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

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

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

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

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

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

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

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

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

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

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

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

Erwin Zijleman

 

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

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

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 

Move On With The Year. Alice Costelloe

Ik moest even wennen aan de wat zweverige klanken op Move On With The Year en zeker aan de bijzondere zang van Alice Costelloe, maar inmiddels vind ik het debuutalbum van de Britse muzikante een heerlijke luistertrip.

Alice Costelloe kon januari jl. al rekenen op zeer positieve recensies in een aantal Britse muziektijdschriften en ik kan me inmiddels volledig vinden in deze recensies. Alice Costelloe slaagt er immers in om iets toe te voegen aan alles dat er al is. Dat doet ze aan de ene kant met een veelzijdig geluid dat zowel psychedelisch als elektronisch kan klinken en dat subtiele accenten combineert met weidse klankentapijten. Het is een geluid dat is gevangen in een serie uitstekende songs, die aan kracht winnen door de bijzonder mooie stem van Alice Costelloe, die haar teksten af en toe bijna voordraagt, maar wat mij nergens vervalt in monotone praatzang. En Move On With The Year wordt alleen maar mooier en interessanter.

Alice Costelloe is een Britse muzikante die in het verleden in de shoegaze band Big Deal speelde. Die naam zegt me eerlijk gezegd niets, maar ik ben ook vrij selectief wanneer het gaat om shoegaze die werd gemaakt na de hoogtijdagen van het genre in de jaren 90. Op Move On With The Year, het solodebuut van Alice Costelloe is niets meer te horen van haar shoegaze verleden, want de Britse muzikante slaat op haar eerste soloalbum andere wegen in. 

Het zijn wegen die door de Britse muziekmedia worden omschreven als art-pop, maar persoonlijk vind ik indiepop ook een prima en wat meer gangbare omschrijving. Het is indiepop met een psychedelisch of zelfs proggy tintje, wat wordt verkregen door gebruik te maken van instrumenten als de fluit en de mellotron. 

Het album is knap geproduceerd door de Britse producer Mike Lindsay, die in het verleden samen met Laura Marling muziek maakte onder de naam LUMP en bovendien een van de oprichters is van de band Tunng. Van Tunng hoor ik hier en daar wel wat terug in de muziek van Alice Costelloe, maar de muzikante uit Londen is er ook in geslaagd om een interessant eigen geluid neer te zetten. 

Het is een geluid dat deels wordt bepaald door de bijzondere muziek op het album en deels door de stem en de manier van zingen van de Britse muzikante. De muziek doet zoals gezegd soms wat psychedelisch of zelfs proggy aan en hebben een deel van de tijd ook een wat Beatlesque karakter. Wanneer de elektronica wat aan terrein wint heeft het debuutalbum van Alice Costelloe een aangename jaren 80 of jaren 90 vibe, maar ze maakt ook muziek van deze tijd. 

Door de bijzondere combinatie van klanken is Move On With The Year een album met een duidelijk eigen geluid en het is een geluid dat, mede door de grote diversiteit, lastig in een hokje is te duwen. Ik vind het persoonlijk een bijzonder mooi geluid, maar ik vind het ook een spannend geluid, dat me steeds weer nieuwsgierig maakt naar hetgeen dat komen gaat. 

Alice Costelloe heeft een voorkeur voor zich langzaam voortslepende klanken, die hier en daar aan het eind van de song breed mogen uitwaaien, maar ze zet ook puntige accenten, die haar songs ontdoen van net wat teveel zweverigheid. De muziek op Move On With The Year is bijzonder, maar de zang van Alice Costelloe trekt nog net wat meer aandacht. 

De Britse muzikante beschikt over een karakteristieke maar ook heldere en wat mij betreft mooie stem. Het is een stem die uitstekend past bij het bijzondere geluid op het debuutalbum van Alice Costelloe, dat fraai om haar stem hem draait. Wat direct opvalt bij beluistering van Move On With The Year is de bijzondere manier van zingen van de Britse muzikante. Alice Costelloe draagt haar teksten een groot deel van de tijd bijna voor, wat haar songs voorziet van een bijzondere sfeer. 

Ik ben zeker geen liefhebber van praatzang, maar hier blijft Alice Costelloe wat mij betreft ook voldoende bij uit de buurt. Ze blijft immers het hele album lang zingen, al is het wat andere zang dan gebruikelijk. 

Het is enorm druk in het land van de vrouwelijke muzikanten met een zwak voor indiepop, maar Alice Costelloe weet zich wat mij betreft makkelijk te onderscheiden met fraaie klanken, bijzondere zang en ook nog eens een serie songs die mij steeds makkelijker weten te verleiden en te betoveren. Heerlijk album.

Erwin Zijleman

 

Je kunt Move On With The Year hier luisteren en bestellen:

https://alcostelloe.bandcamp.com/album/move-on-with-the-year 

Lucky Now. Lande Hekt

Lande Hekt maakte al twee uitstekende albums, maar zet een volgende stap op haar nieuwe album Lucky Now, waarop invloeden uit de jaren 80 en 90 op onweerstaanbaar lekkere wijze worden samengesmeed in een fris geluid.

De naam Lande Hekt klinkt niet echt Brits, maar de tongval van de muzikante uit Bristol laat geen ruimte voor twijfel. Lande Hekt trok de aandacht met haar stem toen haar debuutalbum vijf jaar geleden verscheen, maar op het deze week verschenen Lucky Now trekt ze met veel meer de aandacht. De zang is ook dit keer aansprekend, maar ook het gitaarwerk is van een betoverende schoonheid. Het komt allemaal samen in songs die op een of andere manier bekend in de oren klinken door alle echo’s uit het verleden, maar Lucky Now van Lande Hekt klinkt ook zeker fris en eigentijds. Het is een album dat meer aandacht krijgt dan de twee uitstekende voorgangers en dat is echt volkomen terecht.

