It's All Good, Sugar. The Greenberry Woods

It's All Good, Sugar is an album containing pure pop with elements from all the decades in which, when all is said and done, the best music was made, because it was invented in these years. Come 2026 there are on average far more accomplished musicians and of course recording options are so much better now than in the 1960s and 70s, that musicians could not even dream of them. The Greenberry Woods is obviously making the most of these options and present a poprock album that can go with the best of them from the 2020s.

All in search of pure pop do not have to look any further. It's All Good, Sugar is filled with it, twelve songs long. In fact, it's incredible that The Greenberry Woods are able to come up winning, song after song after song.

The first time I heard an album like this, as in tapping into the 60s pop era with fully original songs of very high quality, was with the album 'Catch All' by a band filled with musical friends from different bands called Swag from 2001. Since circa ten years a host of albums have reached me attempting the same feat. I like many of them, but it seems with It's All Good, Sugar The Greenberry Woods have raised the bar some more.

Promo photo

As I had never heard of the band before, I decided to read in. The Greenberry Woods released two albums in the 1990s before calling it a day, 'Rapple Dapple' (1994) and 'Big Money Item' (1995). Like many of its contemporaries the three songwriters of the band, Brandt Huseman, Ira Katz and Matt Huseman are giving it a new try some 30 odd years later. I am not totally surprised by the 1990s link. The song 'Very Good Year' reminds me of the sound of the one album band The Caulfields alled 'Whirligig'. It also means that the band members most likely are well into their fifties, reliving a passion they once had. Based on what I'm hearing, that was very wise decision. The three are joined by multi-instrumentalist Paul Krysiak (also in Splitsville with the Huseman twins) and drummer Joe Parsons.

Another band I could mention from the 1990s, is The Posies. Like it The Greenberry Woods manages to combine The Beatles and Big Star with that tougher sound of the 1990s poprock. All the elements blend in a way that keeps tingling my ears for the whole of the album. Take 'The One That Makes You Happy'. The strong and loud guitar chord progression manages to blend perfect pop vocal melodies and harmonies. The third is Scotland's Teenage Fanclub, originally also with three songwriters and singers, as The Greenberry Woods also excel in softer, dreamier songs.

What more can I write? Hearing is believing, so let me leave you with pointing you to the link below to be convinced by the perfection on offer on It's All Good, Sugar.

Wout de Natris - van der Borght

 

You can listen to and order It's All Good, Sugar here:

https://bigstirrecords.bandcamp.com/album/its-all-good-sugar 

2026, week 23. 10 singles

With some good old pop cum rock and roll on my earphones from one of the records below, WoNoBlog is back with a bunch of singles after having missed last Sunday. Too much going on and too beautiful weather. There is more in life than music. This week you find a very old name and a whole lot of debutants below, so more than enough to explore. Enjoy!

The Sky Isn't Falling. Strawberry Alarm Clock

About sixty years after releasing the songs that led them to be a part of the legendary 'Nuggets' box, Strawberry Alarm Clock is back and finds itself for the second time on this blog this year. The Sky Isn't Falling (but if it did, on a clear day, we'd all have a blue hat) is a very much alive poprock single in the best tradition of a band like Moody Blues, to name an example. What is perhaps striking, is that all five original members are present, not a normal thing for a 1960s psychedelic rock band. I like, again, the way the band lets the guitars go out of their pens but also the enthusiastic vocal melodies make The Sky Isn't Falling feel very much alive. There's an album in the making for later this year. Based on the three preceding singles, it's going to be special.

