Dreamviewer. Kristen Adamson

De Schotse muzikante Kirsten Adamson kreeg de muzikale genen van haar vader, maar laat op haar nieuwe album Dreamviewer ook een voorliefde en een gave voor het maken van countrymuziek horen.

Dreamviewer, het derde of zelfs vierde album van de Schotse muzikante Kirsten Adamson wordt vooralsnog nauwelijks opgemerkt. Dat is jammer, want het is echt een uitstekend album. Het is een album waarop Kirsten Adamson de Amerikaanse rootsmuziek en met name de countrymuziek omarmt, maar het is wel countrymuziek met een Britse twist en een Schotse tongval. In muzikaal opzicht klinkt het allemaal uitstekend en verrassend tijdloos, maar het is vooral de zang van de Schotse muzikante die indruk maakt. Het zorgt er voor dat Dreamviewer zich wat mij betreft makkelijk weet te onderscheiden van de meeste andere singer-songwriter albums van het moment. Hopelijk krijgt het album daarom alsnog de erkenning die het zo verdient.

Dreamviewer van Kirsten Adamson verscheen een maand of drie geleden, maar heeft vooralsnog helaas slechts in zeer kleine kring aandacht gekregen. Ik kwam het album tegen in een recente editie van de Mojo of de Uncut en die recensie was positief genoeg om te luisteren naar het album. Daar heb ik zeker geen spijt van gekregen, want Dreamviewer is een mooi album, dat veel meer aandacht verdient dan het album tot dusver heeft gekregen. 

Het blijkt al het derde album van de Schotse muzikante, die samen met ene Dave Burn ook nog een album maakte onder de naam The Marriage. Ik was de naam van Kirsten Adamson zelf nog niet eerder tegen gekomen, maar weet inmiddels dat ze de dochter is van de Schotse muzikant Stuart Adamson, die aan de basis van de Britse band The Skids en Big Country stond. 

De Schotse muzikant zocht aan het eind van de jaren 90 zijn geluk in Nashville, waar hij de countrymuziek ontdekte, maar in 2001 op slechts 43-jarige leeftijd een einde maakte aan zijn leven. Kirsten Adamson bleef na het einde van het eerste huwelijk van haar ouders achter in het Verenigd Koninkrijk, maar bracht ook een aantal zomers in Nashville door. 

De hoofdstad van de Amerikaanse rootsmuziek heeft zeker invloed gehad op de muzikale keuzes die ze maakt op Dreamviewer. Ik ga niet zo ver om Dreamviewer een countryalbum te noemen, maar invloeden uit de countrymuziek spelen absoluut een rol op het nieuwe album van Kirsten Adamson. 

De Schotse muzikante beschikt om te beginnen over een stem die het goed doet in countrymuziek en die haar songs een country vibe geeft. Door de invloeden uit de countrymuziek in de zang klinkt Dreamviewer eerder Amerikaans dan Brits, maar het is zeker geen typisch Amerikaans rootsalbum geworden. 

De stem van Kirsten Adamson heeft een lichte country snik, maar ik vind het ook een mooie en warme stem en ik heb bovendien wel wat met de manier van zingen van de Schotse muzikante en haar Schotse tongval. Kirsten Adamson zingt met veel gevoel en af en toe veel expressie, maar ze zingt ook vaak redelijk ingehouden, wat van Dreamviewer een intiem klinkend album maakt. 

Door de zang van Kirsten Adamson klinkt Dreamviewer geregeld als een countryalbum, maar ook de muziek op het album draagt hier aan bij, zeker wanneer de in het genre onmisbare pedal steel opduikt. Kirsten Adamson is haar Schotse wortels echter niet helemaal vergeten, want haar nieuwe album bevat ook invloeden uit de Britse folk, zeker wanneer strijkers opduiken. 

Kirsten Adamson is als ik goed geïnformeerd ben inmiddels 40 jaar oud en dat hoor je. Dreamviewer klinkt een stuk doorleefder dan alle albums van hele jonge vrouwelijke singer-songwriters die dit jaar zijn verschenen en klinkt bovendien een stuk tijdlozer. De Schotse muzikante heeft geen poging gedaan om invloeden uit de indiepop, indiefolk of countrypop toe te voegen aan haar songs en heeft met Dreamviewer een album gemaakt dat inmiddels ook een aantal decennia oud zou kunnen zijn. 

Het is zoals gezegd een album dat flink te klagen heeft over de aandacht die het heeft gekregen en dat is echt doodzonde. Het is immers een album dat me direct wist te overrompelen en dat wat mij betreft ook iets toevoegt aan alle albums die dit jaar in het genre zijn verschenen. Het maakt me nieuwsgierig naar het oudere werk van Kirsten Adamson en nodigt me ook uit om weer eens werk van haar vader uit de kast te trekken, maar voorlopig ben ik nog lang niet klaar met het buitengewoon fraaie Dreamviewer.

