, which makes for an intriguing change. A short breather for everyone, except for Ms. Slurrie who keeps the chords flying, chugging her guitar along, preparing for a fiery solo as well. Last week the band released its new EP, 'Music For Blockheads'. You can hit me with that rhythm stick alright.

Against The Dying Of The Light. José González

Sweden's José González is on route to release his fifth album, with the same name as this single. Release date, 27 March. It is possible to be extremely short on this song. González is his soft-spoken self. His music is totally unobtrusive, soft like a murmuring brook in a forest. An acoustic guitar, a bass and very soft drumming over which González sings, double tracked and harmonious. If you put the song on, you better pay attention as it is over before you know it. If you do, there's more than enough to enjoy in between all that modest playing.

 

Bored. Melanie Baker

In December Melanie Baker made her entrance on this blog for the first time with her singe 'Sad Clown' and she is here again already. With Bored she presents the same mix, alternative rock like Hole, some slacker diction, explosions in the choruses. Again, the mix works really well. Baker may be going after a married woman who is the woman of her dreams. From there the story develops, unapologetic in lyrics and music. The music has this bouncy quality that potentially may make festivals explode, if she manages to a) get there and b) finds a way for people to get to know the song before the festivals. Bored will work really well here. Two singles underway and what I'm hearing sounds great. 'Somebody Help Me, I’m Being Spontaneous!' is set for release on 10 April.

Sorry Eyes. Pictish Trail

Pictish Trail, or Johnny Lynch, can be found on this blog with three albums, the latest from 2022, but not a single single. That is taken care of today. With Sorry Eyes, Lynch presents a very electronic song, where warbling synths hurtle over each other, creating the layer that makes the song more than a man with his guitar lamenting a lost love. In fact, together with producer Mike Lindsay (Tungg, LUMP) Lynch seems to have stripped away most of the original song as it must have been conceived at home and rebuilt it into what we hear on Sorry Eyes. The result is a song with so many details, that it may well be that someone will hear an unheard detail during the 1000th listening session. The electronics give Sorry Eyes an 80s feel, the rest of the song that of a timeless ballad. An intriguing mix. Album 'Life Slime' will be released on 10 April.

Wout de Natris - van der Borght

Lightning Might Strike. Juliana Hatfield

Juliana Hatfield brak door in de jaren 90, maar gaat naarmate de jaren vorderen steeds betere albums maken, wat ook weer op gaat voor het deze week verschenen en echt uitstekende Lightning Might Strike.

Concurrentie had Juliana Hatfield, want bijna niemand brengt twee weken voor het eind van het jaar een nieuw album uit. Het is goed nieuws voor de fans van de Amerikaanse muzikante en dat is een groep waar ik mezelf zeker toe reken. Juliana Hatfield had ooit het patent op gruizige indierock, maar ze verwerkt inmiddels wat meer invloeden uit de pop. Het klinkt allemaal bijzonder lekker, zeker als de Amerikaanse muzikante ook nog harmonieën toevoegt, maar wat zijn de songs van Juliana Hatfield op Lightning Might Strike ook goed. De Amerikaanse muzikante heeft inmiddels een imposante stapel albums op haar naam staan en dit nieuwe album hoort absoluut bij de betere albums.

Ik had eerlijk gezegd geen interessante nieuwe releases meer verwacht nu het einde van het jaar snel nadert, maar een album van de Amerikaanse muzikante Juliana Hatfield is altijd iets om naar uit te kijken. Mijn eerste kennismaking met Juliana Hatfield stamt uit de late jaren 80, toen ze de band Blake Babies aanvoerde, maar mijn liefde voor haar muziek werd pas echt groot toen ze in de jaren 90 soloalbums ging maken. 

Juliana Hatfield was in de jaren 90 niet de enige muzikante die stevige gitaren combineerde met bijna lieflijke zang, maar ze behoort wat mij betreft tot het allerbeste dat de door vrouwen aangevoerde indierock uit de jaren 90 heeft voortgebracht. Objectief maakte ze haar beste albums overigens in het huidige millennium, met In Exile Deo (2004), Made In China (2005) en het onder de naam The Juliana Hatfield Three gemaakte Whatever, My Love (2015) als persoonlijke favorieten. 

Niet alles dat de Amerikaanse muzikante de afgelopen 25 jaar heeft uitgebracht was raak, zo heb ik wat minder met de albums die ze uitbracht met songs van Olivia Newton-John, The Police en E.L.O, maar albums met eigen en nogal politiek getinte songs als Weird uit 2019 en Blood (tot mijn grote verbazing niet besproken op de krenten uit de pop) uit 2021 waren juist erg sterk en moeten ook worden gerekend tot haar beste werk. 

Heel veel jonge vrouwelijke muzikanten uit de indierock van het moment hebben zich stevig laten beïnvloeden door de muziek die Juliana Hatfield met name in de jaren 90 maakte, maar zelf is ze de afgelopen jaren wat opgeschoven in de richting van een meer pop en rock georiënteerd geluid dat eerder aansluit bij muziek uit een verder verleden dan bij de indierock van het moment. 

De muzikante uit Massachusetts, die haar voormalige thuisbasis Boston inmiddels heeft verruild voor een plekje op het platteland, werkte twee jaar aan het deze week verschenen Lightning Might Strike, waarbij ze werd geholpen door een bassist en een drummer, die van afstand hun bijdragen aanleverden. De rest deed Juliana Hatfield zelf, inclusief de harmonieën. 

