Shiverstruck. IAN SWEET

Het maken van een nagenoeg perfect maar ook interessant popalbum is niet zo eenvoudig, maar na het fantastische SUCKER uit 2023 heeft Jilian Medford, oftewel IAN SWEET, er met het deze week verschenen Shiverstruck nog een gemaakt.

Na het imponerende SUCKER kon een nieuw album van IAN SWEET eigenlijk alleen maar tegenvallen, maar na de eerste keer horen was ik alweer hopeloos verliefd op Shiverstruck. Ook op het nieuwe album van IAN SWEET domineren de lekker in het gehoor liggende popsongs, maar de songs van Jilian Medford hebben altijd net dat beetje extra dat van een goede popsong een memorabele popsong maakt. Het is een kunst die Chappell Roan tot in de perfectie beheerst, maar ook IAN SWEET schudt de ene na de andere nagenoeg perfecte popsong uit de mouw. Shiverstruck klinkt wat gepolijster dan SUCKER, maar de songs en de stem van Jilian Medford zorgen ook dit keer song na song voor de ultieme verleiding.

Met SUCKER leverde IAN SWEET in het najaar van 2023 een van de beste popalbums van dat jaar af. SUCKER bleek al het vierde album van het project van de Amerikaanse muzikante Jilian Medford, maar het album kwam voor mij als een volslagen verrassing. SUCKER haalde een maand na de release de top 25 van mijn jaarlijstje, maar achteraf bezien had het album zeker een plek in de top 10 of zelfs top 5 verdiend. 

SUCKER van IAN SWEET is een popalbum dat meedogenloos verleidt met popsongs die na één keer horen voorgoed in het geheugen zijn opgeslagen, maar het is ook een eigenzinnig popalbum dat je meer dan eens op het verkeerde been zet. Het knappe van SUCKER is dat Jilian Medford aan de ene kant niet vies is van mainstream pop, maar op hetzelfde moment ook een zwak voor indiepop en indierock laat horen. 

Mijn liefde voor het vierde album van IAN SWEET is sinds het najaar van 2023 alleen maar gegroeid, waardoor ik met bijna onrealistisch hoge verwachtingen begon aan het deze week verschenen Shiverstruck. Desondanks had Jilian Medford niet veel tijd nodig om me te overtuigen, want ook het vijfde album van IAN SWEET is een pareltje. 

Shiverstruck opent met een ingetogen en bijna folky song, maar 987 is ook een 24-karaat ingetogen popsong zoals ook Chappell Roan ze maakt. Het is een popsong die ook kwetsbaar klinkt en dat heeft alles te maken met de stem van Jilian Medford, die me direct weer te pakken had. 

Na de ingetogen openingstrack gaat IAN SWEET weer het grootste deel van de tijd voor de pop en het is ook dit keer aanstekelijke pop met een randje indie. Jilian Medford woonde de afgelopen jaren in New York voor de liefde, maar na het stuklopen van haar relatie keerde ze terug naar Los Angeles. Shiverstruck is een deel van de tijd een breakup album, maar het is ook een album vol verlangen naar Californië, waardoor de meeste songs op het album minimaal een licht melancholisch karakter hebben. 

Jilian Medford maakte het nieuwe album van haar alter ego IAN SWEET samen met muzikant en producer Ben H. Allen III, die ik vooral ken van zijn werk voor Soccer Mommy. De twee bespelen samen het merendeel van de instrumenten, die door Ben H. Allen III zijn opgenomen in een lekker vol popgeluid. 

Vergeleken met voorganger SUCKER laat Shiverstruck wat minder scherpe randjes en ruwe kantjes horen, maar ook op het nieuwe album van IAN SWEET wordt makkelijk geschakeld tussen mainstream pop en indiepop. Het knappe van het album is dat Jilian Medford een heleboel bekende ingrediënten en inspiratie van bijna alle grote popzangeressen van het moment verwerkt in een geluid dat aan de ene kant direct herkenbaar klinkt, maar aan de andere kant toch ook een eigen geluid heeft. 

Het is een geluid dat continu betovert met onweerstaanbaar lekkere popsongs en de al even onweerstaanbare stem van Jilian Medford, maar ik hoor ook dit keer voldoende diepgang in de songs van de Amerikaanse muzikante. Shiverstruck is voor mij niet de complete verrassing die SUCKER bijna drie jaar geleden was, maar na een paar keer horen zit al een groot deel van de tien songs op het album in mijn hoofd en de rest gaat snel volgen. Shiverstruck is wat mij betreft een nagenoeg perfecte popplaat, die de muziek van 2026 nog wat meer glans geeft.

Erwin Zijleman

 

Je kunt Shiverstruck hier luisteren en bestellen:

https://iansweetmusic.bandcamp.com/album/shiverstruck 

Too Pop For Punk…Too Punk To Care. Gene Champagne

Gene Champagne has found himself on this blog a few times. After his EP 'Let's Jet' followed some singles that are now on Too Pop For Punk…Too Punk To Care. The Canadian rocker fits nicely in a row starting with U.S. garage rock in the 60s, into punkpop and powerpop bands in the later 70s, right up to modern day revivalists like Geoff Palmer, Brad Marino, etc. In short Gene Champagne presents short, fast, loud songs that have a pop feel that is just so sweet.

Of course, Too Pop For Punk…Too Punk To Care is totally anachronistic. It has nothing to do with the mostly totally heartless songs released today with the aim to chart. Exceptions apart, I just do not discover a life form in them. Put on Too Pop For Punk…Too Punk To Care and life, fun and the will to play simply jump into my ears. Each song starts to rock and roll and continues until the very last note fades out.

It will have been on here before, but Gene Champagne was the drummer in a band called Teenage Head. Usually, drummers sit in the back and play a part fitting the composition presented to them. On Too Pop For Punk…Too Punk To Care Gene Champagne wrote and played everything you hear. Not only is he capable of writing perfect pop-rock-punk songs that in a different universe should all be big top 10 if not number 1 hits, he's a good player and singer as well. Each song is so free flowing. Everything fits perfectly in its place. If it is not perfection, this album comes very close.

Promo photo

Added are two covers, the already reviewed 'Yummy Yummy Yummy' by the Ohio Express and 'I Can't Pretend' by The Barracudas. The first one is a song that I would totally not have minded to have all but forgotten, the other is as new to me, just like the rest is.

With Too Pop For Punk…Too Punk To Care Gene Champagne has made the world just this little bit nicer. At a time where so many dogs are wagged simultaneously by the same person that it's impossible to keep up, where with just a little more flooding the whole zone will be gone, an album like Too Pop For Punk…Too Punk To Care is not just an antidote, it's a reminder that there is a far better world within reach.

Wout de Natris - van der Borght 

2026, week 41. 10 singles (2)

Fall? Yes, it's here, finally. At least for today. Loads and loads of rain, wind and it's grey, greyer, greyest. That describes today alright. In my ears is the optimistically melancholic and dreamy sound of Railcard's album 'Two Steps At A Time', music that fits this day perfectly. In the meantime, here are ten recent singles for you to explore. Enjoy!