Erwin Zijleman

Girl Prometheus. Flower Face

Min of meer bij toeval ontdekte ik deze week het eind 2024 al verschenen Girl Prometheus van Flower Face en sindsdien ben ik compleet in de ban van dit in alle opzichten betoverend mooie album uit Canada.

De Canadese muzikante Ruby McKinnon timmert vanuit Montreal inmiddels al heel wat jaren aan de weg met haar project Flower Face. Dat heeft haar nog niet wereldberoemd gemaakt, maar dat heeft niets te maken met de kwaliteit van haar muziek. Zo is het eind 2024 verschenen Girl Prometheus echt een prachtig album. De teksten zijn mooi, de songs zijn wonderschoon maar ook spannend, in muzikaal opzicht is het prachtig en Ruby McKinnon beschikt ook nog eens over een engelenstem, die echt met geen mogelijkheid is te weerstaan. Ik had tot een paar dagen geleden nog nooit van Flower Face gehoord, maar Girl Prometheus is een album dat ik vanaf nu intens koester.

Ik kijk vaak rond op het Nederlandse muziekplatform MusicMeter.nl, waar iedereen zijn of haar mening over albums kan geven. Het platform bevat mooie discussies over albums, maar het levert me ook met grote regelmaat interessante tips op. De tip die heeft geleid tot deze recensie kwam op hele bijzondere wijze tot stand, maar wat is het een mooie tip. 

In een bericht over het album Deeper Well van Kacey Musgraves, met afstand mijn favoriete album van 2024, gaf de schrijver van het bericht aan dat het ook zijn favoriete album was tot in de een na laatste maand van het jaar het album Girl Prometheus van Flower Face verscheen. Ik kon vervolgens niet wachten om naar dit album te luisteren, waarna het album me echt binnen een paar minuten inpakte. 

Girl Prometheus van Flower Face had het in 2024 voor mij waarschijnlijk niet gewonnen van het album van Kacey Musgraves, dat ik schaar onder mijn favoriete albums aller tijden, maar het was absoluut in de hoogste regionen van mijn jaarlijstje terecht gekomen. 

Ik had echt nog nooit van Flower Face gehoord, maar het blijkt het alter ego van de Canadese muzikante Ruby McKinnon. Girl Prometheus, waarvan later ook nog een instrumentale versie is verschenen, is niet het eerste album van de muzikante uit Montreal. Op Spotify staan nog drie eerdere albums van Flower Face en op de bandcamp pagina van de Canadese muzikante zie ik er nog twee. 

Ik hoopte op voorhand natuurlijk op muziek die verwant is aan de muziek van Kacey Musgraves en die hoop is uitgekomen. Girl Prometheus van Flower Face doet in meerdere opzichten denken aan het meest recente album van Kacey Musgraves. De muziek op beide albums is oorstrelend en verleidelijk mooi en net als Kacey Musgraves beschikt ook Ruby McKinnon over een engelenstem, die je onmiddellijk in katzwijm brengt. 

De stem van Ruby McKinnon is wat breekbaarder en wat melancholischer dan die van Kacey Musgraves en het is een stem die Girl Prometheus van Flower Face tot angstige hoogten optilt. Net als Deeper Well is ook Girl Prometheus een album waarop invloeden uit de folk een belangrijke rol spelen, maar waar Kacey Musgraves vooral kiest voor de ultieme verleiding, is de muziek van Flower Face wat spannender en heel af en toe ook licht ontvlambaar. 

Op beide albums zijn op de achtergrond atmosferische klankentapijten toegevoegd, maar die op Girl Prometheus van Flower Face zijn wat zwaarder aangezet en worden versterkt door prachtig pianospel. Het combineert allemaal bijzonder mooi met de onweerstaanbaar aangename stem van Ruby McKinnon en haar poëtische en persoonlijke teksten. 

Ik laat de vergelijking met het album van Kacey Musgraves vanaf nu los, want het album van Flower Face is veel te mooi en bijzonder om te worden vergelijken met een ander album. Ik kan nauwelijks stoppen met luisteren naar het wonderschone Girl Prometheus en hoor steeds weer nieuwe dingen die het album van Flower Face nog wat mooier en unieker maken. 

Ik heb inmiddels stapels tips gekregen op MusicMeter.nl, maar Girl Prometheus van Flower Face is met afstand de mooiste. Het is een tip die het muziekjaar 2024 voor mij heeft herschreven, want Ruby McKinnon heeft een album gemaakt dat thuis hoort tussen de allermooiste albums van het betreffende jaar. En ik heb zomaar het idee dat het album nog lang niet is uitgegroeid.

Erwin Zijleman

.NoWordsNeedeD, 19-04-2026

 

https://www.youtube.com/watch?v=K_CcbYb8J_k&list=RDK_CcbYb8J_k&start_radio=1

 

 

.No 

Ace. Madison Cunningham

Madison Cunningham maakte drie jaar geleden een onbetwist jaarlijstjesalbum, kreeg vervolgens te maken met een writer’s block en een echtscheiding, maar keert nu terug met het buitengewoon indrukwekkende Ace.