Lightning Might Strike is getekend door de ziekte en het overlijden van dierbaren van Juliana Hatfield en is een album met het (nood)lot als centraal thema. In tekstueel opzicht is Lightning Might Strike (de broer van haar moeder werd op jonge leeftijd door de bliksem getroffen) een wat somber album, maar de songs van Juliana Hatfield klinken meestal behoorlijk opgewekt en dat is dit keer niet anders. 

Zeker op haar vroege albums klonk de stem van de Amerikaanse muzikante nog erg meisjesachtig, maar de zang op Lightning Might Strike is echt uitstekend en heeft nog altijd het uit duizenden herkenbare geluid van Juliana Hatfield. Hier en daar hoor je nog flink wat flarden van de muziek die Juliana Hatfield in de jaren 90 maakte, maar Lightning Might Strike klinkt wat minder gruizig en sluit bovendien wat meer aan bij de popmuziek die vanaf de jaren 70 wordt gemaakt. 

De muzikante uit Massachusetts liet op al haar recente albums horen dat ze een gelouterde en uitstekende songwriter is en ook op haar nieuwe album schudt ze de ene na de andere memorabele popsong uit de mouw. Ik gaf eerder al aan dat Juliana Hatfield in het huidige millennium haar beste albums heeft afgeleverd en Lightning Might Strike past qua niveau prima bij haar andere recente albums.

Erwin Zijleman

 

Je kunt Lighting Might Strike hier luisteren en bestellen:

https://dekrentenuitdepop.blogspot.com/2025/12/review-juliana-hatfield-lightning-might.html 

Her Favourite Disguise. The Melancholy Kings

The Melancholy Kings is a totally justified name for the band. From the ten songs on Her Favourite Disguise the strong liking of music from quite long ago just oozes. Liking music from long ago is one thing, creating a career in the 2020s around is another. Those who follow this blog know that for many bands it is a necessity to write and play songs based on what came before and play it today. Most members of these bands have tried in the past, never made it big and return to the front now that life (and finances) allow them to do so.

What strikes me often, is the quality with which this love is paired. A lot of these bands are good. Sometimes even better than the originals ever could play. There's one difference. The impact on me cannot be the same. I do not have fresh ears, only older ears recognising the influences. That does not go to say that the new albums are not good. Far from that and at that quite regularly as well. Just don't expect me to hear a new 'Pictures Of Lily', 'Waterloo Sunset' or Lazy Sunday'.

The Melancholy Kings from New Jersey are Mike Potenza (vocals/guitar), Scott Selig (bass), Paul Andrew (drums) and Peter Horvath (guitar). Together they rock within the blend of early 90s bands like Gin Blossoms joined by 60s influences from the likes of The Who and The Kinks. You can hear that Potenza has studied Roger Daltrey's phrasing right in the opening track, 'Six Feet Down'. The use of the organ bring the 60s even more directly into the whole. What 'Six Feet Under' shares with the listener is a undisguised surge of energy. The Melancholy Kings wants to grab your attention and in my case succeeded.

Photo: Carlo Cipriani

Next song is 'Victoria', which I reviewed in week 47 last year. The song grabbed my ear, just like the opening song did now. This is also the point where I leave you with Her Favourite Disguise, because nothing I can write will stress what I've already pointed out to you. Right up to the end the band shares the fun of playing its songs, even when the tempo goes down. If you like your music from close to 60 years ago, you are bound to like Her Favourite Disguise.

Wout de Natris - van der Borght

 

You can listen to and order Her Favourite Disguise here:

https://melancholykings.bandcamp.com/album/her-favorite-disguise 

2026, week 4. 10 singles

Last Sunday we had a special edition of the weekly singles post. Today we go back to regular with a list of singles that have been mostly released this year. Already the list presented to me is so long and I like too many of them. Blue Monday is coming up. Nothing better to stop feeling blue than good music, sunny days that show that the days are already getting longer a little and okay, playing 'Blue Monday' itself. I'm lucky enough to have the original 12" for over forty years already. Enjoy this week's selection!

Loss & Loneliness. Seb Zukini

Looking back on past posts, I saw that Seb Zukini was first on this blog almost four years ago, together what would become Tramhaus' first 7" single, 'Karen Was A Punk". From that moment onwards the band's lines diverged considerably. Where the Rotterdam band toured around the world a few times, Seb Zukini remained fairly obscure. Listening to Loss & Loneliness the Groningen band certainly deserves more attention. The band's latest song is so full of power. The song has a brilliant build up. The way the bass comes in simply sets the song on fire. That is how to play with dynamics in a song!  At the same time this is a different Seb Zukini from before. Frontman Sebastiaan Kusters is surrounded by a new line up, but shines like ever and maybe even a little more. Loss & Loneliness is a very good, 90s influenced rock song.

Let's Be Loving. Beth Wimmer 

Usually I don't review singles that are released after the record they are on has been reviewed. To make room for new singles and give them the attention they deserve. There's a special reason, that I do anyway here, besides the fact that an artist making a sympathetic song like Let's Be Loving deserves attention always. It is exactly what this single is. Beth Wimmer has written a warm song about love, "time is precious, so let's be loving now". Beth Wimmer can be as direct as this in her songs, as fans have learned through the past years and this song is no different. Country tinged, thanks to the warm tones of her partner Mike Bischof, the song shows that Beth Wimmer is a singer-songwriter that ought to far better known than she is. This is a great song in its genre. Now, about that good cause. Beth's cat needs a medical treatment and she asks for your support. You can do so here: https://www.paypal.com/paypalme/bethwimmer.