Bad Luck Hideaway. The Rolling Stones

With the digital release of 'Mr. Charm', a b-side is released called Bad Luck Hideaway. 'Mr. Charm' is one of the supercharged songs on the Stones' latest effort, 'Foreign Tongue'. A brooding video with Alexander Skarsgård in the lead role accompanies the release. Bad Luck Hideaway stems from the aborted 2015 studio sessions that in the end resulted in the alternative plan, the blues covers album 'Blue and Lonesome'. In other words, Charlie Watts is on drums. The song stands out for a different reason as well. It is a real duet between Mick Jagger and Keith Richards. As far as I recall that may be a first. The song itself is a country song and let's be honest, a true b-side. The song just sort of drags itself forward, dragged around by the same riff played over and over. Everything around Bad Luck Hideaway has been done better by The Rolling Stones, but it remains The Rolling Stones and that makes the song more than just alright. A warm Hammond organ, clear piano, nice overdubbed guitar notes, Ronnie on pedal steel and finally a nice solo, probably played by Ronnie and the duet. I'm more than glad the band released the song from its vault. And 'Mr. Charm' remains a top song, also three months after the release. Can we make it a physical single as well, please?

Never Say Die EP. Tokyo Rose 

After a band that is around since 1962, today a band that makes its debut on this blog. Bands come and go and some return after the kids have gone through school. There are so many artists and bands returning to music, that this is the impression I'm getting and understandable at that. The other constant is, that nearly 100% of the bands that reach me, were all unknown by me in their round 1. Tokyo Rose formed in 2001 and called it quits in the later 00s. Today, there is a five song EP out called Never Say Die. The music is a mature sounding emo in the music and the lyrics. The result is songs that are still urgent in sound, played by musicians that master their instruments. Where with emo bands I usually drop out after two or three songs because of the high emotions, if I even get there, I don't here. Tokyo Rose simply strikes the right notes and sings the right kind of melodies. Never Say Die is the right kind of introduction to the band for me. Let me end with mentioning the drumming in 'Something Sweeter', It's really other worldly, just like the intro of 'Ugly Comes Out'. 

Radio Station. Ex:Re

Radio Station, do youths today even know what radio is, let alone a radio station? I hope they do, but there are so many other ways to discover new music today that radio has become unnecessary for that. And, if I'm honest, I for myself prefer to hear what I want to hear and not what I'm presented, selected by a station manager or AI. Let's focus on the song Radio Station instead. Ex:Re may be a new name for me but the singer is not. Elena Tonra is a member of Daughter, e.g.of the album 'Not To Disappear' reviewed by yours truly here in 2016. She released an album under the name Ex:Re in 2018, that passed me by. On 30 October a second album will be released, called 'Save As'. Radio Station is a dreamy song with long drawn out notes and vocals, that sort of come in and fade out, without disrupting the whole. It's just the impression the music gives me as a listener. At heart it is an acoustic guitar and Elena Tonra's voice(s) that carry the song. From there more and more instruments and atmospherics come in. Radio Station is mesmerising, like 'Radio Veronica' mesmerised me when I was a kid with all the new music coming out of the (small) speaker, accompanied by the atmospherics, statics and morse signs coming from fishing boats on the North Sea.

Bang Bang Bang. Lambrini Girls

In January it's two years ago since Lambrini Girls released its debut album ‘Who Let The Dogs Out’ and on 15 January 'No Refunds' will be released. Bang Bang Bang is the second single drawn from the album and presents Lambrini Girls as I remember them, loud, in your face and totally relentless. No refunds is the statement made here. Once in there is no way back. "It's an eye for an eye, bitch". Can a female singer sound more like Amy Taylor than she does herself? Yes, Phoebe Lunny does manage to sound more angry and indignant. Bang Bang Bang is a few minutes of full on punk attack. Nothing more but certainly nothing less.

All In My Mind. The Spyrals

The Spyrals is a band from Los Angeles making its debut on this blog. Once again, a band making music like it is 1965/66. Think a band like The Troggs from the U.K. and then even more elementary and stripped down, sounding just as dated as an obscure garagerock band from the Midwest from 60 years ago. And yet, this is so much fun. Guitarist/vocalist Jeff Lewis, Georgia Feroce, keys/vocals and Dash Borinstein, drums sound just as it is written here. A guitar drenched in reverb, a thin Farfisa sounding organ and the drums pushing the boundaries and keeping things together. In the years since this blog started, dozens and dozens of bands like this have come by from multiple countries. The Spyrals is more than welcome on these pages. Album 'Heavy Smoke' comes out on 27 November.

Doin' alright. Brijitte West and the Greenowskis

There are song titles and song titles. Doin' Alright? The title fits Doin' Alright like the perfect glove. Just like Herman Brood and His Wild Romance's 'Doin' It', it rocks up and down, back and forth, sideways and back again. Brijitte West, ex- NY Loose, teams up with Italians Wilko Zanni, Lorenzo Vacondio, and Lester Greenowski. The music is pure American powerpop with a little punk. Think 'One Way Or Another' or 'Hangin' On The Telephone', two rocking songs from Blondie's best album 'Parallel Lines'. Everything sounds deliciously dirty from the singing to the stinging guitar solo played by Wilko Zanni. It just sounds so good.

Want It Bad (the pep talks and playing fields of old England) EP. Colin Moulding

Listening to the title song of the three song EP for the first time, I gave up after about thirty seconds. Is this song ever going to start?, I asked myself. Giving it a second chance with the release of the EP, I changed my mind. Want It Bad (etc.) is so subtle. There is far more going on than I expected. Colin Moulding taps into his Beatles fandom before he joined post punkers XTC and wrote that great single 'Making Plans For Nigel'. The sound of the synth at the heart of Want It Bad comes from another song from long ago, the title of which escapes me. The layered harmonies makes the song stand out in all its modesty. The subtle changes in the accompaniment do the rest. 'Something About The Boy (James Bond Theme For Female Voice)', does the same thing. An electronic drum, synths and many voices (and this time The Beatles are mentioned, I notice) that hurtle over one another in an ever so decent way. The EP ends with a demo version of Want It Bad. The difference are too subtle for me to hear at first listening, so I leave that to you. 

La Alusión, feat. Lorelle Meets The Obsolete. The Oscillation

There are so many forms of psychedelic music that makes it in a way impossible to speak of one genre. Take La Alusión, the collaboration between The Oscillation and Lorelle Quintanilla. If anything, it is The Beatles' 'Rain' kind of psychedelia and then imagine turning left field. Everything becomes wobbly, impossible to keep your bearings, with no firm ground left under your feet left. The music becomes something resembling a psychedelic trip, where nothing is what it is in the real, unaffected world. There is the drums that keep time, but around it nothing is in place, like the bar scene in 'Fear And Loathing In Las Vegas'. Lorelle Quintanilla's vocals are just as wobbly, presented as if they move in and out of my conscious. This is the kind of song I have to be in the mood for, but when I am, I'm grooving to the rhythm alright.