De Britse muzikante met de bijzondere naam Lande Hekt maakte de afgelopen jaren in kleine kring indruk met twee prima albums. Mijn kennismaking met de muziek van Lande Hekt is precies vijf jaar oud, want aan het begin van 2021 verscheen haar debuutalbum Going To Hell. Dat album werd vooraf gegaan door het mini-album Gigantic Disappointment uit 2019 en de jaren daarvoor maakte de Britse muzikante deel uit van de punky rockband Muncie Girls. 

Op Going To Hell schoof de muzikante uit Bristol wat op richting singer-songwriter muziek, overigens zonder haar liefde voor lekker ruwe indierock te verliezen. Going To Hell bevat songs waarvan je alleen maar heel vrolijk kunt worden, ook als de teksten wat donkerder zijn. Lande Hekt laat op haar debuutalbum echter ook horen dat ze veel te bieden heeft. Ze schrijft aansprekende songs en beschikt over een zeer karakteristieke maar wat mij betreft ook zeer aangename stem, die haar songs voorziet van een herkenbare eigen sound. 

Ik was daarom zeer te spreken over Going To Hell en ook de anderhalf jaar later verschenen opvolger House Without A View vond ik een uitstekend album. Op haar tweede album experimenteerde Lande Hekt met een wat voller geluid met ook wat invloeden uit de shoegaze, dreampop en postpunk, maar ook de folk en indierock van haar debuutalbum keerden terug op House Without A View. 

Lande Hekt keerde in februari terug met haar derde album Lucky Now en het is een album dat in wat bredere kring de aandacht lijkt te trekken. Paste en Pitchfork schaarden het album onder de meest interessante albums van die week en ook de Britse muziekpers is enthousiast over de nieuwe muziek van Lande Hekt. Die aandacht verdiende de Britse muzikante ook al met haar vorige twee albums, maar het is goed nieuws dat Lucky Now een plekje in de spotlights heeft gekregen. 

Lande Hekt laat sinds haar mini-album uit 2019 op al haar volgende albums ontwikkeling horen en dat doet ze ook weer op Lucky Now. Het album opent met het wat vollere geluid dat we kennen van House Without A View, maar de Britse muzikante heeft weer wat invloeden toegevoegd aan haar geluid. 

Lucky Now is een album dat vrijwel continu associaties oproept met de muziek uit de jaren 80 en 90. Het zijn in mijn geval associaties met zo ongeveer alles dat ik in muzikaal opzicht leuk vond in deze twee decennia. Lucky Now viel bij mij direct op door het geweldige gitaarwerk dat niet alleen mooi maar ook veelzijdig is. Lucky Now bevat in een aantal songs melodieuze, breed uitwaaiende en dromerige gitaarakkoorden, maar is ook niet bang voor wat gruiziger gitaarwerk of voor de onweerstaanbare gitaarlijnen die we kennen uit de jangle pop. 

Het heerlijke gitaarwerk duikt op in songs die bijzonder makkelijk verleiden en die mij direct een goed gevoel geven. Het wordt nog wat aangenamer door de stem van Lande Hekt, die vergeleken met de zang op Going To Hell wat melodieuzer is, maar die nog steeds opvalt. Lucky Now van Lande Hekt klinkt voor mij als een omgevallen platenkast met heel veel persoonlijke favorieten uit de jaren 80 en 90, maar door de eigen draai die Lande Hekt geeft aan alle invloeden uit het verleden ook als een album dat het prille muziekjaar 2026 voorziet van glans en plezier. Ik word er in ieder geval heel blij van.

Erwin Zijleman

 

Je kunt Lucky Now hier luisteren en bestellen:

https://landehekt.bandcamp.com/album/lucky-now 

2026, week 11. 10 singles

There are days when there are no words left. This is one of them.

Pretty. Honey I'm Home

Honey I'm Home is a Dutch shoegaze band consisting of Thom Schotanus, Sofie Ooteman, Jasper Meurs, Hugo de Groot en Evelien Keesmaat that makes its debut on this blog. Pretty is a song that holds optimistic singing and a darker sound. It mixes a pop vibe, in the vocal delivery as much as in the lead lines, with the darker and somewhat sluggish rhythm. The combination certainly works. Pretty has the rhythm of songs that were popular in the 1990s of which I have long ago forgotten the name of. That bouncy kind of rhythm and singer(s) who was (were) always somewhere between singing and rapping. Honey I'm Home's singers sing, so let there be no mistake there. Pretty is fun track with a nice dark edge. 

Ground Kiss. youbet

youbet is the second band making its debut on this blog this week. With Ground Kiss the band delivers an alternative rock track. If you could hold it in your hands, you would have to wash your hands immediately afterwards. Ground Kiss has that dark and dirty sound that actually makes it very attractive to listen to. Songwriter Nick Llobet started youbet and was later joined by Micah Prussack, while producer Katie Von Schleicher works once again with the duo. The single moves between an indie track with two voices to distorted guitar eruptions that upset everything and everybody. Fire spouts from the record in those moments. Album 'youbet' will be released on 1 May.

You’re Only Good To Calm Me Down. Caitlin 

And here's a third new name on the blog this week. Caitlin is a singer-songwriter from New Zealand who is on route to release her fourth EP, 'Guardrails', on 10 April. With You’re Only Good To Calm Me Down, not a very stimulating title, is it?, Caitlin sets a mood that is somewhere between positive and moody. Despite being mid tempo, the drummer gives the song a tempo that could go on forever. The addition of the banjo, playing just a few notes, gives the song an alternative country flavour. In the meantime Caitlin just keeps singing, seemingly unperturbed by what is going on around her. Her voice is soft and pleasant, contrasting nicely with the electric guitar. This is a really nice indiepop song.

I Go Up, You Go Down. My Precious Bunny

I Go Up, You Go Down is one of the outcomes of Lily Wolter's relation breakup, moving in with her parents again and the world closing down due to the Covid crisis. Adding all that I Go Up, You Go Down is up, it is a miracle that the single sounds as light as it does. Not that it is a festive and multi-coloured affair but not pitch black either. My Precious Bunny presents itself as an indie singer-songwriter before estranging elements are let into the song. All the weird sounds and treated voices remind me of Carol Cleveland Sings and Pickle Darling. They are let go off, just as easily as they return. It makes I Go Up, You Go Down extremely fun and intriguing to listen to. My Precious Bunny is not caught on one loop but more than you can count. And, yes, this is the fourth new name this week.