Ik keek al een tijdje uit naar een nieuw album van Madison Cunningham, maar vorig jaar moesten we het doen met het overigens zeer fraaie tussendoortje met Andrew Bird. Ace, het nieuwe album van de Amerikaanse muzikante, kwam er niet zonder slag of stoot, maar wat is het een indrukwekkend album geworden. Het is een album dat flink anders klinkt dan de terecht bejubelde voorganger Revealer, maar qua schoonheid doen de twee albums niet voor elkaar onder. Het vooral met piano en strijkers ingekleurde Ace is wat melancholischer en indringer dan Revealer en biedt nog wat meer ruimte aan de intense stem van deze bijzondere Californische muzikante.

Toen ik in de herfst van 2022 voor het eerst kennis maakte met de muziek van de Amerikaanse singer-songwriter Madison Cunningham, bleek ik al een aantal jaren achter de feiten aan te lopen. De Californische muzikante had op dat moment immers al een Grammy nominatie op zak voor haar officiële debuutalbum Who Are You Now uit 2019 en had bovendien een aantal prima EP’s op haar naam staan. 

Ik ken inmiddels het hele oeuvre van Madison Cunningham, maar het in 2022 verschenen Revealer vind ik met afstand het meest indrukwekkend. Het is een album dat de top 15 van mijn jaarlijstje haalde en achteraf bezien ook niet had misstaan in de top 5. Het met drie topproducers gemaakte album maakte eigenlijk in alle opzichten diepe indruk en doet dat nog steeds. 

De muziek op Revealer is complex en avontuurlijk, maar staat wel in dienst van songs met een kop en een staart. Het zijn songs die zich makkelijk bewegen tussen meerdere genres, met folk, jazz en indie als belangrijkste ingrediënten. In productioneel opzicht staat het album als een huis en dan is er ook nog eens de veelzijdige stem van Madison Cunningham en haar inventieve en veelkleurige gitaarspel. 

Het prachtige Revealer werd bijna precies een jaar geleden gevolgd door het samen met Andrew Bird gemaakte Cunningham Bird, een remake van de op dat moment vergeten, maar vorige maand opnieuw uitgebrachte klassieker van Lindsey Buckingham en Stevie Nicks. Deze week keert Madison Cunningham terug met een nieuw album en gezien mijn liefde voor Revealer was Ace het album waar ik het meest naar uitkeek deze week.

Madison Cunningham was de afgelopen jaren te horen op nogal wat albums van andere muzikanten, maar ze kampte ondertussen zelf met een serieuze writer’s block en bovendien met een echtscheiding. De writer’s block heeft ze inmiddels overwonnen, terwijl de echtscheiding werd gevolgd door nieuwe en wederom verloren liefdes. 

Ace mag door alle liefdesperikelen best een breakup album worden genoemd en het is een album dat flink anders klinkt dan Revealer. Op Revealer domineerde de gitaar, een instrument dat Madison Cunningham al vanaf haar zevende bespeelt, maar op Ace spelen de piano en strijkers en blazers een voornamere rol. Wat nog wel vertrouwd klinkt is de bijzonder mooie stem van Madison Cunningham, die door alle emotie nog wat indringender klinkt dan op Revealer. Ace heeft door de instrumentatie en de bijzondere arrangementen vaak een jaren 70 sfeertje en raakt in een aantal tracks aan het werk van Joni Mitchell uit deze periode. 

Ik had op voorhand gehoopt op een album dat verder zou gaan waar Revealer drie jaar geleden stopte, maar dat is Ace zeker niet. Buiten de stem van Madison Cunningham zijn er nauwelijks raakvlakken te ontdekken tussen beide albums, maar wat is ook het nieuwe album van Madison Cunningham weer mooi en indrukwekkend. 

Het is jammer dat haar gitaar dit keer vooral in de koffer is gebleven, maar de arrangementen met piano, strijkers en blazers zijn wonderschoon en passen misschien nog wel beter bij de stem van de Amerikaanse muzikante. Ace is bovendien een album vol emotie en melancholie, dat de luisteraar niet onberoerd zal laten en dat bij mij met grote regelmaat goed is voor kippenvel. Ik heb het album al even in huis en hoe vaker ik naar Ace luister, hoe mooier, indringender en indrukwekkender het album wordt.

Erwin Zijleman

2025, week 16. 10 singles

By now, I'm running behind about a month on singles since the start of the new year. Unfortunately for many songs, it becomes time to skip the line and move on to today from the next singles post onwards. Which will be a few weeks from now. In the meantime enjoy this batch as it holds some very good and interesting recent singles, from mid-March.