My Life's Alright. Dirt Buyer

Dirt Buyer (Joe Sutkowski) returns to the blog with a cover of a Shira Small song, My Life's Alright. He tells us that he always loved her album 'The Line Of Time And The Plane Of Now' from 1974, ever since discovering it. Dirt Buyer has made it a song with two different faces. It starts out as small as possible with just Sutlowski's soft voice followed by one chord played at a time on a guitar. When the band comes in, the song at first turns instrumental, softly playing together. Mind, the volume goes up slowly but surely, while the band expands its sound as well. When the singing resumes, things go quieter again. And then comes the outro. Dirt Buyer makes the song explode in your face, everything is taken to the max, while keeping the original melody within sight. Not being familiar with the original, I found it on Bandcamp. Jazz and soul, more jazz than soul actually, bringing to mind Nina Simone, 'Lovin' You' by Minnie Riperton and Carly Simon's voice. Quite a surprise, to be honest.

I Owe You. Claud

Of course, Erwin Zijleman beat me to reviewing a female voice in 2021, although I reviewed a previous single, 'Every Fucking Time' in 2023. Come 2026 Claud is about to release a new album on 23 October, 'Me and the Music'. In 2023 I wrote that I had the impression "... Claud is not in a happy mood". In I Owe You the mood is different, part dreamy and part melancholy. It makes for a very pleasant listening experience. In the background, a fast strummed acoustic guitar plays an important part supporting the rhythm. It makes it possible for a slow-played lead guitar to play a loosely fitting melody. The same goes for the bass that is in support and yet is just this little bit more. And then open your ears. You will find so much more going on. On top of it all Claud name drops 'A Horse With No Name', making me realise that the song charted 54 years ago and that it still comes by somewhere regularly. For I Owe You to achieve this, makes 2080.

Wout de Natris - van der Borght

i will be dead. sura sol

De Belgische muzikante Rachel Solomon bracht begin dit jaar onder de naam sura sol het helaas nauwelijks opgemerkte album i will be dead uit, maar gelukkig krijgt het prachtige album nog een tweede kans.

Luister naar i will be dead van sura sol en de wereld draait opeens een stuk minder snel. Het alter ego van de Brusselse wereldburger Rachel Solomon maakt sobere en zich langzaam voortslepende muziek, maar de klanken op i will be dead zijn ook loom en dromerig. Het past prachtig bij de bijzondere stem van de Belgische muzikante en de eigenzinnige manier van zingen. Ik moest zelf even wennen aan i will be dead van sura sol, maar toen ik het album wat vaker hoorde drongen de bijzondere songs van Rachel Solomon zich steeds nadrukkelijker op. Het album krijgt vooralsnog niet heel veel aandacht, maar dit is een album dat je al snel gaat koesteren.

Onlangs wees iemand me op het album i will be dead van sura sol (geen hoofdletters). Het begin dit jaar verschenen album zou volgens de tipgever perfect aansluiten op mijn muzieksmaak, wat me uiteraard nieuwsgierig maakte. Ik had de naam sura sol nog niet eerder gehoord, maar het blijkt het alter ego van de Belgische muzikante Rachel Solomon, die eerder deel uitmaakte van de band Las Lloronas, die ik overigens ook niet ken. 

Het debuutalbum van sura sol, het eind 2022 verschenen roar, werd in België goed ontvangen, maar ik kan me niet herinneren dat ik het album heb beluisterd. Helaas sneeuwde het tweede album van sura sol, mede door de geboorte van het zoontje van Rachel Solomon, eerder dit jaar compleet onder, maar gelukkig krijgt het album nu een tweede kans en dat is volkomen terecht. 

Het tweede album van de muzikante uit Brussel kreeg in eigen land al een aantal uitstekende recensies en ik hoop dat het album ook in Nederland nu snel wordt opgepikt. In een aantal van deze recensies wordt benoemd dat de muziek van sura sol lastig te beschrijven is en tijd vraagt van de luisteraar en dat zijn twee observaties die ik volledig onderschrijf. 

Het zorgt vooralsnog ook voor wat cryptische en ook wat wollige recensies en dat is jammer, want de muziek van sura sol kan ook worden omschreven als fantasierijk en wonderschoon. De songs van de Belgische muzikante zijn over het algemeen sober ingekleurd, waardoor de stem van Rachel Solomon centraal staat. Het is een mooie stem die makkelijk verleidt, maar de zang op i will be dead is ook veelkleurig en het is zang die af en toe kiest voor bijzondere wendingen. 

Dat doet sura sol ook met de muziek op het album, wat ervoor zorgt dat i will be dead, in ieder geval voor mij, geen album is dat zich onmiddellijk genadeloos opdringt. Toen ik het album voor het eerst beluisterde, zocht ik vooral naar houvast en die had ik niet direct gevonden. 

De muziek van sura sol klinkt soms als de psychedelische folkalbums van vele decennia geleden, maar op andere momenten ook weer helemaal niet. Invloeden uit de folk spelen een belangrijke rol op het tweede album van sura sol, maar ook invloeden uit de jazz en wereldmuziek zijn hoorbaar. De laatste invloeden zijn deels het gevolg van de wortels van Rachel Solomon, die op meerdere continenten liggen. 

De meeste songs op i will be dead zijn zoals gezegd behoorlijk sober, hebben een intiem karakter en gebruiken stilte als instrument, maar desondanks gebeurt er van alles in de songs en zijn er steeds weer opvallende wendingen die je op het puntje van de stoel houden en die ervoor zorgen dat het album steeds mooier en interessanter wordt. Die opvallende wendingen in de zang en in de muziek zijn meestal uiterst subtiel, maar dit komt het bijzondere karakter van de muziek van sura sol alleen maar ten goede. 

Zeker de songs met vooral akoestische gitaar, een vleugje bossa nova en de stem van Rachel Solomon, die haar teksten soms (bijna) uitspreekt, hebben een loom en dromerig karakter en zijn gemaakt voor het huidige seizoen en dan vooral voor de vroege en late uurtjes, maar i will be dead is ook een album dat het verdient om met volledige aandacht beluisterd en uitgeplozen te worden. Het duurde bij mij even voor ik om was, maar sindsdien komt i will be dead van sura sol met grote regelmaat voorbij en wordt het album wat mij betreft steeds mooier en interessanter.

Erwin Zijleman

 

Je kunt i will be dead hier luisteren en bestellen:

https://surasolmusic.bandcamp.com/album/i-will-be-dead 

Blister. Tramhaus

It is getting close to five years when Tramhaus made its entry on this blog with its first single 'I Don't Sweat'. Many singles followed, an EP, album number one 'The First Exit', live shows, two singles announcing a new album and today is the release of album number 2, Blister.

Where 'The First Exit' was already a statement of quite some proportions, Blister is a veni, vidi, vici affair, without having to cross the Rubicon. With Blister Tramhaus shows to not only be at the top if its own game but also en passant throws some Fontaines DC and early Simple Minds into its mix, while not losing itself for a single second. Listen how Lukas Jansen sings in 'Cluster' and how a synth pops up here and there on the album and you'll know what I mean. In other words, Tramhaus has made itself even more interesting in the most positive kind of ways.

That line is supposed to be a conclusion to a review and in a way it is. What more can I add to it? Well, not that much if I'm honest. From the first single and opener 'Plovdiv' I am grooving and rocking and rolling with Tramhaus. As an aside, both the band and myself visited Plovdiv in the south east of Bulgaria in 2025. Hopefully the members got to see a little of the Roman archeia in the town and that it wasn't 43 degrees like it was when we were there.