Overflow. dEUS

No, dEUS is not a new name of course. The band is celebrating the (circa) thirty year anniversary of its first two albums, 'Worst Case Scenario' (1994) and 'In A Bar, Under The Sea' (1996). Overflow is a long forgotten b side. It is a beautiful, alternative ballad. Slow, with a country flow in the instrumentation. The reverb on the single electric guitar notes gives the song a sound that Madrugada built a career on. Very U.S. of course. It gives the single such a great vibe. Overflow is sad and restrained jubilation in one. It is also nothing like what I remember of dEUS at the time. Perhaps the reason it was just a b side at the time and in 2026 the lead single for the re-releases. I did not know dEUS had this in it.

Look Forward In Anger. Ultrabomb

Only a few weeks ago I played David Bowie's 'Lodger' album one again and just like always I was struck by the powerful rocker 'Look Back In Anger'. One of Bowie's best album tracks ever. In 2026 Ultrabomb, Greg Norton (Hüsker Dü), Derek O’Brien (Social Distortion, Agent Orange, Adolescents) and Ryan Smith (Soul Asylum), releases a new single called Look Forward In Anger. The band can only wish the song is as good as its opposite titled one. That said, "forward" is stark rocker, punky, powerful, with a couple of nice riffs and a fiery guitar solo flying around. The rock veterans know exactly what they are doing and deliver abundantly. 

God's A Lonely Man (feat. Iggy Pop). Anna Calvi

This year Iggy turns 79. Who could ever have imagined that in the early 1970s? Anna Calvi and Pop have an artist that joins them, David Bowie. Calvi played a part in the live rendition of 'Black Star'. Iggy Pop was produced by Bowie in the 70s and co-wrote several songs together, some of his biggest hits and a couple for Bowie as well. Anna Calvi and Iggy Pop produced a single that could have been on either 'The Idiot' or 'Lust For Life' with ease. Except that Anna Calvi was not yet born at the time. God's A Lonely Man is a dirty rock song with a typical rhythm. Calvi let's Iggy take the centre stage in the vocals. At first he sounds his age but slowly but surely Iggy gets into his stride and becomes just Iggy Pop. Still going strong.

Jardin. Yori

Dutch singer-songwriter Yori Swart returns to this blog with a modern sounding single. The singing, partly in French. mostly in English, sounds like a traditional French sigh girl did a long time ago. That mix of innocence while hinting at things catholic girls knew despite mister pastor's efforts, is compelling and convincing in Jardin. Musically, the song is part sigh girl, part modern rhythms and part Mano Chao style samples. The mix of it all resulted in a song that is extremely pleasant to listen to. Yori is no girl any more in 2026 and that shows in the way she presents the song. Jardin is bittersweet sharing the positive and negative sides of life in equal parts, making Jardin a very mature song.

Hey Little. Bonny Prince Billy

Bonny Prince Billy is of course Bonny Prince Billy. No matter who he works with, his voice is always the same. On Hey Little he sings with Catherine Irwin (again), a voice that really contrasts with his own voice. She has a country style voice, while Will Oldham is Bonny Prince Billy. Hey Little is a slow song and adorned by a string quartet. Very surprising is the clarinet solo from Thomas Deakin that pops up from the strings for a few seconds. As a whole, Hey Little is as modest as it is present. Oldham has created another little pearl, celebrating but also containing the sorrowful realisation how fast his daughter is growing up. Hey Little Girl is Bonny Prince Billy and yet somehow very different. It shows how an artist can still surprise while still operating in the same musical environment. Just as surprising is the ending that seems to come out of nowhere.

Comets. Arrows of Athena

In April 2024 Arrows of Athena debuted on this blog with the single 'Reckless Heart'. I did not encounter anything in between. In that post I pointed to German duo Para Lia and that was the same name that popped to mind listening to Comets for the first time. Boston duo Jac-Lyn Gibson and Scott Lerner again presents an alternative rock track with firm grounding in the 1990s. The lyrics are based on the life of French wine and champagne pioneer Madame Clicquot, I suppose of the still well-known 'Veuve Clicquot'. Comets is a song that is filed to the brim with guitar parts. Scott Lerner is not afraid of stacking guitar parts towards epic proportions. The same goes for Jac-Lyn Gibson who shows of her different voices as well. If I have to compare voices, I would opt for Shirley Manson (Garbage). Comets is a song that rocks and no little at that.

Wout de Natris - van der Borght 

2025, week 51. 10 singles (2)

Another week gone, only one and a few days left to go, in 2025 that is. The first albums and singles for 2026 are already stacking up. First, we enjoy this latest batch, including several season songs that I've kept for this week. Enjoy!

Facts Don't Mean A Thing EP. Ramkot

Type in Ramkot in the search engine in this blog and the trio, Tim and Tom Leyman and Hannes Cuyvers from Ghent, pops up multiple times, ever since 2021. In the meantime the band signed to V2 and turned its hobby into something even more serious. With Facts Don't Mean A Thing, what an apt title for these times of ubiquitous information that is ever more to be distrusted it seems, a new EP is added to the oeuvre. With 'Algorithmic Kings', containing the EP's title, the EP opens surprisingly. An electronic rhythm leads the way. Don't worry, the song gets under way and sounds familiar soon. The way Ramkot rocks is far suaver than a few years ago. Soulwax circa 2000 comes to mind. From further back, the main riff reminds me of 1980s staples 'She's Sells Sanctuary' and 'Rain', The Cult's two best songs. In short, Facts Don't Mean A Thing starts with a fantastic song. The Soulwax vibe remains with 'A Grain Of Sand'. The song is slower, barer but certainly not less entertaining. A Ramkot to listen to, yes, I know that sounds a bit weird, makes for a change. 'Hollow' featuring Jef Neve already received full attention recently, so let's move on to the next song, 'I Think I've Gone Slowly Insane'. This live track shows the totally opposite Ramkot. The trio goes all out, underscoring the song's title masterfully. I'm so glad that I do not have to sing this one. My vocal chords would be turned inside out and bleeding within two seconds. The song shows how tight Ramkot is live. With Facts Don't Mean A Thing Ramkot shows different sides of itself in a successful way.