The Ghost Of Roky Erickson! EP Muck and the Mires

What are the chances that two artists are joined together by the order of chance, being the moment an email reaches my inbox announcing a new single or EP? In general close to 90% is my guess, but what if both artists are found on the 'Nuggets' box set released in the late 1990s and the LPS in 1972? Especially, as the artists are (from) bands from the second half of the 60s? In this case Strawberry Alarm Clock and The Eleventh Floor Elevators, the band of Roky Erickson (1947-2019). That chance must be extremely small. Muck and the Mires return to this blog with an EP called The Ghost Of Roky Erickson. Muck encounters his ghost after the elevator stops on the 13th floor. As always Muck and the Mires rock with the 1960s well in mind. Riffs fly around, fun is had by all, band and listeners. Of course, the band is part pastiche, as it successfully milks things that were successful once. This comes with a big but. Muck c.s. is a very good band, tight, bright and totally alive. On top there is often a layer of sheer fun. The title song attest to that best, with its extremely good riff and a touch of the madness that accumulated in Roky Erickson's head over the years, both caught in lyrics and the music. The other three songs are 60s rock, 60s pop and 60s poprock. It's instantly recognisable and yet fresh and new, exactly how I have come to love the music of Muck and the Mires over the past decade.

Call It In. Editors

Editors is a band I love and hate. Twenty years ago, I sort of liked it but also found the bombastic sound often too much of a not so good thin and the deep, pumped up voice of Tom Smith often too much to bear for long. Then some great singles came along anyway and somewhere in the mid 10s I even bought two records and then not with 'EBM', Editors' previous album. Four years later there's Call It In. The song is very up tempo, the sound is tough yet modest for Editors and Tom Smith's voice is different. Where is that deep resonance? There's also less of an effect put on it, as it sounds very natural. All bands of the age Editors have reached, can't escape from comparisons to all things that passed. Yes, Call It In reminds me of previous singles, but certainly has a right to exist. The tempo and urgency, the nice and smooth synth sound really works in the right spots. A strong single showing the right form.

Finally Arrived. Wooden Overcoat

Listening to Finally Arrived one song pops up in my head, The Everly Brothers' 'All I Have To Do Is Dream'. That is the state of mind the Portland, Oregon band the Wooden Overcoat brings in. Finally Arrived is the right title for this song, as it is slow. Don't get me wrong though, the song has an extremely slow psychedelic vibe to it that does bring me into an alterative reality. One where I'm totally relaxed and move with the softly lapping waves of Finally Arrived's instrumentation. Band leader Brant Hajek takes his time and so are bandmates Dillon Glusker (bass), Mac (guitar), and Brian Levin (drums and backing vocals). Listen deeper to the song and you will notice far more is happening than you thought after the first dose(ing off). This is a gem of slow psychedelia if I ever heard one. EP 'Hello Sunbeam' was released on 29 May. (And, a wooden overcoat is a euphemism for a coffin, so I've learned.)

Punching The Flowers. Death Cab For Cutie

This band is about to release its 11th album on 5 June, 'I Built You A Tower. I'm sure I have one from maybe 20 years ago, but do not have a strong recollection of it I'm afraid. So, I'm listening with a near open mind to Punching The Flowers. This is a strong alternative rock single. The pace is near relentless, while the drummer has found an original pattern that he is ramming home for the whole of the way. The song may be soft or hard, he's hitting dry and hard. The song reminds me of The Hold Steady and a little of R.E.M. Especially the former is a band that I cannot listen to for more than a few songs at a time. The singer's voice is the cause of that and my guess is, it will be the same for 'I Built You A Tower'. In the meantime, I'm enjoying Punching The Flowers.

We Need Some Love Today. The GrooveBuzz 

A new band, a first single. The band is active since 2023 and is a collective of seven singers and musicians. Drummer and producer Leon Klaase alerted me to the song and it is a very rich and swinging affair. In fact it sounds more like a ten piece band to me with voices and copper everywhere once the song has left its somewhat hesitant start. That is, compared to what follows. After the piano led intro, the strong and deep voice of Mieke de Jongh takes over, accompanied by Annabel Romijn and Fran Genis. The accompaniment changes towards a funky kind of soul music with a percussive guitar assisting the solid drumming of Klaase and the supportive bass played by Marcel van de Bas. The multilayered saxophones of Peter Romijn do the rest. The band is working on the release of its first album, 'Hit In The Heart', a line taken from this single.