Photo: Marc Elisabeth

With 'Plovdiv' the band opens in a smart way. The link to 'The First Exit' is obvious in the raucous and wild playing. From there the games begin. Tramhaus broadens and widens itself from that moment onwards. Not just the two guitars interplay but also a synth like in 'Sly (Like Ever)'. Someone will have to switch instruments during the show. It works however as the use of keys make the sound more varied. The sudden switch to dark, distorted chords on a guitar does the rest.

With the change in singing, Tramhaus also makes its fans ready for changes in the future. Listen to 'Solace' and you'll find that the postpunk idiom is left by the wayside completely. Lukas Jansen does not need to shout and is finding his singing voice. Perhaps still slightly wobbly but more than good enough. He will lead Tramhaus wherever it choses to go next. With Blister the curtain showing that future is lifted somewhat. There's more than enough postpunk to keep early fans like me happy but also a level of development I had not expected for album number 2. The band may be ahead of expectations, while able to take its fans along on the basis of the quality of songs.

There's often talk of that difficult second album. You will not find anything resembling this challenge on Blister. Tramhaus is The Netherland's top band of the 2020s, okay with Personal Trainer. With Blister it confirms its position with ease. Just listen to that riff of 'I Was Never Alone'. There's no more to write, read nor to understand. As long as you understand that things just don't get much better than Blister.

Wout de Natris - van der Borght

 

You can order Blister here:

https://subroutine.nl/product/tramhaus-blister-sr136-cd-lp/ 

Another Sun. The Machine

Ok, fasten your seat belts. We are about to take off and do not open the belt until we have safely arrived. I imagine a steward speaking these words during the intro of 'Drop/See', the opening song on The Machine's eighth album Another Sun. After this intro the band tucks in with a loud riff, huge drums, a solid bass and an underwater effect on an overdubbed guitar part (a flanger?). The Machine takes off in a huge fashion.

No matter how loud 'Drop/See' is, the band does not forget a song is important as well. Besides, the band starts exploring the innards and outers of the composition in a long instrumental interlude. Guitarist David Eering plays all the styles he has mastered and took a dive into his pedal collection to find ever more sounds. The interlude explodes and comes back to the main riff, in a grand Motorpsycho way. Yes, The Machine feels comfortable in the identical stoner, psychedelic (hard)rock place where the Norwegians like to dwell as well.

The Machine is from Dordrecht the most southern and oldest (1220) of the cities in Holland, which is the western part of The Netherlands. The band is around for twenty years, but Drop/See earlier this year was my introduction and one that called for more. The band consists in 2026 of David Eering (guitars, vocals, sitar, synthesizers, theremin, percussion), Chris Both (bass guitar) and Klaas Dijkstra (drums, percussion). Together they are able to create a huge wall of sound that Phil Spector would have been proud of.

That more is now here in the form of the four additional songs that together make Another Sun. In 'Evolver' the band really lets it rip. Who could have thought on listening for the first time to 'Evolver' what lies in wait? The song starts relaxed and slow. It slowly builds up tension and after a long intro the band kicks in, but in a way that this could still be a part of a suite, so a part of 'Drop/See'. What happens next, is beyond imagination. The tempo goes up, the intensity is off the grid. 'Evolver' becomes an orgy of music, while the band remains in full control of the song. Live this most likely is even more impressive.

Photo: David Eering

What I'd noticed, having made myself familiar with Another Sun, is what goes for what I wrote in my single review goes for the whole album. Singer David Eering is more a part of the whole and not the frontman singing over the band. It is as if singing is purely functional and not defining for a track. Listening to 'Evolver' it is totally clear why. The vocals are only a part of a song and the members of this band are so good on their instruments. They steal the show anyway. Personally, I'm glad there is singing because in general it adds to a song. For The Machine singing works as far as I'm concerned.

The music on Another Sun is far louder than the symphonic rock bands of old like Yes and Marillion. Still, there are similarities in the way the band approaches compositions. They are changed along the way, to return to a central theme and longer instrumental parts are fitted in.

There is also a link to grunge, listen to how Eering sings in 'Swallow The Sun' and to the early Smashing Pumpkins (grunge or not?) form of deep sounding guitars. The final name that needs to be dropped is Queens of the Stone Age. The Machine has listened to the desert rock/stoner band for certain, as there are also references to the way Josh Homme sings. That is where things stop, as The Machine is more adventurous in exploring its songs. The band combines over fifty years of rock music within its music and comes out with a storming and raging album called Another Sun.

In the final song, 'Echo Through' it seems we will make a long smooth landing before we can unfasten our seat belts. That is counting without The Machine that does its trick once again, full force, before it sets us on the ground in one smooth, soft go. Another Sun is an impressive album. The doors are are openend.

Wout de Natris - van der Borght

 

You can listen to and order Another Sun here for Europe:

https://the-machine.bandcamp.com/album/another-sun-european-version

and here for U.K. and U.S.:

https://the-machine.bandcamp.com/album/another-sun-uk-north-american-version 

2026, week 41. 10 singles.

Even when listening with a stricter ear, more singles are presented to me than I can keep up with. Since the summer break I'm running behind already about a month. The ones you find here made the cut my critical ear makes. Again with a few new names in there too, so go out and explore. Enjoy!

Innocence Lost. Purple Pilgrims

Purple Pilgrims? No, I can't say I've heard the name before. Checking to be sure, I did get a hit but under the name Clementine Valentine, the name under which sisters Valentine and Clementine Nixon released the record 'The Coin That Broke The Fountain Floor', reviewed by Erwin Zijleman in 2023. The two albums the sisters released under the name Purple Pilgrims before that, did not make it to these pages. Erwin described the album to have a fairytale vibe. I would prefer to describe Innocence Lost this way. Dreamy it is and because of this atmosphere it holds something the opposite of the title, innocence. The long held atmospheric notes, a lot of delay in the notes played and slow, slow singing and again long held notes in the multi-layered background vocals also create an undercurrent of tension. Nonetheless, Innocence Lost is a song to dream away with and escape reality for a while. Album 'Given to the Night' will be released on 27 November.

Decipher. Travo

We have vague plans to do Northern Spain and Portugal in the summer holiday of 2027. You have to go to Braga then, my sold me. They have the best bacalao there I've ever eaten. OK, that sounds like some sound piece of advice. Perhaps the members of Travo can tell me more, as this psychedelic hardrock band is from Braga. With single Decipher the new album is announced once again. 'Wasteland' was released this week. Based on my experience with Decipher it will be a loud and intense affair, but not without a clear song structure. I happened to have played Marillion's 'Misplaced Childhood' recently and Decipher is a louder version of the loudest songs on that album. In other words, there is a lot to enjoy in Decipher. Extra melodies, another guitar part flying in from somewhere, to leave again a bit later. Melodic, shredding, relatively subtle, super wild. You'll find it all in here. And even somewhat quieter breaks, before the band breaks loose in full again. Great single.