Shall Be Love EP. The Question

The Question? If you have not heard of this band, it is not something to be ashamed about. The band formed in 1980 and disbanded decades ago. Today it is branded as Los Angeles' answer to The Jam. In its days, it released a few songs and recorded a few more. Oglio Records is about to re-release them all. Recently, the band reformed and will record a new record 40 years plus something down the road. Joining so many bands that reform now the kids are out of the home and the members may be even retired from their jobs. Shall Be Love is a re-released single with three extra tracks. What to make of it in 2025? Let's face it, I have heard better in the past close to 50 years. But that said, The Question does sound like a band that deserves renewed attention. The title song is a really good song, just like 'One More Time'. That song borrows very nicely from a 1960s track like 'Mony Mony'. 'One More Time' has that same sense of energy. Listen to that bass! This is some tough ass playing. Opening song 'Brand New World' also has a load of energy and again lends from a nice riff that is changed just a little, e.g. 'Everybody Needs Somebody To Love'. It shows that a hip young band from 1982 knew its classics and reworked them into its favour. Based on the four songs on Shall Be Love, The Question is a better band than many bands that did get to release albums around 1980. As a final comment: What I'm hearing here makes me think more of The Buzzcocks than The Jam.

Split single Hilken & Melissa feat. Kay Hanley / The Other Girls

What's So Bad About Christmas. Hilken & Melissa feat. Kay Hanley 

With What's So Bad About Christmas, Hilken & Melissa with Kay Hanley bring us back quite some decades to a time when there were still ice blooms on the windows in winter, with one heat source in the home and the days towards Christmas just would not pass due to sheer excitement (and boredom of being inside). That memory is deceptive though, as this song contains enough of an indie vibe, that would have made all my late family members shudder. I love the tone of the guitar, that is old and new at the same. The song has a country vibe and is something else at the same time. I have no idea who Hilken & Melissa feat. Kay Hanley are, but this single is absolutely top and blends eras with ease. Mariah Carey eat your heart out, I'd say.

I'm Not Getting Anything For Christmas. The Other Girls 

The Other Girls do not beat around the bush with I'm Not Getting Anything For Christmas'. Let me amend that, here's your present, ladies, in the form of a review. The Other Girls rock out and no little a that. The guy may have been kicked out of door and the Christmas stocking empty, it brought us this great single. The sound is really wild, dirty, unwashed faces and all. This song would have been fantastic with another lyric about whatever replacing Christmas. I thought the flip side of this split single was good, but this is a Christmas song that really blows me away. Not since 'Come, Thou Long Expected Jesus' by Morgan Mecaskey have I been so impressed. Wow!, is the only word/sound that says it all for me. Whatever Christmas brings, no one is going to take this away from me.

Christmas, Baby Please Come Home. Greg Antista and the Lonely Streets

It's only the second time Greg Antista and band find themselves on this blog and with a Christmas song at that. Yes, it is possible to make a punkrock Christmas song, so I've just found out. With all respect to Antista, but just take a lot of Green Day, add several repeated whoas at the right intervals and here is Christmas, Baby Please Come Home. All I have to add, is that it works in this form. A Christmas punkrock song, why not.

 

Mister Grinch. The Haymakers Boston

Okay, there was just a link someone sent me and I have no idea who did so. The link however led me to this song by a band that does not ring any bell. The band is from, Boston. where else? I'm inclined to say. Mister Grinch is another great rock song. The Haymakers Boston play a raucous form of rock that is extremely infectious. Yes, even if it is a Christmas song. Riffs and short solos fly into my ears, tickling my fancy and the singer has a voice that belongs to this kind of rock. The band obviously has fun playing this song and is giving it its whole and perhaps a little bit more. Christmas songs are getting more fun by the minute, folks.

The Fart That Ruined Christmas. Red Peters

When I was young there were these country songs, except that I did not know what country music was at the time, that told a story. Always a man with a bronzed voice telling it and women coming in to sing a chorus, working towards an ending of some sorts. Well, here is another one by comedian Red Peters. I suggest you just go over to You Tube and listen to it: https://www.youtube.com/watch?v=1ujeF59K6wU. 

 

 

The Bleak Midwinter. Lisa O'Neill

Earlier this week, I was quite surprised to find Lisa O'Neill mentioned in a Tom Smith review when he was interviewed following the release of his solo album. He championed her song ‘The Wind Doesn’t Blow This Far Right’ as a great modern protest song. O'Neill returns to this blog with a song that has the feel of Christmas in many ways, but not the mood. The lyric is a poem by Christina Rossetti, called 'A Christmas Carol'. The song is ever so slow, the accompaniment an acoustic guitar, double bass, violin and accordion. The effect is a Christmas song like they were sang in the church of my youth, the music resembling more a Medieval song than anything modern. And yet, Lisa O'Neill presents pure beauty with The Bleak Midwinter. Of all the Christmas songs here, she's the only one sounding like they used to sound.

Sad Clown. Melanie Baker

Globalisation may be going out of fashion fast, with all sorts of consequences, it still exists in music. Newcastle (UK) artist Melanie Baker signs to a Copenhagen based record label and finds a lot of inspiration from 1990s U.S. band Hole, to name one example. That is not all, as Sad Clown also emulates the softer pop rock female singers from the same decade, like, well name your own favourite here. The result is an alternative rocktrack that is more than just a song emulating the past. Melanie Baker rocks with a little slack in her diction. The band goes for it in the choruses, in the verse the rhythm matches her relaxed diction. The combination is almost invigorating. Almost, as the slackness does not want it to be 100%. One thing's for certain, Melanie Baker is far from a sad clown. Mission accomplished.