Attention Span. The Dollyrots

Have The Dollyrots ever heard of The Dolly Dots? With a name like that it does make me wonder. Musically the two bands could not be further apart, except that they both know where pop music goes to dwell. Attention Span is a punk rock song though of the kind that is being played ever since Green Day and The Offspring broke big in the mid-90s. Expect all energy levels at maximum, a pop feel hidden into the punk attitude. Duo bassist/lead vocalist Kelly Ogden and guitarist/vocalist Luis Cabezas know what a good punkrock song needs to succeed and that is exactly what Attention Span does.

Joyride. The Cocktail Slippers

More female fronted rock music but this time from Oslo in Norway. Last year I was in the city for a week, even played on a huge stage in Lillestrøm's convention centre, but no one there pointed me to a band called The Cocktail Slippers. Too bad. Had they been playing in town a visit would have been very much worth my while judging Joyride. Of course for about 30 something years that title is claimed by fellow Nordic band Roxette. This Joyride is just that little tougher and I have to say, at least as good. I love the dirty sound of the song and the punky way of singing. Here I'm reading that the band is working on its sixth album and I've never ever heard the name before. It's time to catch up.

The Power Runs Ripe. Bed Rugs

It's eight years since Bed Rugs released its previous record. For someone like me, The Power Runs Ripe is an introduction. Having nothing to compare to, gives a totally fresh ear where the music of Bed Rugs is concerned and what I'm hearing is landing well. Bed Rugs is a four piece from Antwerp that plays a form of psychedelic rock that has a tough pace. The drummer is not allowing the band to escape into fantasy land; until 1.34 minutes that is. As if the mixer has just cut out the drums totally. Should you like a comparison. The closest I can come is Dutch band Moss, partly in the way Stijn Boels sings. The Power Runs Ripe has a great pace and that is a part of its charm, the keyboard sound is the other. There's more underway, but we will have to be patient.

Bang Bang. The Noise Who Runs

At times I do wonder if any new music is made in 2026. Having lived as long as I have, I'm most likely entrenched in favourite genres. That makes it hard to hear something new, even with recent acts. All follow in the footsteps of giants. This is especially the case with artists who return to music after years of absence or have worked in the relative margins of music for decades and release a new record. Ian Pickering was a member of bands like Sneaker Pimps and Work Line Assembly. Bands that totally passed me by at time. And now I'm pointed to his new band, The Noise Who Runs. Bang Bang is a single that brings 80s angst to mind immediately. That puts the song into a basket for me. What stands out is, the lead guitar playing strong accents, the deep bass in the chorus and the 80s synths laying down a nice carpet in the background. Together it makes a strong single. Album 'RE: GEN X' will be out on 8 May. 

Sweet Nothing. Jesus The Dinosaur

I almost passed up on Sweet Nothing, until I heard something that triggered my memory towards an album from, I think 1993, and I haven't played for a long time, but loved a lot at the time: 'Whirligig' by The Caulfields. Sweet Nothing has that same unpredictability. The song is able to set me on the wrong foot a few times within a few minutes, almost making me forget that it is a strong song. Jesus The Dinosaur is the band of Tommy Ng from Boston. The band is on route to release an album called 'Nothing To The Branches'. Re-listening, the changes in the song become stronger and better. Sweet Nothing is truly growing on me. Thank you for reminding me of 'Whirligig' for starters and the album is from 1995. And, yes, I want to hear more soon!

Whenever You Want Me Too. The Greenberry Woods

In the above under The Noise Who Runs I wrote about artists returning to music. The Greenberry Woods are a new proof of point. The band released music in the 1990s and then called it quits. In 2026 the band returns with Whenever You Want Me Too, a single on which pop music is celebrated in its purest, albeit U.S. form. Think of bands like The Rembrandts, where golden pop melodies go together with singing in harmony. The intro to Whenever You Want Me Too is a dead give away. Guitar parts weave in and out of each other, with the bass and drums going ahead unperturbed ,laying a sound foundation. The same goes for the harmony vocals in the choruses. Pure pop, as if the past 30 years did not happen. In May there will be an album as well.

Sober. Bluai

Sober is a single with two very distinct faces. Looking down from a helicopter, the Antwerp based band does a Nirvana or The Police. A soft verse versus a chorus that let's it all hang out. Expect no grunge or rock-reggae though. Bluai plays a kind of folk music with an indie foundation. The band consists of singer/guitarist Catherine Smet, drummer Mo Govaerts and bassist Caitlin Talbut and can be found on this blog in June 2024 with a review by Erwin Zijleman, who lauded album 'Save It For Later' no little. Sober is my personal introduction to Bluai and I have to say I like what I'm hearing. That change between the dark and the light is well done. Learning a little more about the background of Sober tells you that the chorus is more about wishful thinking than solving the grave situation addiction is. A serious topic is tackled by Bluai. A new album is under way.