Tripping Out On Love/Let's Kiss And Makeup Tonight. Muck and the Mires

A 7" single by Boston garage rockers Muck and the Mires. Always in fear of becoming a pastiche, the band never does. For that the band takes it music to serious. Even if there's a musical quote hidden somewhere in a song, it is the sound of the band. This single shows two sides of the same coin. Tripping Out On Love represents the rock side of the band. The band rocks like it is the second half of the 60s and sounds like no band could at the time. Little heart shaped pills are all over the video, a nice entendre to another love pill. Let's Kiss And Makeup Tonight shows the other side of a relationship and of Muck and the Mires. This is the more poppy side of the 60s, like 'Glad All Over' was for example. Tough, but pure pop. Muck and the Mires show that it is a band at the top of its game. It always delivers.

Live 2024 - 2025. And They Spoke In Anthems 

Last spring a car stopped in front of our house and from it more instruments, gear and cables were schlept than I ever could imagine one artist to bring with him. After a few hours of putting it all together, a living room show was presented that those present will not easily forget. Arne Leurentop, as the artist behind And They Spoke In Anthems is called in daily life, mesmerised the circa 20 people (and sold many a record afterwards). Recently, he released a mini live album from a benefit show played in 2024. Without the intention to record it. The sound man had any way. You can listen to it for free but are requested to donate to a good cause. This cause closed at the end of last year (I now read), but I'm sure you can think of another good cause. Listening to a recording is not the same as experiencing Arne Leurentop playing up as close as I were lucky to see/hear, but it is definitely second best, because his songs are so beautiful and mesmerising.

Excuse Me. Heavenly 

 '74/75' and Excuse Me are both songs that look back with loads of nostalgia to a time that is long gone. Twenty years for the former, maybe 40 years for the latter. I am not a nostalgic person. Yes, it was fun but it still is today, only different, even doing things I was not able to do, like playing music myself. So, sometimes even better in several ways. Heavenly has reformed and will release an album 'Highway To Heavenly' on 27 February and do an extensive tour. Four original members have come back on board with a new drummer. What I have heard so far, makes me pine for what I may have missed at the time and look forward to what I am about to hear. Excuse Me is a track that is very much alive with a punky attitude and an alternative pop feel. Heavenly compares Excuse Me to the first The Undertones album. I can understand why but have to point out that the age difference is apparent, but that is perfectly okay. Excuse Me is a strong track, with a great beat and feeling for things that came and went. We're all still here and that is something to rejoice for certain.

Artificial Stars. Ultrabomb

Made up out of former members of Hüsker Dü, Soul Asylum and Social Distortion, it makes it a good guess what the average age of the Ultrabomb members is? It will not be 20, 30 or 40 and most likely not even 50. Whatever the average is exactly, the outcome is an energetic powerpoprock song that lights up these artificial stars the band sings about no little. The band has released a few albums this decennium and will release its new album 'The Bridges That We Burn' in April. Ultrabomb is a trio, Greg Norton, Derek O’Brien and Ryan Smith. You will hear that Smith overdubbed some guitars, but the basis is a powertrio that goes for it in the way powertrios should. Drums and bass are very present and the guitars are everywhere. I always perceive a difference between U.K. and U.S. trios, the latter are somewhat smoother in sound, no matter how much noise they produce. Ultrabomb is no different.

Cut Glass Hammer. Memorials

A song named after an artwork by Yoko Ono? Now that is intriguing. I never got further than seeing the outside ad on a museum wall in Frankfurt when driving by in a tram from the train station on route to a project kick off near the old harbour, with no time to have a visit. What I'm listening to is an electronic pop track, that makes me think of 'Are Friends Electric' or 'Cars' by Tubeway Army/Gary Newman. Cut Glass Hammer is only slightly less straitjacketed. The vocals are a little more frivolous or loose, however you prefer to describe it. Memorials, previously members of Electrelane and WIRE, consists of Verity Susman and Matthew Simms and wil release its album ‘All Clouds Bring Not Rain’ on 27 March. It is announced as as a very experimental album, so it must get a lot wilder/weirder than this single. This is gefundenes fressen for lovers of circa 1980 electropop. You are allowed to think The Human League as well.

Undertow Afterglow. Kurt Baker

To think that I, Dutchman, was on the guestlist of Kurt Baker in Tokio in the fall of 2023 by way of Geoff Palmer who than played guitar in Baker's band. Alas, the confirmation never reached me because for some reason I was unable to acces my WoNo account. in Japan. It just wouldn't open, until I got home. I would not have heard this extremely pleasant poprock track, as it didn't exist yet. Undertow Afterglow, besides making me think "undertoad" immediately thanks to 'The World According To Garp', is such a nice song. The positive riffs fly into my ears, not ever wanting to leave again. The vocal melody is totally upbeat. Baker gives me the idea that we are all back in high school pining for our first love, that for some have and for others did not happen. Bittersweet is the right word, were it not that decades later it is taken in as great fun. That is exactly what Undertow Afterglow is. And, mr. Baker, my apologies for not showing up. I would have loved to be there.

Rainbow Cardigan. The Corner Laughers

A new name to the blog, The Corner Laughers is. Had I been asked to say where the band comes from, I would have said the U.K./England. Wrong, the band is from northern-California. On Rainbow Cardigan it weaves pop with folk and indie. It is totally upbeat from the get go and grabs the listener by way of positive vibes and this positivity shines through for the whole of the musical ride. Although the song has a melancholy side to it, it looks back to a time in the past, it makes the sun come out and puts a pleasant tan on our skin and warms our bones. I had never heard of The Corner Laughers before, but I can assure you more is welcome in the future. Patience until March is called for when 'Concerns Of Wasp and Willow' will be released on Big Stir Records.