Scattered Like Dust. Charlot

The band Charlot, Lotte Mulder, Hilde Luytjes, Boaz van Willegenburg and Alex Haak, makes its debut on this blog as well, with its third single from its upcoming second album, to be released in September. All that came before passed me by. Not Scattered By Dust, a pleasant mid-tempo dream- and synthpop song that has more than enough hooks in it to stick to my brain with ease. Lotte Mulder sings with a highish voice, close to breathy. The synths sound like a friendly pop version of the synth sound Gary Newman made famous with his Tubeway Army hit 'Are Friends Electric?' from 1979. The sound Pet Shop Boys turned that into a hit machine. Charlot uses it to make a song that crosses the bridges of decades and comes up with a song that fits nicely in 2026, with a great guitar part for those liking one.

5 Year Plan. BERTHAJU

5 Year Plan? I remember from my history lessons that they tend to fail after a while because the goal becomes more important than the result. The best example is the bridge that was built parallel to a river because the building specs showed it that way and no one dared to call higher up and ask questions. Dutch-German band Berthaju is not bothered by the hesitation of lessons history can bring and signed to Rotterdam label Shai Records after a successful stint during the Popronde 2025. 5 Year Plan is the first sign of this collaboration and listening to the single that was a good decision. Bethaju plays music that is somewhere between postpunk, alternative rock and Wet Leg, but most of all very alive and energetic. There will be an EP in September. Keep up the good work and Bethaju's 5 year plan will lead to great results.

Grenadine. Sorcha Richardson

After all the poing-poing energy of the previous bands, it's time for some introspection and that is exactly what Grenadine brings. Sorcha Richardson may sing "I push the peddle" and something with metal at the start of the chorus, musically she certainly does not. The song sets a slow chugging pace with minor accents in the guitar progression she plays over and over. With her style of music she fits in nicely with the likes of Aldous Harding. Listen more closely and you will notice that just this little more is happening in the background, making Grenadine more exciting that you'd  think at first listen. Sorcha Richardson, another first timer on this blog, is from Northern Ireland. An album is underway somewhere in the future.

The Head Tree feat. The New Eves. Opus Kink

What to make of The Head Tree? My first thought is De Kift on acid singing in English. It isn't though but there is quite some likenesses in the way the horns come in upending a song totally and partly the way of singing. But also a song like 'Pappa's Got A Brand New Pigbag' comes to mind, as well as totally freaked out psychedelia. In other words, what is not happening in The Head Tree? Opus Kink is a collective from Brighton in the U.K. that collaborates here with The New Eves, a British folk punk band from Brighton with clothing like The Last Dinner Party. The start of the first verse made me think of circa 1970 folk like Fairport Convention but after that all anchors are away setting Opus Kink adrift wherever a musical whim takes it and believe you me, the song is full of them. Believe it or not, it works, just like De Kift works. Check that band out Opus Kink fans! and I promise to keep my ears open for more coming out of this Brighton collective.

Wout de Natris - van der Borght 

Light Remaining. Abrasive Trees

From the upbeat alternative pop songs of POM yesterday, let's move to a far darker side with south-western England's Abrasive Trees. With its new album Light Remaining the band certainly deserves attention.

The core of the band consists of Jay Newton (guitars), Matthew Rochford (vocals, guitars) and Will Tyler (drums, bass). Each song may need something extra, like a cello, voice, etc. The trio excels in songs that are lurking somewhere in darkness like a massive storm cloud blocking out all sunlight. Whether or not and if so when the storm breaks loose, changes per song and is for you to find out.

Lighter sounds come forward from that solid front that makes up the foundation of the songs. Usually a lighter toned guitar (or two or three). The voice(s) hover(s) over the background. My favourite example would be 'Carved Skull'. From utter silence the song rises. When vocals join, it seems like a monk choir singing in the church of a medieval monastery. Next, Abrasive Trees pulls up that storm cloud before it tones down a little making room for Matthew Rochford's voice. The band keeps playing with the light and the shade, constantly changing the mood of the song. In between I wonder, is 'Carved Skull' a reply to the famous scene/song in 'Jesus Christ Superstar' where Caiaphas and Annas sing their duet? The sonorous sound of Ben Roberts' electric cello and the female voice of Yunala Songweaver add an extra touch to the whole. Finally, the song is filled with extra guitar parts adding to the light and the shade. This song shows Abrasive Trees at its very best.