All I Did Was Dream Of You feat. The Marías. Beabadoobee

Every once in a while a song allows you to dream away. And Beabadoobee (Bea Lous) allows you just that with All I Did Was Dream Of You. The single has such a relaxed atmosphere. The music is warm and soothing, in the second verse almost bubbling over. Bea Lous sings over it as if she's half asleep, lulling in a beach chair, half in the shade on a very warm day. On this track she collaborated with María Zardoya, better known as The Marias. I cannot tell you what her role is. What I do know, is that you should not go dreaming for too long, as you will be rudely awakened when All I Did Was Dream Of You explodes into an indie rock track where the lead guitar goes off into its own exploration of the song. It makes for interesting listening this combination does.

How Do You Feel? (Feat. Rosie Flores). Nocona

Some more music like they used to make and still do today. How Do You Feel? rocks out with a strong country feel. That fat twang in the guitars reminds me of The Fabulous Thunderbirds from a long, long time ago. Rosie Flores makes her second appearance on this blog. Two months ago she featured on Ruby James' 'Bumble Bee'. Now she provides a tough edge to How Do You Feel? with her rough voice and like with Ruby James some extra guitar work. Nocona is here for the first time. The veteran alt-country/cowpunk band presents a song with a great boogie feel to it. The kind of song it's impossible to stand still with. An album is underway for this summer, that is all I can share with you at the moment.

Porcelain. Waste A Saint

More music from Norway today. Waste A Saint debuts on this blog with a song somewhere between rock and metal. A song that is as busy as it is present. The band goes at it like your ADHD little brother. Every member seems to go at it in full action mode. That this is not necessarily a bad thing, is proven by Porcelain. In every way this is a strong and powerful song. From the drum intro, already telling you something of what to expect, into the synth led second part of the intro. Bogey Stefansdottir sings in a way that reminds me of the goth metallers that broke big around 2000. She has a great voice barring the opera influences like Floor Jansen has. Alexander Skomakerstuen (guitar), Ole Nogva (bass/synthesizer) and Trym Solan Renolen (drums) all support her vocally, like in the great ending of Porcelain. The music is deep, dark, yet strongly melodic making the single not just a physical experience but also something I want to listen to. Album '...And It's Evergreen' is out already.

Wout de Natris - van der Borght 

Creature Of Habit. Courtney Barnett

"Time will tell where I'm going with the new album. Sometimes these things take time". I wrote at the end of Courtney Barnett's previous album, 'Things Take Time, Take Time'. Well, I can tell you in 2026: I had completely forgotten it even existed. To be even more honest, I didn't really look forward to Creature Of Habit.

Having listened to it several times by now, I can share that I may even buy the LP. Why? Give me a few minutes to explain.

Courtney Barnett is who she is as a musician. Her voice and way of singing cannot be changed. What has changed, is her approach to her songs it seems to me. The slacker element is not here and neither is the blanket of negativity that often hung over her songs. Is it the sun of Los Angeles where she moved to?

Just listen to the upbeat way the album opens. The main riff may be dark and distorted, the song is open and inviting. The space in between the instruments lets the light in. The background vocals sparkle, making 'Stay In Your Lane' a very inviting opening song for Creature Of Habit. This is even more so in 'Site Unseen', a duet with Waxahatchee, where the two singers take each other higher and higher.

Barnett worked with Warpaint drummer Stella Mozgawa and producer John Congleton Is there anyone Congleton has not worked with over the past decades? The list is near endless. Barnett wrote the most spruced up song with Mozgawa. 'One Thing At A Time' is an alternative rocker that halfway the dirty sounding guitar solo catches fire. The intro of the song can be seen as an example of how Creature Of Habit sounds. Several of the songs our direct, alternative rock songs that make me like the album far more than the previous albums. I will even take back my comment on the work of Courtney Barnett's former partner Jen Cloher being better. Creature Of Habit competes alright.

There are a few barer songs with just Courtney Barnett and Stella Mozgawa playing instruments. They take the mood of the album in a more sober, but not a slacker direction. And this change works a miracle for this album. 'Mostly Patient' is the proof in point. Because of her way of singing this song sparkles, instead of bringing me down. Whatever caused ms. Barnett to change course, it has my blessing. This is exactly the kind of album I thought she had in her but somehow never produced. Even in the song where the influence of Warpaint comes through, 'Mantis', is absolutely top.

Summing up, Creature Of Habit is a good album where Courtney Barnett shows her more direct side and that is a side I like best. This is her best album to date.

Wout de Natris - van der Borght

 

P.S.: Yes, I already bought the LP. 

You can listen to and order Chreature Of Habit here:

https://courtneybarnett.bandcamp.com/album/creature-of-habit 

We Will Die Dreaming. Afasia

Sometimes it happens. Your brain tells you you haven't heard from someone for some time and then you either take action or forget about. It happened to me fairly recently that I hadn't heard from Greek label Puzzlemusik for some time and not much later a message arrived saying "Hi Wout, It's been years since our last contact. I hope that you're doing well". It turns out the label had been releasing jazz records only and knew it not to be my cup of tea.