In Your Ocean. Iron & Wine

Iron & Wine, aka as Sam Bean, is an act that I have passed up on quite often in the past few decades. Bean's music somehow most of the time is just outside of my interest, while his music is quite close to musicians that I do like. Today it's different. In Your Ocean is a positive sounding pop track that appeals to me. Please do not ask why, as it just is. The vocal melody brings U.K. vibes to me, think The Hollies of the 1960s. Iron & Wine has really tapped into a musical vein from long, long ago. With an organ as on 'Marrakesh Express', there is Graham Nash again, and vocals that bring to mind a myriad of bands from long ago. That is more than enough for me to like In Your Ocean, a lot.

Wout de Natris - van der Borght 

Beyond Wires. Golden Hours

Today we present a little more darkness. Golden Hours obviously was inspired by gothrockers from the 80s, including tie-ins to bands like New Order and The Cult, while adding a lighter sounding guitar that lets light into Beyond Wires regularly. The mix works extremely well. It even leads to songs that are quite danceable, at least at the time that I frequneted dance evenings a long time ago and "the bats", Robert Smith hair, dark clothes, shoegazing, mixed with us dancers with less extreme if not exclusive, dance appetites.

Golden Hours only debuted on this blog late December in the singles section and I realise to know nothing about the band. Beyond Wires is the band's second album, yet we are not focusing on new kids on the block. The members have histories in bands like "Gang of Four, The Brian Jonestown Massacre, Tricky, The Fuzztones, and more", to quote the bio. That is extremely diverse. From this wide mix comes Golden Hours, a band with many different sides to its goth. Of the members, based in a few European capitals, Hákon Aõalsteinsson, Wim Janssens, Tobias Humble and Rodrigo Fuentealba Palavacino, the first two are responsible for the vocals. Of course, you will be able to hear the difference, but both sing from that starting point of this band: goth.

It is all happening around the voices that make the band far more attractive for a listener wanting to listen to more than just darkness. That may lead to the loss of "bats", but to be honest, I haven't seen many of them since the summer of 1987. Why that was, is a totally different story, but let me suffice to write that it was in that summer our then crown prince, now king, entered Leiden's university and elite student club and how that affected the membership and outlook of all the other student clubs.

Promo photo

Personally, I have always liked the mix in music. Slowly but surely I was leaving behind my 1970s heroes. No, that is wrong. I started to add bands to the roster, but mostly singles. At the time there were very little albums that impressed me as a whole. My body, dancing, was won over first before my brain, listening. I learned to dance, to let go and that was possible with 'A Forest' or 'Pale Shelter' and 'Burning Down The House (live)'.. etc.

Beyond Wires brings elements from that era but that is only part of the story. It is the singing that put me on the goth track. When listening deeper, I started to notice all the other elements. This band allows a lot of light in, through the sound of the guitars, that have a nice reverb to it. Also, there can be a different shade of darkness with New Order synths woven through or underneath the fabric of a song.

When listening to 'Heading For The Moon', I wondered whether I would like a whole album by Golden Hours. That questions has been answered with a wholehearted yes.

Wout de Natris - van der Borght

 

You can listen to and order Beyond Wires here:

https://goldenhours1.bandcamp.com/album/beyond-wires 

Moonflowers. Constant Smiles

De Amerikaanse band Constant Smiles leverde vier jaar geleden een prachtig 90’s album af, kwam twee jaar geleden met een heerlijk 80s album op de proppen en maakt deze week indruk met een fraai album met een vleugje 70s.

Constant Smiles had al een enorme stapel albums op haar naam staan toen het terecht een plekje in de spotlights kreeg met het uitstekende album Paragons. Die spotlights waren er ook toen twee jaar geleden het album Kenneth Anger verscheen en wederom viel er niets af te dingen op de aandacht voor de Amerikaanse band. Hopelijk kan ook het deze week verschenen Moonflowers weer op aandacht rekenen, want het is wederom een sterk album. Het is bovendien wederom een album dat anders klinkt dan zijn voorganger, want de synths van het vorige album hebben plaats gemaakt voor een organischer en folkier geluid. Het levert wederom een bijzond fraai album op.

Bijna precies vier jaar geleden kwam ik voor het eerst in aanraking met de muziek van de Amerikaanse band Constant Smiles. Paragons werd hier en daar aangeprezen als het officiële debuutalbum van de band uit Queens, New York, maar dat voelde een beetje raar bij een band die al meer dan vijftien albums op haar naam bleek te hebben staan. 

Paragons was ook het eerste dat ik hoorde van Constant Smiles, maar het was wel liefde op het eerste gehoor. Ik vergeleek Paragons onder andere met de muziek van de Australische band The Go-Betweens en dat is een van de grootste complimenten die ik een band kan maken. 

Constant Smiles verwerkte op Paragons invloeden uit een aantal decennia popmuziek, maar ik hoorde de meeste raakvlakken met de wat zweverige gitaarmuziek uit de jaren 90 van bijvoorbeeld bands als Yo La Tengo en Luna. Het leverde uiteindelijk een van de mooiste herfstalbums van 2021 op, al was ik het album helaas vergeten toen ik mijn jaarlijstje een paar maanden later maakte. 