Home. Beauty in Chaos and Ashton Nyte

Beauty in Chaos, The Awakening, Ashton Nyte's band, and the two together can all be found on this blog. With Home the two team up once again. Nyte lends his voice to this rocking ballad by Beauty in Chaos. Home is a song that is heavy enough not to become cheesy and ballad enough to convince as a rock ballad. There is Ashton Nyte's voice. His nickname "Johannesburg's David Bowie" is well-deserved but also has its own qualities. Michael Ciravolo, who is Beauty in Chaos, has created a beautiful and melodic song for Nyte to sing over. The bass supporting the song is a little dirty, contrasting nicely with the nicely played opening riff/central melody of the song. The lead guitar underneath the chorus is just as great and played in great taste. Again in contrast with that bass guitar. There already is a new Beauty in Chaos album, 'Quiet Place'. It's produced by Michael Rozon, who also plays bass and programmed the drums.

Holy Line. Mynolia

Another debut on this blog and like the Nixon sisters above here, Mynolia takes us into a very dreamy world, but one where more scary things can enter all of a sudden. Just like a real dream can turn into something less pleasant or even unpleasant within, I don't know how fast. How long do dreams last? Holy Line has a folky undertone, while having dreampop elements combined with some solid elements. The acoustic guitar plays an accent in the right places, while swaths of sounds swirl around it. Singer-songwriter Maja Presnell lived some years in Berlin before relocating to the south of the U.S. (a rather broad definition, isn't it). This resulted in Holy Line and the upcoming album, 'Salt Around My Bed', out on 15 January. The title comes from a line in the single. Holy Line has a little of the Celtic folk of Enya at the time of 'Orinoco Flow'. The mysticism in her delivery and the atmospherics take care of that. The intricate accompaniment does the rest. Holy Line is the kind of single that makes me wanting to hear more.

Wij Zinken EP. Grote Geelstaart 

Met zes liedjes/composities is Wij Zinken meer een mini album dan een EP, maar wie ben ik? Grote Geelstaart is een naam die ineens op verschillende plekken opdook in door mij gelezen publicaties. Op basis van wat ik las, dacht ik, ik zal het een kans geven, maar dit is zeker niets voor mij. Moeilijkdoenerij zoals een band als Black Midi dat in het verleden deed. Uiteindelijk vond ik het vooral heel erg vermoeiend en niet echt genietbaar. De Zeeuwse band vindt zeker de moeilijke weg in ieder nummer, terwijl de zanger ook nog eens niet zingt, maar voordraagt, zelfs declameert. Toch merk ik dat de wendingen in de nummers over het algemeen goed te volgen zijn. Gele Geelstaart is geen gekte of totale chaos. Over iedere wending lijkt goed nagedacht en een explosie van geluid komt altijd wel weer op zijn poten terecht. Dat maakt dat Wij Zinken goed te beluisteren is en dat de individuele nummers groeien voor mij. Luuk Bosma (zang/gitaar), Jesper Rottier (gitaar/drums/zang), Jeppe Rottier (bas), Danny Rottier (synths/saxofoon) en Finley Nijsse (drums/zang) zijn familieleden en schoolvrienden die samen muziek zijn gaan maken  Vanuit Zuid-Beveland wordt de omgeving veroverd en dat zou zo maar eens kunnen gaan lukken. Wie naar Wij Zinken gaat luisteren, moet zeker een open oor willen hebben voor de postpunk, mathrock, disco elementen en wie weet wat nog meer. Doe dat en er gaat een avontuurlijke muziekreis voor je open. En wij zinken? Zeeuwen? Die komen toch altijd weer boven?!

God Of You. Danielle Ponder

Danielle Ponder decided later on in life to go for music, leaving behind another career. Here is the result. God Of You is a song that has me on the one hand wondering where I've heard certain elements within it before and listening in awe to the power of Danielle Ponder's voice. It is a gospel-soul voice but also has the rasp in it that over here a singer like Kovacs has. A contrast is created between the soul music and the roughness of the voice. Ponder decided to want to be a part of a long tradition, from the 1960s and Aretha Franklin right up to Michael Kiwanuka and Teddy Swims. She holds it all and with conviction. Her album 'Everything Has Changed' is out on 9 October.

Klein Kunstje. Stroman

Jan Stroomer kennen we als The Stream op dit blog. Al jaren zijn de albums van de band hier te vinden. Sinds enige tijd is Jan Stroomer onder de naam Stroman ook actief in het theater. Nu is er ook een eerste lied uitgebracht, onder de titel Klein Kunstje, een referentie aan de term en het genre kleinkunst natuurlijk. Tegelijkertijd speelt daardoor 'Klein Aapje' van The Avonden door mijn hoofd. Stroman speelt direct heel overtuigend in dit genre. Het nummer staat, in zijn eigen soort, direct als een huis. Muzikaal valt er vanuit de basis melodie veel te genieten, waar die basis akkoordenprogressie al heel prettig klinkt. Opvallend is dat Stroomers stem anders klinkt in het Nederlands, maar ook heel prettig. Dat is niet veranderd. Zoals het hoort, wordt er gespeeld met de Nederlandse taal. Klein Kunstje overtuigt op meerdere fronten. The Stream is volop actief en nu is er ook muziek van Stroman. Best of beide werelden.

Your Brother’s On The News Again. Sally Jaye

Time for some country music. Sally Jaye is from Nashville, Tennessee, but do not expect any slick country music. Your Brother’s On The News Again is a neat version of what The Band could have made of the song. Her voice has a little edge to it, making it a female equivalent to Levon Helm. Listening to the song, you can hear a host of guitar parts that make the song interesting to listen to in a few ways. They all do something different, play a different melody, chords, solo notes, motives, and it all fits wonderfully well. The bass part is played by a sousaphone or a horn instrument resembling it. All together the band creates an extremely loosely feeling piece of music that at the same time is so well arranged. "All is forgiven", Sally Jaye sings at the end of this single. With a song like this, there's nothing to forgive, Ms. Jaye.

They Don't Dance Anymore (Back To Mono Mix). The Amplifier Heads

Old men looking back on the past and not only getting nostalgic but also a bit forlorn about how things have changed since they were young. We all got older and don't dance anymore. Well, I personally beg to differ, given the opportunity, but I'll admit, I'm going out to dance anymore. If I run into it though, things do get different. Catch my breath after the second song and go. Dance and sing! The Amplifier Heads only sees the people sitting at home or remaining on their bar stool. The band caught that feeling in a melancholy rock song, somewhere between rock and a ballad. The guitar solo cries out in pain for things lost. Does listening to 'Quadrophenia' today and remembering listening to it in 1973 help? It doesn't seem like it. Things change, people change, things get lost. The Amplifier Heads have caught that all in an under three minutes song.

J'adore. Plasticsoul

Plasticsoul has not released a new record in nine years. That record, 'Therapy', was the first release of the Big Stir label. Many artists signed to the label have found their way to this blog since. J'adore, the new single of Plasticsoul is no exception. The band obviously still likes the music from long ago. Bands that broke in the first half of the 90s for example. J'adore has that pleasantly familiar vibe that combines indierock with a nice pop sensitivity. A combination that seldom fails to attract my attention. The first album of a band like Gin Blossoms is the one I often use as a benchmark. Plasticsoul offers more though, because there is also a connection to the Britpop of the mid-90s. A band like Supergrass comes to mind as well. And that line "here she comes", see if you can find that link to the U.K. yourself. For me Plasticsoul is a new name. The introduction is all my pleasure.