Crime Wave. Sunbendr

We end this week on the blog with an alternative rocktrack, or a house-party song as the band calls it, by San Diego's Sunbendr. With Crime Wave Sunbendr successfully blends rock with The Beastie Boys. The band is a new name to me, so to this blog. Sunbendr is Frank Dixon on drums, Chris Coté on bass, vocals, Percussion and Brandon Parkhurst on guitar, vocals and together they rock. In this country I would point to Nijmegen giants De Staat, except that this band lays on the hiphop rhythms far thicker. The end result though is not that far apart. Both present songs that are out to provide a party and Crime Wave is exactly doing that. Sunbendr's latest single is a great song to end this week with.

Wout de Natris - van der Borght 

2025, week 50. 10 singles

On the news yesterday the weatherman said that the temperatures for today are the December equivalent of a 35 degrees Celsius heatwave in summer. In other words, we had another day temperature record. There are too many of them to ignore something is changing. Here we have ten recent singles, so enjoy the exploration.

The Point. Soft Skies Inc.

The Philadelphia duo Soft Skies Inc. finds itself on this blog once more after two singles in 2024. With The Point the needle is once again directed at the 1980s. The darker side of that decade is somehow mixed with the electronic pop a duo like Petshop Boys made at the time, think 'West End Girls' or 'Suburbia'. Soft Skies Inc., twins Martin and Ryan Rex, know their way around the electric guitar as well and do not mind showing it to us, with strong accents and riffs all over the more electronic background. The result is a rocking danceable track that works in different circumstances.

Through the Looking Glass. The Clockworks

One thing is certain, The Clockworks' 'Exit Strategy' was not completed successfully, as the band signed a contract with V2 instead of leaving the music industry. Is the world the better for it? Let's first take one step back. I even bought 'Exit Strategy' in 2023 but found that the album did not really stick and disappeared into that wall of music. That does not equal not being interested in hearing new work. With Through The Looking Glass that new work is there. The single starts with just singer James McGregor and a church organ. Slowly but surely the track becomes more urgent, it feels faster, like it's speeding up. That feel is expanded on when after one minute the drums come in. Connotations of The Killers and The War on Drugs present themselves, yet Through The Looking Glass is strong enough to stand its own ground. The Clockworks presents itself as it should, working towards the release of its second album, 'The Entertainment', slated for March 2026.

Little Something. Fit

Post punk from Utrecht. Fit announced a prestigious show at Eurosonic next month and released Little Something to celebrate. Little Something has the kind of urgency a young new band should have. Listening to the song, it is quite clear where Fit has found its mustard. The first two albums of Maxïmo Park gives enough of a hint. Singer Ide Ploeg's voice has the same sort of diction Paul Smith's has and the rhythm of Little Something underscores the similarity. That is totally fine by the way, If Fit ever manages to make a song as exciting as 'Apply Some Pressure' I will stand cheering for the whole of the way. For now, I'm enjoying the extra sounds the band blends into the song. The lead guitar and the keyboard in the outro! Last spring it seems I never got around to the debut EP 'Miracles Might Happen'. It's time to catch up.

Euromancer. The Hickey Underworld 

And now for some more noise. I have heard the name The Hickey Underworld before but could not place the band. It is from Antwerp and around since the mid-00s. According to Wikipedia it's last album is from 2015. Today there's a single and settles quite nicely somewhere between alternative rock and punk rock. Singer Younes Faltakh has a nice rough edge to his voice, making him sound very convincing for the music the band makes. My personal reference, The Strokes when it made relevant music, as in the first seven, eight songs on 'Is This It?' and 'Juice Box'. Euromancer has the energy a song like this needs and combines it with a joyful exuberance a strong melody brings offers. The lead guitar that keeps playing this bouncing riff, supported by a strong bass and drums. Great single in other words.

If You Can Forgive Me. Joy Buzzer

Joy Buzzer is not a person but a band from NYC. It is compared to no other than Fountains of Wayne. Should it be true, that demands listening, at least once. After giving the song a chance, I'll allow the comparison, as long as singing is excluded. Singer Kevin Lydon's voice is far rougher but works in the context of If You Can Forgive Me. Just like FoW Joy Buzzer manages to bring together a host of influences into just two and a half minute and make them all sound extremely nice and interesting. This song is loaded with ideas, tricks and fun stuff that make it extremely good to listen to. I'm up for more in the future.

 

Hot Mess. LuxJury

I am not sure what to make of Hot Mess, but the track does get me into its groove. In the bio the word soul is used to describe the music in combination with indierock. What it makes me think of most is 'Everywhere', one of Fleetwood Mac's biggest hits, in a version in which Lindsey Bucking ham got a total free reign to work on the rhythm and his guitar extravaganzas  LuxJury is London based duo singer/guitarist Nicole ‘Lux’ Fermie and drummer Howey Gill  This is their first single after signing a contract and they are working on their debut album slated for somewhere next year. Like 'Everywhere' Hot Mess hovers somewhere between boring and awe. (See my opening line.) 'Everywhere' may be the better song, being around for nearly three decades helps here, Hot Mess will prove its mettle soon.

Time Machine. Mylo Bybee

Boise, Idaho? That is not your average town to have a band from on this blog. Eileen Jewell pops up when I searched. And now there's Mylo Bybee. The band formed in 2020 and consist of Tyler Schlagenhauf (Vox/Guitar), Tony Caruso (Bass) Jason Guadalupe (Drums) Tim Fahlen (Guitar). Producer Wes Schlagenhauf played some bass also. Put on Time Machine and you will find a familiar sound somewhere between alternative rock and indie. Light sounding guitars play a clean rhythm. Lead notes sound like ringing a bell. The band rocks out for sure but without running the gauntlet in any way. Mylo Bybee scores with its melodies and brightness. With the EP 'Revisions' coming up, there is something to look out for as well. Time Machine is a real nice introduction to Mylo Bybee.