In het prille voorjaar van 2023 keerde Constant Smiles terug met het album Kenneth Anger en het was wederom een album waarop de Amerikaanse band uiteenlopende invloeden verwerkte. Waar ik bij beluistering van Paragons vooral associaties had met licht psychedelische gitaaralbums uit de jaren 90, nam Kenneth Anger me vooral mee terug naar de elektronische popmuziek uit de jaren 80 en naar legendarische albums van bands als China Crisis en The Lotus Eaters en het was weer prachtig. 

Deze week is de opvolger van het album uit 2023 verschenen en logischerwijs zou Constant Smiles op Moonflowers terug moeten grijpen op muziek uit de jaren 70. Het nieuwe album van de band uit New York klinkt in ieder geval weer flink anders dan zijn twee voorgangers, dus wat dat betreft voldoet Moonflowers aan de verwachtingen. 

Constant Smiles omschrijft de muziek op het nieuwe album zelf als ambient pop, maar zelf hoor ik ook flink wat invloeden uit de folkrock, met inderdaad meer dan eens een jaren 70 vibe. Moonflowers heeft af en toe misschien een jaren 70 sfeertje, maar het is ook absoluut een indiefolk album van deze tijd. 

Na de psychedelische 90s gitaren van Paragons en de 80s synths van Kenneth Anger kiest Constant Smiles op haar nieuwe album voor een organischer en wat meer ingetogen geluid. Het is een geluid dat best als folky mag worden omschreven, maar het wordt gecombineerd met bijzondere klankentapijten van synths op de achtergrond, waardoor het geen standaard 70s folkrock is.

Net als de vorige albums van de Amerikaanse band wordt ook Moonflowers weer gekenmerkt door een serie aansprekende songs. Het zijn songs die je eigenlijk direct wilt omarmen, maar die ook makkelijk blijven hangen. In muzikaal opzicht is het allemaal weer dik in orde en ook de zang op Moonflowers is weer prima. Het is zang die af en toe is voorzien van fraaie aanvullingen van vrouwenstemmen, waarvoor onder andere Cassandra Jenkins en Katie von Schleicher naar de studio kwamen. 

Constant Smiles is helaas nog altijd behoorlijk onbekend, maar met Paragons, Kenneth Anger en Moonflowers heeft de band nu een fraai stapeltje albums op haar naam staan. Het is lastig kiezen tussen drie totaal verschillende albums, maar Moonflowers is zeker niet minder dan de terecht door mij geprezen voorgangers. Leuke band, uitstekend album.

Erwin Zijleman

 

Je kunt Moonflowers hier luisteren en bestellen:

https://constantsmiles.bandcamp.com/album/moonflowers 

Stunt Double. Queen's Pleasure

Queen's Pleasure debuted on this blog with its EP, followed by its debut album 'Words To Live By, Suits To Die In', which even made it to number 17 in my year's end list of 2021. After that things went near silent, as I did not really like the band's second album. In almost all cases, I refrain from writing. And here is album number three, 'Stunt Double', released on a new label, Mattan Records.

With this switch the Amsterdam based band enters a new phase in its career and does so with an album that makes a statement, not unlike on its debut album. It is easy to lump Queen's Pleasure into the alternative rock/postpunk echelon of rock music in the 2020s. In its bio it makes the comparison itself by mentioning Fontaines DC and The Murder Capital, both from Dublin originally. Stunt Double shows that Queen's Pleasure has followed the progression these bands made. It also sets itself firmly apart from the postpunkers leading the pack, as far as I'm concerned in the Netherlands, Tramhaus and Marathon.

The music on Stunt Double is far more varied. Heck, a song like 'Eva' even makes me think of about the only Direct song I like, 'Through The Looking Glass'. It has that same strong pace, but rocks far harder, so moves into a loud rock version of The War on Drugs. These kind of surprises are what makes this album fun, attractive and adventurous to listen to. In 2025, there are several sides to Queen's Pleasure and it wants to show them all. From the real bangers at the start, to a ballad, with strings and all, at the end, the band takes you by the ears and does not let go them.

Promo photo

This is why the comparison to Fontaines DC is justified. This band has left its origins almost behind and went exploring what more it is capable of creating ('Romance'). Opposed e.g. to Shame, that came with the same kind of album last year, just a lot better this time ('Cutthroat'). Stunt Double deserves to be somewhere in between the two. It is not a complete different route but shows the intention, while it is a better version of its previous self.

I can't judge whether this is because the band left Excelsior or it was heading in this direction anyway. Fact is, this would have been a very loud album for the Amsterdam label. It fits better with Rotterdam's attitude "no words, just deeds". Stunt Double totally subscribes to this motto. This album is a beast that Queen's Pleasure in some of the songs can hardly contain. The fact that it does, shows growth and strength. Time will have to tell, but my first impression is that Stunt Double is a small step for mankind but a giant step for Queen's Pleasure. One that I am quite happy with.

Wout de Natris - van der Borght 

 

2026, week 3. 10 singles: Ladies Day

Today, I am doing something very different. With one exception, none of these singles were sent to me in one way or another. Today's items are written from a thought that occurred to me somewhere before Christmas and stuck in my head. Here I'm testing that idea a little.

But, before going into details. Yes, I'm an older male, listening today to music that was not made with someone like me in mind, but that every once in a while I am exposed to. Mostly through the morning show on Radio 2, that my wife likes to listen to before leaving for work and some other odd times when I come down from working upstairs. At Radio 2 they play mostly older music, but with sometimes something new thrown in. Quite often we are looking to each other and wondering, so this is the number 1 record at this moment, but when is this song finally starting? And then one song came by and I knew instantly why this was a hit (read the tenth post). Hence, this week's singles post focuses on young(er) female singers that are popular at this point in time, starting with the current number 1 over here. Let me apologies to fans, that not all I write may be to your liking, but, hey, even in 2026 tastes are allowed to differ.