Promo photo

As a whole, Light Remaining hosts a range of influences. There are some elements in the sound that make me think of symphonic rock, yes, even Yes comes to mind here and there, while the more direct approach brings me to 80s doom bands like Sisters of Mercy. All of a sudden the band can move from a dark, tranquil mood into a postpunk rant as if the two are not contradictory. The band manages to stay out of the clutches of all sides though and created its own, dark universe. One which is pleasant to dwell in as a listener.

Then the band name. What I see in my mind's eye are animals rubbing their skin against the bark of a tree. Does Abrasive Trees come from seeing this, while walking your dog? Of course this has nothing to do with the music. That is solid and absorbing. The kind of music that is able to wash over the listener, claiming attention. From the moment the meditative spoken word section of 'No Solace' begins I am sucked into the album before it actually truly starts. From the moment the band kicks in, full force, I'm fully submerged in Light Remaining.

Wout de Natris - van der Borght

 

You can listen to and order Light Remaining here:

https://abrasivetrees.bandcamp.com/album/light-remaining-artist-edition 

Enlightened, Baby. POM

Amsterdam band POM can be found on this blog for well over four years and many times at that. Calling myself a fan may be overstating it a bit; there are no posters above my bed or things like that. Where the music is concerned though, debut album 'We Were Girls Together', now 2,5 years old, still comes by regularly. And here is album number two.

To fall with the door into the room, as we call it here, Enlightened, Baby is an album that is at least as good as 'We Were Girls Together' and may well prove to be better. In opening song 'Rover' POM immediately touches on the quality level The Beths has a tradition to start its albums with. That rock and alternative pop blend that many bands go for but seldom touch upon. 'Rover' does and sets the expectation level for Enlightened, Baby quite high.

My overall view comes up with one word only: growth. POM's debut album was one full of enthusiasm and a few very good songs, as in really, really good. Enlightenment, Baby knows the same level of enthusiasm and joins that with better songs on average. The album was produced by POM's guitarist Luc Siegers, who seemed to have not only make the band's sound deeper but broader as well. Keyboards and an endless level of additional melodies can be heard, that make the album not just good but also a joy to listen to. The sheer fun of discovering all the extras that went into a song!

Speaking of joy, guitarist Joy Kunst left the band and was replaced by a new guitarist, Kiki. That is all I currently know, though. Up front, if course, is Liza van As. She's, if possible, even more present than before. Liza is the front woman with a voice that will reach all corners of the world, need be. POM deserves this by the way, as the band is that good in 2026. I hope that after this release the band is able to move up a notch in the venues and play abroad some shows. Ekko should be my last time in a smaller venue with POM.

Promo photo

Liza van As went through a dark streak after losing her father. When she decided to write about her deep mourning, what came out were pop songs. Most likely to everyone's surprise. Listen to the title song, deeper into the album. The lyrics are serious, the music is full of spunk, inventiveness and synth sounds. For the first time POM must be laid against my Veruca Salt meter and succeeds. I wrote about growth and this is what 'Enlightenment, Baby' shows.

Having played Enlightenment, Baby several times, I notice I find the album better than the listening session before that, with obviously still more to enjoy in the future. On the basis what I've heard, this album should bring the breakthrough.

Wout de Natris - van der Borght

 

You can listen to and order Enlightenment, Baby here:

https://pomtheband.bandcamp.com/album/enlightened-baby 

Hurts Like Hell. Charlotte Cornfield

De naam Charlotte Cornfield zal niet bij iedereen een belletje doen rinkelen, maar de Canadese muzikante maakt inmiddels een aantal jaren mooie en onderscheidende albums en ook Hurts Like Hell is er weer een.

Sinds mijn eerste kennismaking met de muziek van Charlotte Cornfield een jaar of vijf geleden vind ik haar alleen maar beter worden. Op haar samen met Josh Kaufman gemaakte vorige album schoof ze wat op richting Amerikaanse rootsmuziek en dat is ook het overheersende genre op haar nieuwe album Hurts Like Hell. Vergeleken met de meeste zangeressen in het genre klinkt de stem van Charlotte Cornfield wat ruwer, wat Hurts Like Hell voorziet van een herkenbaar eigen geluid. Het is een geluid dat zich dit keer ook in muzikaal opzicht nog wat genadelozer opdringt, waardoor Charlotte Cornfield de stijgende lijn binnen haar oeuvre wederom weet vast te houden.