Pirate. Pitou

Next up is Dutch singer Pitou. With Pirate she delivers a new single. It has a jazzy vibe mixed with an indie background. Pirate is a song where Pitou invites you to listen to, just a little bit more than the average track does. I can imagine that putting this song on in the background may even be irritating, while with full attention given to Pirate, beauty oozes from the speakers. With 'Big Tear' in 2023 she received two reviews on this blog and also previous single 'Too Good To Go' found itself on this blog. On 27 March 'P2' will see the light of day. For now, Pitou's fans are more than serviced with the emotional Pirate. The coda takes on a life of its own as you will find.

Etna. Daisy Bellis

Another Dutch female singer, but if you think Pitou is a bit theatrical, wait till you hear Daisy Bellis. Etna is best known as a volcano and to older Dutch people as an gas-fired oven. Should it have been Edna, the title? as Etna in the opening of the song is told she's going to pay, it sort of looks like it should. Daisy Bellis makes me think of Elenne May with a far bigger production, which provides the song with an international allure. Etna has a great rhythm and, yes, there is a little Kate Bush in there, as in 'Running Up That Hill'. Over it, the song is spread out in different ways, making the songs have several surprising turns and twists. Vocally, I have the impression Daisy Bellis is not going full out yet or ran into her vocal limitations, making her cautious to let go. In the moments where true mad vocals could have been possible she shies away from them. That said, Etna is a great single and introduction to Daisy Bellis.

Gone. M. Lucky

We end this week with the third Dutch singer in a row. M. Lucky made her debut on this blog thanks to Erwin Zijleman in 2023 when he praised her album 'Gentlewoman' no little. It passed me by at the time, not this new single, Gone. It is a very dreamy track with bass synth sounds that keep the listener on his/her toes. M. Lucky or Marcia Savelkoul, sings with a slightly high voice in a dreamy way. The music fully reflects this, but as I already wrote with these injections that make the song somewhat different from other dreamy songs. She's working with producer Pieterjan Coppejans (Eefje de Visser) on a new album, that we can expect sometime next year. If Gone is anything to go by, it will be an electric album with the organic voice of M. Lucky. Gone is quite nice and makes we want to hear more, please.

Wout de Natris - van der Borght

The Past Is A Garden I Never Fed. The Reds, Pinks & Purples

Je weet zo langzamerhand waar je aan toe bent bij een nieuw album van de Amerikaanse band The Reds, Pinks & Purples, maar ook op The Past Is A Garden I Never Fed benadert Glenn Donaldson keer op keer de perfectie.

Het is ongelooflijk hoe productief de Amerikaanse muzikant Glenn Donaldson is. In een paar jaar tijd staat er een aardig rijtje The Reds, Pinks & Purples in de platenkast en dat is nog maar het topje van de ijsberg. De muzikant uit San Francisco had nog wat singles over en die zijn terecht gekomen op het deze week verschenen The Past Is A Garden I Never Fed. Het is een album vol bitterzoete popsongs vol nostalgie, maar Glenn Donaldson is zeker niet blijven steken in de jaren 80 of 90. The Reds, Pinks & Purples zou in de jaren 80 ongetwijfeld een van mijn lievelingsbands zijn geweest, maar dat is de band in het heden ook, want ook The Past Is A Garden I Never Fed is weer betoverend mooi en echt onweerstaanbaar lekker.

The World Doesn’t Need Another Band zingt de Amerikaanse muzikant Glenn Donaldson in de openingstrack van het nieuwe album van zijn band The Reds, Pinks & Purples. Ik denk het eerlijk gezegd ook wel eens wanneer ik wekelijks een imposant stapeltje nieuwe albums beluister, maar het gaat zeker niet op voor de band van Glenn Donaldson, wat die is zo langzamerhand behoorlijk onmisbaar. 

De muzikant uit San Francisco dook een jaar of vijf geleden op met zijn band en voor mij was het liefde op het eerste gehoor. Laat de muziek van The Reds, Pinks & Purples uit de speakers komen en een tijdmachine flitst je in een paar seconden terug naar de jaren 80 en af en toe naar de vroege jaren 90 en dat zijn decennia waarin heel veel mooie muziek werd gemaakt.

Mijn eerste kennismaking met de muziek van The Reds, Pinks & Purples smaakte vooral naar veel meer en hiervoor ben je bij Glenn Donaldson gelukkig aan het juiste adres. De Amerikaanse muzikant bracht de afgelopen vijf jaar niet alleen het ene na het andere prachtige album uit, maar schreef in totaal zo’n 200 songs, waarvan een aantal als losse track werd uitgebracht. Een aantal van deze tracks zijn nu verzameld op het deze week verschenen The Past Is A Garden I Never Fed, dat weer veertien 24-karaat popsongs toevoegt aan het geweldige oeuvre van The Reds, Pinks & Purples. 

Dat Glenn Donaldson alleen maar geweldige songs schrijft is maar een van de vele zekerheden die je hebt wanneer een nieuw album van The Reds, Pinks & Purples verschijnt. De cover van het album is weer veelkleurig, de inspiratie komt vooral uit de jaren 80 en 90 en zowel de zang als het gitaarwerk van Glenn Donaldson bedwelmen weer meedogenloos. 

In al mijn besprekingen van de albums van de Amerikaanse band noem ik een imposant rijtje namen van bands uit met name de jaren 80, maar ik hou het er deze keer maar op dat The Reds, Pinks & Purples muziek maakt die het beste van een groot aantal van mijn persoonlijke favorieten uit de jaren 80 en vroege jaren 90 combineert. Het zijn vooral favorieten die zich destijds toelegden op het schrijven van nagenoeg perfecte en vooral bitterzoete popsongs. 

De jaren 80 waren deels bijzonder donker gekleurd en dat hoorde je in de muziek uit het decennium, maar ik had ook een geweldige tijd en die hoorde ik terug in de wat dromerige en melodieuze songs van bands waarvan ik de namen dit keer dus eens niet ga noemen. Ik ga ze niet noemen omdat ik Glenn Donaldson hiermee tekort doe. De muzikant uit San Francisco heeft immers alleen de afgelopen vijf jaar al een aantal direct memorabele songs geschreven waarvan de meeste bands uit de jaren 80 en 90 alleen maar kunnen dromen. 