The message concerns a new signing by the band Afasia. The band members are all 17 and 18 and did the writing and arranging themselves. That is nice information but not if the music isn't good. It is. For so young musicians, the album sounds very mature and rich.

Let's first introduce the band. Afasia consists of Aris Anastasiou,vocals, saxophone, Spyridonas Katsaros, electric guitar, Marita Malli, piano, electric guitar, Serj Kon, bass, piano and Nestor Orologas, drums. The production was done by label owner Christos Alexopoulos. Musically, I have a hard time trying to define the genre. Yes, it's a form of rock music, but what sort? Sometimes there is a hint of Gogol Bordello, not more than a hint though. There is some jazzy stuff, hints at pop. Perhaps it's better to take a listen and make up your own mind.

It all comes together in the song the album takes its title from, 'Dreamers'. Afasia is both serious and totally relaxed in this song. The background vocals are simply so great making a song a sheer joy to listen to on top of a song that is already so good and then that lead piano comes in. 'Dreamers' is a top song.

The instrumental 'Dystopia' combines the saxophone of Aris Anastasiou over the band that is rocking and then is replaced by the lead guitar turning the song totally upside down. But let's return to the opening song first. 'Unbalanced' starts with a guitar intro before the band comes in. The saxophone sounds somewhat hesitant it seems, immature perhaps even. But listen to the band. It certainly means business. It is in full action behind the saxophone, carrying it and delivering it right up to where the singing starts. Anastasiou has a raspy voice, belying his age by a few years. The sax is underneath the song, so can't be replicated in this way live. 'Unbalanced' has a great guitar solo and a supportive synth line that stands out as well.

I listened to We Will Die Dreaming before I knew what I was listening to. Just listening to recent albums to see if one caught my attention to review. I was thinking to myself a few times, what is it that I'm listening to?, as this album certainly is different from the average album that comes by. How to place it?, a puzzle I haven't answered yet. The album caught my attention and I listened the whole way through and jotted it down for a review. Only then I found out the who and what.

Okay, the bands that came to my mind, are two Dutch bands from around 1980, Alquin and Solution. Both long gone, but with records that I still play every once in a while or in the case of Alquin started buying second hand in the previous decade. Chances are, the members of Afasia have never heard of the bands, but who knows what their parents have in their collection or what streaming services serve up nowadays.

Remains the conclusion. Afasia has produced a very mature album, especially considering their age. This is not the reason why you should give the album a chance. That reason is the quality. Enjoy, including hearing the Greek language here and there!

Wout de Natris - van der Borght

 

You can listen to and order We Will Die Dreaming here:

https://afasia-gr.bandcamp.com/album/we-will-die-dreaming-studio-album 

Hope And Fury. Joe Jackson

It is a lifetime ago that Joe Jackson with his Band entered my life. His single 'Is She Really Going Out With Him' made an immediate impression on me and that was the start of a relationship that is still there in 2026. Sure, I skipped a few albums here and there, especially when Jackson went off in directions that are more or less beyond me. Recently, especially two records from the zeros landed really well with me. You can find them on this blog. If there's anything beyond 'The Fool', I've missed that.

His latest record is called Hope And Fury. For starters, no, I do not think it is as good as 'Fast Forward' and 'The Fool', but things are relative in the world of Joe Jackson. At age 71 he releases an album that sounds urgent, is very varied in genres and an amalgam of the rock, latin and pop mixes he is renowned for and extremely good at. Expect touches of the Joe Jackson Band, 'Night and Day' and 'Body and Soul'. It all comes by on Hope And Fury. The album most likely is titled this way because of the similarities with the two albums mentioned, and the style he calls "his own mainstream".

Every Joe Jackson fan will welcome Hope And Fury as Joe Jackson is presenting his music in his best form. The bio even claims that this album could be "his best yet". Should he gain young followers with this album, that may just be true. Everything that came before has to compete then with the first impression. For me that is competing with 'Look Sharp', 'Night and Day' and 'Body and Soul'. Undoable.

That said, with each spin this new album is growing on me. Hope and Fury will effortlessly wind up among my favourite Joe Jackson (Band) albums. Jackson worked again with his new band, Graham Maby, who else, on bass, guitarist Teddy Kumpel, and drummer Doug Yowell. Added to the band is Peruvian percussionist Paulo Stagnaro, whose distinct contribution gives some of the songs a Santana flavour and brings Sue Hadjopoulos of old to mind. It is a very strong team, on record as well as live. They come over here late November and early December.

The album starts of with an odd-sounding song, for Joe Jackson, but after that it is all smooth sailing, to end with a smooth ballad, 'See You In September'. Something Jackson is good at as well. His voice is still in great from, although the first signs of a little wear is noticeable in a few spots. Nothing to worry about, as his voice sounds great and so recognisable.

48 Years after 'Is She Really Going Out With Him' Joe Jackson still pleases me no little. Hope And Fury is a great album and I have no doubt that it will grow on me even more, so that perhaps I will have to re-view my opening paragraph soon.