De Canadese singer-songwriter Charlotte Cornfield bracht in 2008 haar eerste EP uit en leverde in 2011 haar debuutalbum af. In eerste instantie timmerde de in Toronto geboren muzikante alleen in eigen land aan de weg, maar haar derde album, het in 2019 verschenen The Shape of Your Name, werd breder opgepikt en leverde haar onder andere een zeer lovende recensie van de Amerikaanse muziekwebsite Pitchfork op. 

Ik ken de muziek van Charlotte Cornfield zelf pas sinds de release van haar vierde album, het in 2021 uitgebrachte Highs in the Minuses. Ik moet eerlijk toegeven dat ik het album alweer vergeten was, maar maar toen ik voor het schrijven van deze recensie weer eens naar het album luisterde, was ik direct weer enthousiast over het met Arcade Fire producer Howard Bilerman gemaakte album. 

Op Highs in the Minuses doet Charlotte Cornfield zowel in muzikaal als in vocaal opzicht denken aan Big Thief, maar laat ze ook horen dat ze intense en aansprekende songs kan schrijven. Opvolger Could Have Done Anything beviel me in 2023 nog wat beter. Op het vrijwel volledig samen met Josh Kaufman (The Hold Steady, Cassandra Jenkins, Bonny Light Horseman) gemaakte album schoof Charlotte Cornfield wat op richting Amerikaanse rootsmuziek, maar het album klonk net als zijn voorganger niet alleen intiem maar ook ruw. 

Charlotte Cornfield werd na de release van Could Have Done Anything moeder, maar pakt de draad na een aantal jaren weer op. Het in maart verschenen Hurts Like Hell is inmiddels al haar zesde album en het is wederom een zeer overtuigend album. De Canadese muzikante nam haar nieuwe album op in New York, waar ze de studio in dook met de vooral van Adrianne Lenker bekende producer Phil Weinrobe. 

De vorige albums van de muzikante uit Toronto werden gemaakt met een zeer beperkt aantal muzikanten, maar voor het nieuwe album werd flink uitgepakt. Charlotte Cornfield laat zich op haar nieuwe album begeleiden door muzikanten uit een aantal bands en deed voor wat extra vocalen een beroep op Feist, Buck Meek, Christian Lee Hutson en Maia Friedman. 

Toch is Hurts Like Hell niet zo heel ver verwijderd van de vorige albums van Charlotte Cornfield. Ook bij beluistering van het nieuwe album moest ik direct aan Big Thief denken. De stem van de Canadese muzikante lijkt soms sprekend op die van Adrianne Lenker en ook de wat ruwe Amerikaanse rootsmuziek op Hurts Like Hell met af en toe een uitbarsting en vaak een fraaie hoofdrol voor de pedal steel doet denken aan Big Thief. 

Ondanks het grotere aantal muzikanten dat heeft meegewerkt aan het zesde album van Charlotte Cornfield klinkt haar muziek nog altijd intiem en redelijk sober. De balans slaat op Hurts Like Hell duidelijk door richting Amerikaanse rootsmuziek, maar door de karakteristieke stem van Charlotte Cornfield en de wat ruwe muziek op het album, is het allesbehalve een dertien in een dozijn Amerikaanse rootsalbum. 

Ik moest bij de eerste kennismaking een paar jaar geleden nog best wennen aan haar stem, maar de zang op Hurts Like Hell vond ik eigenlijk direct bijzonder mooi. Charlotte Cornfield is nog altijd geen hele bekende naam binnen de Amerikaanse rootsmuziek, maar ze levert met haar nieuwe album het derde bovengemiddeld goede album op rij af. En van die albums vind ik Hurts Like Hell vooralsnog de beste.

Erwin Zijleman

 

Je kunt Hurts Like Hell hier luisteren en bestellen:

https://charlottecornfield.bandcamp.com/album/hurts-like-hell