Het zijn songs die worden gedragen door de bijzonder aangename stem van Glenn Donaldson en de onweerstaanbaar lekkere gitaarakkoorden, die ook zeker zijn beïnvloed door de janglepop, maar ook in de rest van de muziek klopt echt alles. Het klinkt allemaal direct bekend, maar The Reds, Pinks & Purples heeft toch ook weer flink wat songs toegevoegd die ik echt niet had willen missen. 

Hier en daar klinkt het net wat gruiziger, soms juist net wat meer ingetogen, maar alles dat Glenn Donaldson aanraakt op The Past Is A Garden I Never Fed verandert weer in goud. The World Doesn’t Need Another Band zingt Glenn Donaldson in de openingstrack en hij heeft in ieder geval even gelijk, want ik ben nog lang niet klaar met het wederom geweldige album van zijn band.

Erwin Zijleman

 

Je kunt The Past Is A Garden I Never Fed hier luisteren en bestellen:

https://theredspinksandpurples.bandcamp.com/album/the-past-is-a-garden-i-never-fed 

2025, week 26. 10 singles

Yes, back once more before the summer recess that is coming closer fast. After more than a week in Oslo. Norway, I'm back home enjoying being at home and listening to some new music. Hundreds of emails behind and not enough time to catch up. Real life is also important. This week we have some new names, as well as a few very recent ones and a few names that are around for some time. The mix of music is nice too, but I have to say that most songs remind me of things past. Certainly nice, to very good, but in one form or another done before. Experience comes with age, so if you are (much) younger this will be very different. Enjoy either way!

Unicorn. Rio Kosta

Let's start this week's singles post with an ultimate poptrack. The description coming with the song mentioned Tame Impala and I fully understand why. At the same time Unicorn is more poppy, with a hint of the ploppy bass of Air (and Serge Gainsbourg before it) and the dreamy wave of a band like Warpaint. Singer Kosta Galanopoulos has an as high voice like singer Alex Maas of The Black Angels. Putting it all together results in a dreamy pop song with which Rio Kosta presents itself for the second time to the world (and the first time on this blog). In fact Unicorn was the first track Galanopoulis and Mike Del Rio worked on together. In nothing it shows that this is what could have been a unique event. The two kept working together, resulting in album 'Unicorn' that will be released on 19 July.

Nothing On Me. White Lies

'All or nothing' Steve Marriot sang on one Small Faces' greatest hits, released in 1966. That title sort of describes my relationship with English trio White Lies. With the needle pointing more often to the nothing section if I'm honest. When I recently heard Nothing On Me on the radio, the needle shot fast to the all good part of the dial. A lot of boxes were ticked within a few seconds. Yes, I can hear you saying of course, as White Lies is ticking a thousands boxes in the 2.44 minutes the single last. I can keep on pointing to references until tomorrow morning. I will not do that and let you pick out your own favourites from the last say 10, 15 years. Nothing On Me is a delightfully charged song where the energy oozes out of. White Lies is on fire and running for its life, making this great music along the way. I did not know the band had it in it and I'm the happier finding out it does.

Return Of Youth. DIIV

DIIV can be found on this blog in its first year, 2012, with the album 'Oshin' and later once again. It has been quiet though and now there's Return Of Youth. It is a slow and dreamy track, with a lot of clarity in the sound spread out all around the rhythm section. Listening to the song is like coming home and drawing a nice warm bath or stepping into the shower attuned to your favourite temperature. The song may be slow, the drums are so solid in sound, a cymbal is crashed regularly for dramatic extras. It's the guitars though that draw me into the song. There are quite a few you'll notice. Around them in the long intro all sort of wobbly sounds are interjected. Singer Zachary Cole Smith is softness itself and his voice hovers over the music like an apparition. In other words, I'm totally happy with this new DIIV song, except for the long outro. The band could have left that for the ten year anniversary version as far as I'm concerned. For the rest, there's not a complaint possible.

Pistols At Dawn. The Spackles

Besides the video accompanying the song that contains animation clips from the 1930 and 40s, including Betty Boop, The Spackles bring alive music that went sort of out of style decades ago as well, albeit not from the 30s and 40s. More like the 60s and 70s. Riffs fly around my ears and the band rocks no little. The song takes a little from different genres and songs. There's a little in there for everyone loving good time rock music from long ago. Marie Slurrie - Guitars,vocals and keys, Spackle McKraken, bass, vocals, keys, Phil McKraken, drums have found themselves on this blog three times before and with Pistols At Dawn they deserve a new spot. The single is simply too much fun to pass up on. From the start with an 'I Feel Fine' intro note, things go from weird, to tight (double) riffing and that's not the last surprise in the song's structure. The Spackles make for exciting and surprising listening on Pistols at Dawn.

Nobody.  Billy Dodge Moody

In May Billy Dodge Moody made his debut on this blog with his single 'Meaning To Disaster', in which he raised a musical statue for a friend who passed away. Now he returns with Nobody, a song that in part brings alive the music of The Beatles. There are this parts and chord changes that come straight from the The Beatles playbook. He adds a form of Americana to it that makes the song have its place in the American songbook. Nobody reminds me of Shane Alexander's songs. Moody's voice even gets close. In the tune he mixes an upbeat rhythm with a dreamy, slightly melancholy mood. It is the drums that give the song an upbeat tempo and feel that the other instruments just have to follow. It's the melody and Billy Dodge Moody's voice that give Nobody its other half. And that is a quality Shane Alexander has tuned to perfection. There's more to come. EP 'Ephemera' is slated for 11 July and is the first of a few EPs that will make up Moody's new album.