Wout de Natris - van der Borght 

Gunmoll live. Patronaat, Haarlem, Friday 10 April 2026

Photo: WdN-vdB

Gunmoll is on tour on the back of its really, really nice debut album. I was really looking forward to hearing the songs live. A few things really stood out. This band is able to rock. With a strong drummer and a bass player who really is taking care of the deep end, the foundation of Gunmoll is so strong. At times my throat vibrated with the sound of the bass. They can groove as well, making it very easy to move in a dance like way to the more up tempo songs. The band had enough fans in the room to get a party started.

Over that groove the rhythm guitar plays some great riffs or strictly rhythm that supports the voice and the lead lines played by the singer, often drenched in reverb like a true surf rocker. The more eastern European sounds came across as well, but less strong than on the album. Gunmoll live likes to rock foremost it seems.

Anyone who has listened to 'Kill Your Darlings' knows that singer Jolien Grünberg's voice is not your average rock singer's. Live, at least in the mix the Patronaat Café offered that does become a bit of an issue. As the band rocks with a deep sound, Grünberg sort of got lost in the mix and had to sing through the band instead of over it. This does take away some of the charm of her unique voice. Despite this fact, I never had the idea she had out-shout herself, so could comfortably sing her lyrics and melodies.

Fun fact, I ran into bass player Lana Kooper of Loupe (ex-Dakota) and she told me she was married to Jorien Grünberg. A pretty unique household, as I truly like both bands.

Photo: WdN-vdB

What also stood out, is that the three men accompanying the singer, remain very anonymous on stage. They remained mostly in the shadows with the spotlight on Grünberg the whole of the time. The backing vocals of guitarist Bram Bol were inaudible for me. Which is too bad, as this adds flavour to the songs.

Finally, Jolien Grünberg is getting into her stride as a front woman. Some of the poses she struck are alright for a bigger stage. Gunmoll deserves a bigger stage and far more people attending than were present in the Patronaat Café. The fact that the café wasn't even sold out, makes me wonder why. This band rocks, has several outstanding songs that any post-punk-pop loving listener should get his way into.

Gunmoll has to mind the mix in the venue, so that Jolien Grünberg's voice comes across in a better way. As soon as that happens, I see a better future for the band ahead.

Wout de Natris - van der Borght

 

You can listen to and order Gunmoll's music here:

https://gunmoll.bandcamp.com/music 

2026, week 15. 10 singles

So, from listening to the single, I changed to the album immediately and I'm being fed endless surges of energy from Amsterdam band Dishes, and this is supposed to be about singles. I can't keep this to myself I'm afraid. More will follow in the coming days (of writing this post). Here are ten recent singles for you to explore and enjoy!  

Unentertained. RubinCarter

Anyone who ever listened to Bob Dylan's 'Hurricane' knows who Ruben Carter is. Chances are alternative rockers RubinCarter took the second part of its name from the U.S. boxer who was or was not guilty of murder. The band formed around Queen's Pleasure drummer Sal Rubinstein. Just like in former Nirvana drummer Dave Grohl, a songwriter and guitarist was hiding inside of Sal Rubinstein. Judging by single Unentertained, his talent as a songwriter must have been bursting at the seems. Unentertained is a stark rocker with a strong melody, vocally and musically, with a pop element that invites singing along to. RubinCarter makes his debut (on this blog) with a strong musical statement. There's an EP underway, release date 24 April backed by a live presentation in Cinetol on 25 April. 

One Stop. Aldous Harding

With One Stop Aldous Harding returns to this blog with a mysterious new single, that holds a complete change of everything to boot. John Cale has a mention in the lyrics, "eating rice". The music evolves around a few small changes in the chords, played by a piano, acoustic guitar and a sparse bass. It is almost stern the way it is played. Over it Aldous Harding sings with a voice that hovers over the music, at times almost dreamy to change back to being very present, including harmonising with herself. And then it happens, everything changes. The rug is pulled from under the song and its listeners. Rhythm is allowed in, as the guitar gets strummed and a drummer joins. The vocal becomes more improvised it seems and for the final seconds, a second, electric guitar joins, before all is faded out. Album 'Train On The Island' will be out on 8 May. 

Love Tick. The Woggles

The second new name this week is The Woggles. Musically, the band takes yo back a decade or six. Love Tick is a great psychedelic rock song like they used to make them in the 1960s. This song rocks in a great way, with a fiery guitar tandem and a great, to the point solo. The organ that meanders throughout the song continuously gives the song both an authentic and a warm feel. Believe it or not, the music of the Woggles took shape during the pandemic. When will we hear the last song from that short period of time, that we have all but forgotten about or so it seems? As long as a song is as good as Love Tick I can't complain too loudly. This is a really good rock song. There's an album coming up, 'Stop And Take A Minute', also released on 8 May.