Wout de Natris - van den Borght 

Violins. Blondshell

Blondshell or Sabrina Teitelbaum as she is known to inner friends and family, can be found on this blog for a few years now and returns with her third album, Violins. In a review I've read this week, the writer felt the need to mention everything that Blondhell is not on this album. The need was caused by the accompanying bio. He could not agree with nor relate to the content. This is the reason I tend to avoid a bio as a rule, a rule which I sometimes break, for example to find practical information like who is the extra singer or the bass player?

In other words, I am usually able to listen to the music with a fresh and open mind. Listening to Violins taught me that on Violins Blondshell operates somewhere in between rock and pop and that in some songs the volume knobs were allowed to be switched to (much) louder. In (parts of) others they were not and you can even find the odd pop ballad on the album.

The result is a varied album containing songs worthwhile to get to know better. Violins offers songs that alternatively rock and in several cases sparkle. Sabrina Teitelbaum is like a fish in water in these songs. She is on top of her songs and this makes her voice shine in all the songs. In the louder ones and in the few softer ones. Her voice surfs comfortably over the high waves the guitars and rest produce. At times she sounds a little bored or resigned. The music makes clear she is not as it is often urgent and full of interesting outbursts and accents. It's just the way her voice sounds and not disinterest in her own music.

Then listen to 'Reinstall' toward the end of Violins. There you can hear what she is able to do with her voice. Double tracking it in different tones. The song is not the best on the album but vocally is does stand out fully, making it better and better. The album ends with the single 'Fur Elise'. The albums final song shows how Blondshell can go from small to huge within a few minutes and convince in both. That is the reason why I do not agree with said writer on dissing the bio. Who cares what it says in there as long as the album itself convinces. In my opinion it does and that is what counts here and in music generally speaking.

Wout de Natris - van der Borght

 

You can listen to and order Violins here:

https://blondshell.bandcamp.com/album/violins 

Broken Souvenir. Bywater call

Bywater Call uit Toronto heeft de afgelopen jaren op het podium met veel succes gewerkt aan haar reputatie, maar het in augustus verschenen album Broken Souvenirs laat horen dat de band ook in de studio tot grootse dingen in staat is.

Broken Souvenirs is het vierde album van Bywater Call, maar het eerste album van de band dat ik heb beluisterd. Ik zag de band al wel op het podium en dat leek me de plek waar de muziek van de Canadese band het best tot zijn recht komt. Dat is misschien zo, maar ook het nieuwe album van de band mag er zijn en ik vind Broken Souvenirs alleen maar beter worden. Het nieuwe album van Bywater Call laat een opwindende mix van met name soul, blues, gospel en rock horen. Het is een mix die opvalt door veel muzikaal vuurwerk, maar het meeste vuurwerk komt van zangeres Meghan Parnell die echt geweldig zingt. Het levert een buitengewoon overtuigend album op, dat doet uitzien naar volgende optredens van de band, maar ook als album overtuigt.

De Canadese band Bywater Call zag ik eerder dit jaar in de Leidse Qbus optreden en dat was een zeer indrukwekkend of misschien zelfs wel verpletterend optreden. Het was mijn eerste kennismaking met de muziek van de band uit Toronto, maar het smaakte naar veel meer. 

Blikvanger van de band is zangeres Meghan Parnell, die beschikt over een geweldige soulstem, maar ook in muzikaal opzicht heeft de zevenkoppige band veel te bieden met onder andere een uitstekende gitarist en twee geweldige blazers, die samen trompet, trombone en saxofoon voor hun rekening nemen. 

In augustus is een nieuw album van Bywater Call verschenen en dat herinnerde me direct weer aan het concert van dit voorjaar. De Canadese band leek me op voorhand een band die op het podium tot grote hoogten stijgt, maar op een album niet helemaal uit de verf komt. 

Dat vooroordeel kon echter vrij snel van tafel bij beluistering van het album. Broken Souvenirs is het vierde studioalbum van Bywater Call en het is een album dat goed laat horen wat de band te bieden heeft. De band heeft de passie en de energie van haar optredens perfect weten te vangen op Broken Souvenirs, dat uit de speakers knalt en zorgt voor een flinke energieboost. 

Ook op Broken Souvenirs imponeert de Canadese band met de stem van Meghan Parnell, die echt geweldig zingt. Het is een stem die is gemaakt voor soulvol repertoire, maar ook in omliggende genres maakt Meghan Parnell indruk met haar stem, die flink kan uithalen, maar ook kan doseren. Het is een stem die hier en daar wordt ondersteund door al even mooie en krachtige stemmen op de achtergrond, wat de zang op het album nog wat mooier en trefzekerder maakt. 

Ook de muzikanten die Meghan Parnell omringen leveren vakwerk op het nieuwe album van Bywater Call. De ritmesectie speelt subtiel, het gitaarwerk en het toetsenwerk zijn fraai, waarna de bijdragen van de blazers het geluid van de band voorzien van nog wat extra vuur en strijkers incidenteel zorgen voor extra sfeer. 

Broken Souvenirs is in muzikaal en vocaal opzicht een topalbum, maar het is ook een buitengewoon veelzijdig album. De Canadese band is uitstekend op dreef in de soulvolle songs op het album, maar kan ook uit de voeten met blues, (Southern) rock, gospel en nog veel meer. Hoe veelzijdig de band is hoor je in het prachtige Clutter, waarin al het muzikale vuurwerk wordt vervangen door een banjo en je hoort dat de band ook heel ingetogen kan spelen. 

Op het podium maakte Bywater Call zoals gezegd diepe indruk, maar luisteren naar Broken Souvenirs is een waardig alternatief. Ik ken de andere albums van de band niet, maar ik ben onder de indruk van de songs op het nieuwe album. Het zijn songs die zich hebben laten inspireren door muziek uit vervlogen tijden, wat Broken Souvenirs voorziet van een nostalgisch tintje, maar de nieuwe songs van de Canadese band klinken ook fris. 

Het knappe van Broken Souvenirs is dat Bywater Call de ruwe energie van haar optredens heeft weten te vangen in de in de studio opgenomen songs, maar ook diepgang en verfijning heeft toegevoegd. Het album is ook nog eens prachtig geproduceerd, wat geen eenvoudige klus is bij zo veel muzikaal en vocaal vuurwerk. 

Begin volgend jaar is de band weer te zien op de Nederlandse podia, maar met het uitstekende Broken Souvenirs haal je Bywater Call ook nu al in huis. Liefhebbers van dampende rootsmuziek in de breedste zin van het woord moeten hier zeker eens naar luisteren.

Erwin Zijleman

 

Je kunt hier luisteren naar en Broken Souvenir bestellen:

https://continentalrecordservices.bandcamp.com/album/broken-souvenirs. 

2026, week 40. 5 singles

This week I had a new dream. A variation on an old theme. My former band, The Beerhunters (1993-1996), was ready to start playing a gig at a company event. Everything was in place since the evening before, soundchecked and all. Except when I arrived, there was a huge open spot where my amp, guitar and effects should be. With no clue where it could be. In my mind I was going through every option where it could be, looking around the premises, etc., ever more stressed. Who to call? And then I remembered I had taken everything with me to play another gig with my other band, but still no clue where the gear could be. And then I woke up. Not stressed at all, I'm glad to say. The Beerhunters, I don't even have the t-shirt anymore. Here is some new music for you though. Enjoy!