Portland Town. Heavenly

29 Years is a long time. We are talking 1996, that's in the previous century, what, millennium! It was the year in which Heavenly released its last album 'Operation Heavenly'. It will be re-released in July. Portland Town is a new single though, announcing a new album expected in 2026. The 7" vinyl is not available until mid July though. The return of Heavenly, although I have to admit that I have not heard of the band before, is welcome though. Portland Time is nostalgic in sound but with a sense of urgency. The band is obviously enjoying its return to writing and making music. With most likely the kids having left the home, there's time to do so. The singing between Amelia Fletcher, the principal singer and keyboardist Cathy Rogers is so pleasant, that I can listen to Portland Town quite a few times in a row. Yes, it sounds familiar but I don't care. This song has quality and that does the trick for me.

Sweet Fame. OPROER

OPROER is from Belgium and working towards the release of its second album, 'The Catch' in October. In the 00s and early 10s there was the Antwerp band A Brand. Sweet Fame reminds me of the enthusiasm A Brand shared with its listeners. Oproer is slightly more subtle than the double accents A Brand put in all the places where they could be put. Oproer's music is described as funky,alterative rock, but, at least on Sweet Fame, I will add pop to the mix. It is all over the harmony vocals, the oohs and aahs of the backing vocals and the 80s synth sound that can be called the lead instrument on Sweet Fame. There's another band from Belgium that keeps escaping me but I'm almost certain it's Soulwax that has influenced OPROER. Sweet Fame is exciting and full of its own special kind of energy. If this is the standard of 'The Catch', I can't wait until it's fall, but allow me to enjoy the summer first anyway.

Nightbird. Celeste Corsano 

In the same week Billy Dodge Moody debuted on this blog, Celeste Corsano did too. I compared her single 'Sunlight Gazing' to 'Wuthering Heights' no less. Nightbird is different, which is good. Ms Corsano shows us all the edges of her voice once again. The childish and high pitch of the early Kate Bush is mixed with the darker voice of a mature woman. Together with the somewhat mysterious music it makes for very interesting listening. Just like I wrote in May, the impact of Celeste Corsano is not the same as Kate Bush had on me all those years ago. It can't, as I had the experience at the time already. Yet, Nightbird is very much welcome and not just because of memories for times long gone. This song has its own power and strength. In fact, like 'Fisherman's Friend', this is strong stuff. Oddly metered, the percussive music stands out. Over it Celeste Corsano does her thing. I have no clue what she has done musically before these singles. Based on the two singles I've heard, it's inconsequential. 'Sunlight Gazing' and Nightbird are the real thing. There's no album announced yet, but that can only be a matter of time.

Alive. Ghostwoman

Ghostwoman's album 'Anne, If', was reviewed by Erwin Zijleman in 2023. I will take this single. With the way the jangly 12 string guitar leads the way on Alive, not much can go wrong and it does not. In fact, all's well. An electric 12 string guitar sound brings only one band to mind and that is the most successful incarnation of The Byrds when then Jim McGuinn played it and was singing with David Crosby, Gene Clark and Chris Hillman, a sound that Roger McGuinn recreated very successfully on his album 'Back From Rio' in the early 1990s. Ghostwoman, Evan Uschenko and Ille van Dessel, plays around with this sound in a more modern way, while letting the single simply explode in the solos before returning for an instrumental outro. Yes, Alive is a song that makes me feel nostalgic but pulls me right out of it because of the double, triple solos at the end. Ghostwoman plays two cards on Alive that are hard to trump. The album, 'Welcome to the Civilized World', will be released on Sept 5th.

I Want It All. Rise Against

Sorry, Rise Against, but when I hear "I want it all", I immediately sing "and I want it now". Queen's powerful return to rock music in 1989 remains one of the band's best singles and one of the best rock songs ever. Rise Against, in business since 1999, returns to this blog with a powerful rock song taking the famous title. Based on what I'm hearing I will allow it. This I Want It All has the power a title like that calls for. The song has this tight rhythm, where paradoxically the drums is the instrument that is allowed the most frivolity, powerful but full of little extras that are fun to follow all throughout the song. it's the guitar that is in a straightjacket with the tight (punk)rock riffing throughout the song. Singer Tim McIlrath brings in some emo in the way of his singing, adding some emotion to the tight rock song. Album 'Ricochet' will be released on 15 August.

Wout de Natris - van der Borght 

Welcome To My Blue Sky. Momma

Momma is a band from Brooklyn, NY and excels in alternative rock somewhere between jangly pop, The Go-Go's 1980s poprock and indierock from the mid-90s. With Welcome To My Blue Sky the band settles nicely in the space where a band like La Luz is already sitting comfortably.

Founding members Etta Friedman (guitar, vocals) and Allegra Weingarten (guitar, vocals) already met in highschool and have been playing together ever since. They were joined by Aron Kobayashi Ritch (bass and producer) and Preston Fulks (drums, percussion). The first release was the mini album 'thanks come again' in 2016. So, newbys Momma are not.

The more I go into Welcome To My Blue Sky the more I'm reminded of that fantastic album from 1995, 'Eight Arms To Hold You' by Veruca Salt, only to be confronted with the fact that it's thirty years ago this year that I bought it. There's nothing like music to make me realise time is passing by. Welcome To My Blue Sky has that same optimistic view on its music while the songs themselves have that slightly downcast feel to it because of that dreamy, melancholic way of singing.

I remember a review with the two Veruca Salt ladies from that time where they lauded the producer, Bob Rock, who kept pushing them with the words: "there is another melody hidden in there" and they found it and the next one and the next one. I have no clue if  Aron Kobayashi Ritch approached his fellow band members the same way. I can imagine that he has, as Welcome To My Blue Sky is filled with golden melodies on top of one another. If he did, he deserves double compliments because as a band member it is harder to push colleagues than it is for a passer by as a producer can be.

Summing up my conclusions, Welcome To My Blue Sky is a very consistent album that brings the listener energy and the will to listen to it again. After a rather subdued beginning Mommy digs in and doesn't let go until the album is over. The album is fun, is good and memorable. End of year list material? It may very well be. Only one hurdle is left to take, longevity.

Wout de Natris - van der Borght

 

You can listen to and order Welcome To My Blue Sky here:

https://mommaband.bandcamp.com/album/welcome-to-my-blue-sky