Speeding Up Faster. The Mono Kids

The Mono Kids from Eindhoven are moving up in the world, as its latest single Speeding Up Faster is released through the U.K.'s Dammit Records as part of its 'Dam-Nations (mix tape)'. Of course The Mono Kids do what they are good at. The duo plays punk rock and roll and if necessary in overdrive. Speeding Up Faster does the title right. It's over before you know it. Michel is singing as if he had a bad meal earlier that evening. The words spew truly powerfully from his mouth. The drums are whacking like they should: rhythm and major filling up musical space all at once. The distorted guitar does the rest. What the listener is left with, is the sense of an electrical shock to the brain and with the sheer need to play Speeding Up Faster again and again and again.

She Comes Again. Ape Hangers

In the summer of 2025 Ape Hangers returned after a long hiatus with the EP 'This Is It'. Come spring 2026 and  the band is back with a new single called She Comes Again. Once again the band hits the nail on the head. Pete Sjostedt (guitars/vocals), Bob Kiah (bass/vocals) and Dennis McCarthy (drums) present a grunge ballad that both has a touch of tenderness in it and a bite. Comparison wise I would opt for Foo Fighters as Ape Hangers can explode out of nothing as well. She Comes Again is a song that is instantly recognisable and in all universes except this one dominated by the like Taylor Swift, etc., this would be a huge hit. This is one hell of a grunge ballad.

Mystic Chords Of Memory. Upupayãma

Some fuzz toned music from the Fuzz Club label. Upupayãma's latest single is a mix of dreamy psychedelia and an exploding nightmare in one. The Italian project of Alessio Ferarri, live a six piece band, called Upupayãma is on route to deliver a new album, 'Honesty Flowers' (29 May) and delivers quite the statement. The song goes off in many directions. With just a little imagination it is possible to hear a Santana like groove from 1969, at the beginning and end of the song. There is some singing with a dreamy voice as well, supported by a wah wah guitar making it all just a little more psychedelic, not unlike The Stone Roses were capable of. However, it seems more like an excuse to be able to go into the stratosphere with that fuzz solo. Ferarri does not hold back here. Mystic Chords Of Memory is quite the statement.

So Long. The Spongetones

The song title 'So Long' will always bring me to the Fischer Z single from the very early 80s. Nothing is going to change that. Not even the nice pop single of The Spongetones, a band that started not that much after Fischer Z did. Pop I wrote, as this So Long comes close to a Paul McCartney song from once upon a long time ago. Slightly melancholy but with a touch of lightness in the music that will make the average popmusic lover prick up his or her ears. From the soft beginning, the band turns into a rock song anyway. From the voices it is obvious that this is not a band with young musicians. They do manage to attain that pop feel in the harmonies, that makes a song special. The song tinkles in all the right places, even after it is toned down again, mimicking its start.

I Ate A Sandwich. The Eradicats

This might just be the first song about eating disorder that I'm reviewing. Bass player Kristi Who shares that she ate a sandwich without fear for the first time in a long time. I sincerely hope that it was her first of many. As this is a blog focusing on music, let's put our attention on the song. In my ears it sounds inspired by 1980s indie pop bands, that had a revival in later decades. That gives the song a punky underside while delivering a pop feel in the lightness with which I Ate A Sandwich is presented. The guitar sound is light but has definitely heard the guitarists of The Velvet Underground, to give an example. The tempo is what gives the song a punky feel. I Ate A Sandwich is my introduction to The Eradicats from Kansas City, Missouri. Send me more when the time is there, please.

O’ Evangeline featuring Sade Sanchez. The Underground Youth

You have to go back close to three years to find Berlin's The Underground Youth on this blog, with the single I Thought I Understood. The post tells you about 80s doom and gloom. O' Evangeline is far less easy to capture. The song has the same kind of mix as 'I Ate A Sandwich' by The Eradicates has (see above here). The guitars sound light despite the melancholy vibe the whole song holds. Craig Dyer sings with L.A. Witch's Sade Sanchez who lends her voice to this duet, determining a large part of the mood of O' Evangeline. Both singers are able to sing in the same kind of tone. This fact sets the way the song sounds. The The Cure style guitar playing brings the song to the 1980s, but without the doom and gloom of the years. Making the song very attractive to listen to. Don't forget to notice the dreamy interlude!

Requiem. Dishes

We close this week's singles post with a punk song from The Netherlands. Dishes has recently released its debut album, 'Drama'. I have not gotten around listening to it yet, but Requiem is telling me that it might be a smart thing to do and soon. Dishes is a band from Amsterdam and Leiden and started in 2021. The result of its years of working towards the release of Requiem has given the band the ability to play fast without losing the quality of melody and variety. The two guitars play off of each other in a great way. Interchanging rhythm and melody, while the drummer just keeps pounding away in the best Mo Tucker tradition. Again, I notice the way Dishes is also able to have the light and the shade in its single. Both sides are divided equal. I had not heard of the band before today but it is certainly worthwhile checking out.

Wout de Natris - van der Borght