Never Can Tell. Jake Bugg

Jake Bugg entered my life in the fall of 2012 with his debut album 'Jake Bugg'. My personal favourite remains his second album 'Shangri La' (2013), where he is just this little more adventurous, at age 19. Since, I surely but slowly lost sight of his work. Bugg today is still only 32 and on route to release his seventh album. Listening to Never Can Tell, the first single from 'Alamo' (13 November), is a return to form. Of course, his characteristic voice will sound familiar always, but the music once again has that folky rock to it. Just a little Chris Isaak is enough. The lead guitar plays a modest riff during the whole of the song. What I like best about Never Can Tell though, is that slightly psychedelic turn in the song's chorus?, where things appear to slow down because of a time change. I put a question mark after chorus, because what is it? Many parts return while different. It makes Never Can Tell a little intriguing as well. Welcome back to this blog, Jake Bugg.

Tiny Feet. Little Grandad

Energetic live shows? A four piece band? Indie band? Just a few words that come with the bio. Listening to the song, two voices and acoustic guitars, made me wonder whether I'm listening to the wrong song and then it comes. The voices announce the change and in comes the band full force. It doesn't change the beauty of the melody, it just gives the song and the listener a kick under the butt. The change is surprising but also welcome because of the way it is executed. Little Grandad doesn't overdo anything, just does what it is good at. The band is a new name on the blog. Formed in 2025 around the brothers Jack en Harry Lower with Ned Ashcroft and James "Jimmy" Brennan. The two brothers sing the lead vocals together and are clearly used to do so for a long time. There's an album on the way. 'Speak Softly, Son' will be there on 22 January 2027.

Hit&Run. Linka Moja

Gritty guitars form the background to Linka Moja multi-layered vocals. One Linka Moja is not enough, there are several delivering the vocal melody. While over the chorus she speak-sings in a The Shangri-Lahs kind of way. Hit&Run has an alternative sound, while a very innocent sounding vocal melody that has a definite pop vibe. Listen to the lyrics though and that innocence disappears immediately. It is all about uncertainty in love and life, ideal forms, self-mutilation, cheating now or years, even decades from now. What about living and enjoying life when you're young? Uncertainty is part of growing up and the saying love can only start when you're able to love yourself is true. Try and tell that to your younger self though. Linka Moja has caught teenangst in a good song with several interesting moments within it. The only thing missing is the real scream-singing in the "it is so fucking over" right at the end of the speak singing chorus.

Long Live The Resistance EP. Cindy Lawson 

Cindy Lawson debuted on this blog as singer of The Clams, when the band's work was re-released in 2022 and remained a fixture through the years since after she picked up her music career. In 2026 she releases a four song EP, that rocks loudly from beginning to end. She has an urgent message to share and has no time to spare for subtleties. Single 'The Reckoning' has already received a spot on this page but rocks so hard that it deserves mentioning once again. In the lyrics Lawson goes full out and makes it a reckoning to all who have done her wrong over the years. That punkrock/garagerock attitude is taken along into the second song 'Burn'. "Minnesota fights against fascism", "don't believe the lies". Just a two lines from the song and you know that the resistance is in full force here. Cindy Lawson and band nail the blatant fascism in the U.S. to the musical wall. Again, the story that in modern music there is no political outrage any more is laid by the wayside. Punk music (and folk music) have always been politically outspoken and Cindy Lawson has enough anger in her to want to vent it, from a personal and public point of view. Long Live The Resistance vents it all. To top it all, she shares 'Howard Zinn Died For Your Sins' with us. It doesn't get more angrier than this song. "How do you sleep at night?". "We were there, we saw it happen ... in our town, you shot them down". This is all about Renee Good and Alex Pretti, denying everything writer Howard Zinn (1922-2010) stood for. At the same time this is not just punk rage and anger, but also musically the song is so good. I sincerely hope it doesn't have to come to real resistance but things do not look good. And not just in the U.S.

Desire Is Movement. Trixie Whitley

Desire Is Movement is a very mature song. The kind of song that shows an artist on the top of her artistry. Trixie Whitley has the skills to create a song that is both complex and yet sounds so free flowing. It combines elements of Michael Kiwanuka and Whitney Houston without having to create any kind of eclectic vocal outings to impress from beginning to end. On her previous single, 'Building Fences', I compared the song to the mood of Bowie's 'Blackstar' and Mariah Carey. There is some consistency between the two songs I find. Desire Is Movement is built from Trixie Whitley playing the piano and from there paying the drums herself, totally on intuition and not by way of technical assistance. Desire Is Movement is not a song you put on if you like to hear instant pleasure. This song takes an effort from the listener but one coming with full gratification. Album 'Folded Time' will be released on 23 October.

Wout de Natris - van der Borght 

Howling Bells 20th Anniversary. Howling Bells

This spring Howling Bells celebrated its return with the excellent album 'Strange Life'. Today the re-release of its debut album on vinyl is on the roster, 20 years after its initial release. At the time I have missed all releases by the band. Only the first singles from 'Strange Life' put my attention on the band's output.

The most surprising thing about 'Howling Bells', is that I heard one song on which Courtney Barnett appears to have built a whole career. Just listen to how 'Low Happening' sounds, how Juanita Stein sings here and then listen to an average Courtney Barnett song from all her albums, bar 'Creature Of Habit', her latest. In all honesty, it is only in this song, but still. The similarity is so striking.

'Howling Bells' is an album with several musical faces. It is far from a uniform alternative/indie rock album. 'Howling Bells' will please more than the one-sided musical fan (or it disappoints all because of the variety of course). Well, not this reviewer. I let myself be taken along the routes Howling Bells takes me and go through the highs and lows with the band.

In general it is easy to state that Howling Bells is not a very loud band. Up front is Juanita Stein's voice. The music is mixed behind her voice, supporting her vocal melodies. The band supports her voice. Just listen to how the album opens. 'The Bell Hits' has a very poppy vocal melody, with some interesting backing vocals adorning the lead melody. The lead guitar at times draws the song a little bit left of center, while the acoustic guitar and piano do the opposite. The rhythm is modest and serving. At the same time there are several parts of interest to follow all through the song. 'The Bell Hit' seems like an easygoing song, while at the same time being so rich in sounds. There are many details without overdoing it at any point. What an album opener!

Promo photo

With 'Velvet Girl' Howling Bells shows its more alternative side, while ms. Stein keeps her velvet voice working for her. She is not pretending to be anything she is not. The combination works. Dirty guitars behind a soft, beautiful voice. Live that may be a challenge but in the studio/on record? A perfect combination it seems. In the already mentioned 'Low Happening' Juanita Stein's voice has more volume than shown before. This song has an edge that lifts 'Howling Bells' to another level.

Howling Bells formed in Sydney, Australia in 2005, with Juanita and Joel Stein and drummer Glenn Moule. Only one year later the band released its debut album, after having moved to London. There are demos from before 2005 that are released as a stand alone 7" single and in the luxury edition of the 20th Anniversary release. The release comes in a few formats. This review focuses on the original album only.

The final face of Howling Bells that shows through, is a folky-country rocking side. Not unlike what The Decemberists are so good at. 'Broken Bones' is the first example of that. Be patient and you will hear a bit more later on.