The Fate Of Ophelia. Taylor Swift

Taylor Swift is one of the biggest if not the biggest artist(s) at the moment. And still, she never scored that BIG hit in The Netherlands. I always wondered how that is possible. In 2025-26 that has changed. She has her first number 1 hit. Now, I do not know a lot of Swift songs, so can't really compare. When listening to The Fate Of Ophelia, what I'm hearing is a decent pop track, one that sort of does everything right. It shows a lot of restraint as well, right up to the point that it has me wishing that it would go off at some point. The video clip starts with the recreation of a painting that apparently makes young women and girls go to the museum where the original hangs. Besides that, it recreates show movies that I saw on TV when I was young, Marilyn, Esther Williams, etc. Movies I did not really like, but nostalgia does a lot when watching the video in 2026. The Fate Of Ophelia is a nice track, no doubts there, but, The Netherlands, is this her best track yet or is it finally a recognition of her overall popularity?

Man I Need. Olivia Dean

Already 19 weeks on the charts and still at number 2 and nine weeks at number one in 2025 before Ms. Swift. This is the song that triggered my thoughts, "So this is number 1"? What I'm hearing, is a song with something of a soul vibe to it, but to my ears it has absolutely nothing going for it. The melody is bland, the singer has no vim in her. It sounds to me as if Man I Need is the result of a few students who had to stay late because they flunked their assignment. A have-to instead of want-to. I know, all is taste, but quite often I can not particularly like a song but hear what makes it good and liked, e.g. Miley Cyrus' 'Flowers'. This song totally passes me by here, even baffles me.

So Easy (To Fall In Love). Olivia Dean

In life all needs to be fair. Olivia Dean is found twice in the chart of week 2, so let me give her a second chance. With So Easy (To Fall In Love) at number 9, she has two big hits at the same time. And if I had to choose, the choice would be obvious. This one is a genuine soul ballad. A song that could have been sung by both Aretha and Dusty. The bossa nova elements and the trumpet give the song a fresh vibe and even Herb Alpert would have fallen in love with Olivia singing this song. Here the relaxed vibe totally works in favour of the song. The heart and soul is in the singer and the musicians. To my ears So Easy (To Fall In Love) is totally anachronistic in 2026, but then I see young men and women dancing to the same tunes as I was as a student. So why should they not like a jazzy soul song like this?

Messy. Lola Young

Somewhat older, but a song that totally passed me by, I think. All of a sudden Lola Young was an item in my music magazine, 'Oor'. THE song was Messy, so I decided to give it a chance. The song came to number 2 in 2024 and stayed no less than 34 weeks in the charts. I find that I like the song. It has this slow drive that keeps it going at its own near slacker pace. Lola Young sing-talks in the verse and then sings in the chorus. In the lyrics she does not mince her words and whoever she's singing to must be either deaf or a total asshole. The chorus is not so much unlike what Taylor Swift does, but far rougher. More U.K. I'd say, direct and in your face. This is far from punk but the vibe of Messy is as direct as The Jam's 'A Town Called Malice'.

Loser. Roxy Dekker

And what about The Netherlands? Well, here's Roxy Dekker. Last spring she drew so many people that it was near impossible to get on the 'Bevrijdingspop' terrain in Haarlem. I can be extremely short about Loser, which is despite the title a Dutch language song. This is bubblegumpop for the 2020s. Autotune, pop without any form of bite. It can't even come close to a song like 'Messy'. Why is this a hit (at number 15)?

 

 

Wacht Op Mij. Hannah Mae

Hannah Mae is a name I know, because of the tv series "Beste Zangers" where she participated. Wacht Op Mij ('Wait For Me') is a song that I hadn't heard before. It is number 26 this week. Hannah Mae presents a serious track, a true ballad, but not a love song. This is about mental illness and its consequences, but also the help that is offered. In her way of singing, she is an exponent of how several young female singers sing recently, a little breathy and hesitantly. In my ears this is a courageous single, not one that can be expected to become a hit. She chose to release it any way. This song is not for me, but I hear the love with which it was made and the vulnerability she shows through strength. Hannah Mae presents Wacht Op Mij with the exact right tone.

Hoogtevrees. Bente

At number 34 comes Bente's new single. Vocally, she resembles Hannah Mae but also, lyrically and musically. Hoogtevrees ('vertigo') goes from brittle to huge during the course of the song. The theme is just as serious. Bente featured in the same show, 'Beste Zangers', but one season later. So, I knew her and knew she could really sing. The style of singing is not totally my thing, but lets say that after a few years I'm getting a little used to it. Hoogtevrees is an interesting track, as it manages to present a few different moods. Bente invites herself and everyone who tends to look to his/her feet to start looking up. The music invites her to do the exact same thing and becomes a positive storm, to end in a very small way. Again, a very serious theme for a single, but one that takes the listener along. It may not be an 'Eloise' or 'Just A Little Bit Of Peace In My Heart' to my ears, but for someone young in 2026 it may well, perhaps deserves to become so.

Undone. Heidi Curtis

This debut single was pushed on that Radio 2 morning show I already mentioned, this week as new music on "Jan Willem's radar". Heidi Curtis takes us on board of a good and tight rock song. It takes me back circa 30 years when the likes of Alanis Morissette and all the female singers who followed her for a short period of time, most never heard from again, became popular. Listening to Undone, I can only say that I've heard this all before. Been there, done that, some passages even sound too familiar. Especially Florence + Machine comes to mind. That out of the way, Heidi Curtis rocks and quite enthusiastically. She goes for it and it is easy to hear she is serious about her first single. That makes the song a winner and this being a first single, gives Ms. Curtis hopefully ample time to find her own voice as well.