This is about all you need to know about 'Howling Bells', the album. After a great comeback, there is also today a great 20th Anniversary album. Now I only have to paddle back to the three albums in between (and some solo work).

Wout de Natris - van der Borght 

Sorry, Kid. Johanna Samuels

Johanna Samuels is nog niet heel bekend, maar de muzikante uit Los Angeles leverde de afgelopen jaren al twee uitstekende albums af, die in augustus jongstleden werden overtroffen door het in alle opzichten prachtige nieuwe album Sorry, Kid.

De Amerikaanse muzikante Johanna Samuels is niet vies van flink wat melancholie in haar songs, maar laat haar nieuwe album Sorry, Kid uit de speakers komen en de donkere wolken van het moment maken onmiddellijk plaats voor uitbundige zonnestralen. Die zonnestralen komen van de fraaie klanken op het album, die vakkundig zijn vastgelegd door producer Jonathan Rado. Het zijn klanken vol referenties naar muziek uit een ver verleden, maar het nieuwe album van Johanna Samuels klinkt ook fris en eigentijds. De muzikante uit Los Angeles is een uitstekende songwriter, maar ze overtuigt ook op haar nieuwe album weer als zangeres. Johanna Samuels is nog niet heel bekend, maar is op Sorry, Kid echt heel erg goed.

De Amerikaanse muzikante Johanna Samuels debuteerde in 2021 met het album Excelsior!, dat volgde op twee hele aardige EP’s. De EP’s hadden me zeker nieuwsgierig gemaakt naar het debuutalbum van de muzikante uit Los Angeles, maar Excelsior! overtrof mijn verwachtingen ruimschoots. 

Johanna Samuels combineert op haar eerste album invloeden uit de Amerikaanse rootsmuziek met zonnige en wat psychedelische Californische pop en dat klinkt bijzonder aangenaam. Excelsior! bevat bovendien sterke en fraai melancholische songs, is zeer smaakvol ingekleurd en prachtig geproduceerd door Sam Evian en Johanna Samuels beschikt ook nog eens over een mooie en karakteristieke stem. 

Na haar memorabele debuutalbum werd Johanna Samuels opnieuw geplaagd door de lockdowns van de coronapandemie, die een vliegende start van haar carrière wederom in de weg zaten. Desondanks was ook het in 2023 verschenen en door niemand minder dan Josh Kaufman geproduceerde Bystander een sterk album. Ook op haar tweede album combineert de Amerikaanse muzikante op bijzondere wijze behoorlijk melancholische songs met verrassend zonnige klanken, waarin wederom echo’s uit de psychedelische Californische pop van weleer te horen zijn. 

Drie jaar na Bystander is deze week het derde album van Johanna Samuels verschenen en na twee albums die overliepen van de belofte, laat de muzikante uit Los Angeles op haar nieuwe album horen dat ze de belofte inmiddels ver voorbij is. Na Sam Evian en Josh Kaufman wist Johanna Samuels wederom een vooraanstaande producer te strikken, want Sorry, Kid is geproduceerd door de onder andere van Weyes Blood, Father John Misty, The Lemon Twigs en zijn eigen band Foxygen bekende Jonathan Rado. 

Ook op Sorry, Kid laat de muzikante uit Los Angeles de inmiddels van haar bekende mix van invloeden horen, maar ze heeft haar geluid wel verder geperfectioneerd. Dat deed ze deels in de studio waar Elliott Smith, een van haar muzikale helden, zijn muziek opnam. Ook Sorry, Kid laat direct vanaf de eerste noten echo’s uit een ver verleden horen en het zijn wederom fraaie echo's. 

In de openingstrack hoor ik Beatlesque arrangementen en ook gitaarwerk dat herinnert aan de fameuze Britse band, maar in de meeste tracks die volgen is het vizier weer gericht op de thuisbasis van Johanna Samuels en klinken met enige regelmaat invloeden van The Beach Boys door. Ook op Sorry, Kid worden zonnige en psychedelische Californische klanken uit het verleden gecombineerd met invloeden uit de Amerikaanse rootsmuziek van het moment, met hier en daar uitstapjes richting indierock. 

In muzikaal en productioneel opzicht klinkt het allemaal nog net wat mooier en interessanter dan op de eerste twee albums en ook de stem van Johanna Samuels spreekt me nog net wat meer aan. Het is een stem die de persoonlijke songs op het album met veel gevoel en zeggingskracht vertolkt en bijdraagt aan het karakteristieke geluid van de Amerikaanse muzikante. 

Johanna Samuels is bij het grote publiek nog behoorlijk onbekend, maar uit de producers die ze weet te strikken blijkt dat ze in de muziekscene van Los Angeles zeer wordt gewaardeerd, hetgeen verder wordt onderstreept door de gastbijdragen van onder andere Erin Rae, Madison Cunningham en Tyler Ballgame, die Sorry, Kid nog wat mooier maken. 

Ik heb wel wat met de eerste twee albums van Johanna Samuels, die ik nog met enige regelmaat beluister, maar met het in alle opzichten even indrukwekkende als prachtige Sorry, Kid zet ze wat mij betreft een reuzenstap.

Erwin Zijleman

 

Je kunt Sorry, Kid hier luisteren en bestellen:

https://johannasamuels.bandcamp.com/album/sorry-kid

Holandaluz live. Saturday 26 September 2026, De Pletterij Haarlem

Photo WdN - vdB

In November 2025 Marnix DuCroock played a solo show in our living room, impressing everyone with his version of flamenco guitar. To celebrate the digital release of his band Holandaluz' new album 'Classico 2' he played a release show with the full band in a small venue called De Pletterij in Haarlem. This used to be a factory for iron tubes and is now venue for mostly jazz music, besides being a cultural and debating centre.

Accompanied by a second guitarist, percussionist, stand up bass and alternated by a saxophone or violin, we heard new songs and some older ones. All are instrumental, with the lead instrument doing the singing for the band. The lead is not necessarily played by DuCroock. Where he always does take the lead, is in breaks in the songs, where he plays solo or is accompanied by accents only.

The music is played by virtuosos on the guitars, bass and percussion. The parts are at times jawdroppingly good. The interplay between the two guitars truly stand out, while solos are played by both, although Marnix DuCroock is the front player when all is said and done. It is his band, playing his music. For the lady playing the violin "an excuse" can be found in the fact that she stood in at the last moment and learned all the parts in only a few days. When someone can do that, it says enough about playing skills and it is more than understandable that some parts are played somewhat on the safer side compared to the other band members. The saxophone player is simply very competent and adds a different tone to the band's sound.

Photo WdN-vdB

Hearing DuCroock play with his band, made the stories I heard in the living room fall into place. Yes, there were elements of blues in some of the songs. I heard a sequence played that could have been on Pink Floyd's 'The Wall'. There was a song that rocked in a special way from the time of his band The Last Wave. And there was flamenco of course but less so as in that solo show, where "covers" were played as well.

A venue like De Pletterij is not as intimate as a living room but it comes very close. Sitting in the front row does make it an intimate experience and makes it possible to see everything from very up close. Whether solo or with a band, Holandaluz is a sight to hear.

Wout de Natris - van der Borght

 

You can find more information on Holandaluz here:

https://holandaluzmusic.com/music