The Subway. Chappell Roan

Back to abroad. Another name impossible to escape in the past year was Chappell Roan. To my surprise, she has not scored a really big hit. This is the last of her three chart entries. Listening to The Subway I can only barely suppress a yawn. When will this song get going? Okay, Ms. Roan can sing, that is obvious, but everything I'm hearing has been done before and a lot better. Perhaps I'm listening to the wrong song, but this is not for me.

 

 

Where Is My Husband! Raye

And here, finally, you might say, is the cause of all the above. The reason why I wanted to write this specific post. This song is an instant banger. It sounds like something that I might have heard before, but never in this way. This went straight into my ears and set of fireworks there. This song has so much energy. I could also call it an ADHD track as it keeps bouncing around without a single pauze. The singing is all over the place. The horns keep blasting into my ears, at full blast at that, without mercy. The message is really hit home. To my surprise Raye already had seven previous hits to her name, but always with someone else. This is her first solo hit over here and for now stuck at number 3. How can the other two, see above, top this song? There's something wrong in this world and unfortunately not just this chart position. Where Is My Husband? does put a mind on more positive thoughts though. Something to escape the rest with for a short period of time.

Wout de Natris - van der Borght 

Blizzard. Dove Ellis

Blizzard van de Ierse muzikant Dove Ellis staat door een wat onhandig getimede release (december, WdN) nog in geen enkel jaarlijstje, maar daar hoort het in muzikaal maar vooral in vocaal opzicht opzienbarende album zeker in thuis.

Zonder een bijzonder lovende recensie van The Guardian zou het debuutalbum van de Ierse muzikant Dove Ellis waarschijnlijk aan mijn aandacht zijn ontsnapt. Voor nu dan, want Blizzard moet bedolven gaan worden onder de jubelrecensies. Dove Ellis maakt op zijn debuutalbum muziek die varieert van ingetogen folk tot rock en het is muziek die fraai is ingekleurd met invloeden die met zevenmijlslaarzen door de tijd stappen. Het album wordt vervolgens mijlenver opgetild door de opzienbarende stem van de Ierse muzikant. Het is een stem die allerlei associaties oproept en al deze associaties vervolgens combineert in een geluid dat je compleet van je sokken blaast.

Ik was de naam Dove Ellis nog niet eerder tegen gekomen, maar er doken de afgelopen dagen een aantal bijzonder positieve recensies op van zijn debuutalbum Blizzard. In deze recensies wordt de muziek van de Ierse muzikant onder andere vergeleken met die van Tim Buckley, Jeff Buckley, Nick Drake, Van Morrison, Thom Yorke en Rufus Wainwright. Het maakte me absoluut nieuwsgierig naar het eerste album van Dove Ellis en die nieuwsgierigheid werd verder aangewakkerd door een vijfsterren recensie van de Britse kwaliteitskrant The Guardian, die Blizzard een glorieus debuut noemt. 

Ik had niet veel tijd nodig om tot dezelfde conclusie te komen als de Britse krant, want Blizzard van Dove Ellis is in meerdere opzichten een fascinerend album. Zeker wanneer je het album voor het eerst hoort gaat alle aandacht uit naar de unieke stem van de Ierse singer-songwriter. De stem van Dove Ellis doet in eerste instantie vooral denken aan die van Jeff Buckley, maar ook Tim Buckley, Rufus Wainwright en Thom Yorke zijn nooit ver weg. 

De stem van de Ierse muzikant treedt nadrukkelijk op de voorgrond en voorziet zijn songs van het nodige drama. Het zorgt voor een sfeer die af en toe wel wat doet denken aan die op Jeff Buckley’s meesterwerk Grace, maar Dove Ellis heeft ook een duidelijk eigen geluid. In een aantal van de wat zwaarder aangezette koortjes heb ik voorzichtige associaties met Queen, maar de wat meer ingetogen songs hebben ook wel wat van Nick Drake, wat iets zegt over de veelzijdigheid van de zang.

Ik vind de zang van Dove Ellis hier en daar op het randje, zeker wanneer ik naar mijn smaak net wat teveel pathos en bombast hoor, maar de Ierse muzikant beschikt absoluut over een geweldige stem, die het grootste deel van de 34 minuten die Blizzard bijzonder makkelijk overtuigt. 

Het is de zang die het eerst in het oor springt bij beluistering van het debuutalbum van Dove Ellis, maar ook in muzikaal opzicht heeft de Ierse muzikant een bijzonder intrigerend album afgeleverd. Blizzard grijpt in flink wat songs terug op invloeden uit de jaren 70, maar slaat ook makkelijk een brug naar de jaren 90, waarbij hij makkelijk schakelt tussen Jeff Buckley, Radiohead en Rufus Wainwright. 

Dove Ellis kan overweg met ingetogen folk, maar gaat ook moeiteloos aan de haal met invloeden uit de Keltische muziek (wat de vergelijking met Van Morrison oplevert), tijdloze singer-songwriter muziek of indierock. Blizzard is voorzien van een redelijk vol geluid, waarin de nodige instrumenten voorbij komen. Het is een geluid dat is voorzien van veel bijzondere wendingen en steeds weer iets nieuws laat horen. 

Het is een geluid dat vaak tijdloos klinkt, tot de waanzinnige stem van Dove Ellis zijn debuutalbum voorziet van een unieke handtekening. Het levert wat mij betreft terecht een aantal jubelrecensies, maar het is ook nog veel te stil rond een album dat inderdaad en glorieus debuutalbum moet worden genoemd. 

De timing van Blizzard is natuurlijk zeer ongelukkig. De jaarlijstjes domineren momenteel de muziekmedia, waardoor er weinig aandacht is voor nieuwe albums. Hopelijk wordt het debuutalbum van Dove Ellis de komende maanden nog wel opgepikt, want Blizzard zou de start kunnen zijn van een prachtige carrière, wanneer deze niet al in de knop wordt gebroken. Ik heb mijn jaarlijstje gelukkig nog niet gemaakt.

Erwin Zijleman

 

Je kunt Blizzard hier luisteren en bestellen:

https://doveellis.bandcamp.com/album/blizzard 

Jana Horn. Jana Horn

When reviewing Jana Horn's single from this album, 'Go On, Move Your Body, I wrote "depressing, that is the right word to use here. ... (The arrangement) makes Go On, Move Your Body, shine, perhaps despite itself. A whole album? That may be a bit too much for me". I truly wondered whether I could listen to a whole album, yet, here we are.

Looking in the archives of the blog, I found that Erwin Zijleman has written on Jana Horn's previous albums, 'Optimism' (2022) and 'The Window Is The Dream' (2023). With her self-titled 'Jana Horn', it is my turn.

'Jana Horn' is a modest album in one sense only. Ms. Horn does not need huge arrangements to make an impression. She keeps her songs small and rather soft. At heart, you will hear Jana Horn and her acoustic guitar. She sings with a soft voice, somewhere between singing and parlando. Over and through this basis the other instruments are woven into the mix, that is somewhere between clear and muddy. Everything can be heard quite clearly. Some instruments do just not stand out as clearly as they could have, resulting in the mood the album shares. You will have a hard time searching for a light in 'Jana Horn'. What is the overall feat here, is that the album never moves into despondency. My view as an outsider is that Jana Horn likes to observe, even wallow in darkness but just as easily can step out of it and have fun.

In the year before writing and recording Jana Horn moved to New York City. For some reason I had associated the album with NYC, to now find that she's from Texas by way of Charlottesville, Virginia, where she studied. The album was recorded in Texas though, together with her drummer Adam Jones and bassist Jade Guterman. Adelyn Strei provides all the other instruments that make a sound when breath is blown into them. Together they create such delicate songs that a crash on a cymbal by Jones can cause quite a ripple in the tranquillity of the musical pond. Over the years, I have heard many albums like 'Jana Horn', and I'm sure you will have as well. There's a huge difference though. Most of them do not touch me like this album does.

What is the difference? That is hard to say. It starts with Jana Horn's voice. I simply love to listen to it. Next, I truly appreciate the way the flute and clarinet are woven into the mix. It makes the songs on this album somewhat different and certainly warmer.

Taking 'Jana Horn' all in, when all is said and done, the whole album had the same effect on me like the single had. Fascination won out over the darkness, with ease. in fact, I've found the light after all. 'Jana Horn' shines like a bright star on a pitch-dark night.

Wout de Natris - van der Borght

 

You can listen to and order 'Jana Horn' here:

https://janahorn.bandcamp.com/album/jana-horn-2 

Season Changes. Ger Eaton

A new name to the blog, Ger Eaton. The Irishman shared his album Season Changes with the world in the fall of 2025. The album invokes a kind of reverence that I can only compare with an album like The Moody Blues' 'Days Of Future Passed'. For some reason not all songs are/seem extremely good, but they all impress, thus lifting the quality of the whole because of it. Ger Eaton's Season Changes has that effect on me.

Other names have come by as comparisons. The likes of Nick Drake, Scott Walker and Jimmy Webb. Even Brian Wilson is mentioned. That are some shoes to fill. I must say that Ger Eaton comes a long way. His music has a nostalgia for the 1960s, including film scores and the score of a series like 'The Persuaders'. The arrangements of these songs all take the listener back about six decades.

At the heart of Season Changes is a singer-songwriter album. A man, his voice and an acoustic guitar or piano. From there the song is built into a totally different beast, that includes a lot of string instruments, making the album something near a barok piece. Could Johann Sebastian Bach have come up with a song like 'Heaven Knows'? My take is that if he allowed himself to think just a little outside of his box, he may well have (in German of course). Season Changes is that kind of album. Stately, dead serious and quite often very beautiful.

Photo: Oisin Queally

Despite not being a young(er) man any more, this is Ger Easton's debut solo album. Over the past twenty years he played keyboard in various bands and after a string of singles, that all passed me by, he was ready for more. That more is truly more, as this is an incredibly rich album. Eaton may have written all the songs, the stamp of the arranger Andrew Keeling can be found all over the album. The strings are played by Castle Quartet, who have a huge role. That is a starting point, as there also are recorders, flutes and horns. Listen to 'Interlude Estival Air' to hear how that plays out.

The album starts with what sounds at first like an applause starting, but changes into water lapping the shore. Other nature sounds grace the album at some points as well. All together, Season Change stands for a musical adventure. Ger Eaton has stopped at nothing it seems to make an impression on his listeners. As I already wrote, it comes close to the adventure 'Days Of Future Past' is also. With one major difference: I do not hear a 'Nights In White Satin' on Season Changes. Even if there was, the times that songs like that became hits are long gone.

Wout de Natris - van der Borght

 

You can listen to and order Season Changes here:

https://gereatondimplediscs.bandcamp.com/album/season-changes