Neànder with Afgrond live. Patronaat Haarlem, Friday 14 February 2025

Photo: Wout de Natris

This was a first for me at the Patronaat, a show of two, very different bands that I will both put under the moniker metal for the sake of ease. The experience was just as different.

I came because of the personal invitation of Jan Korbach, formerly of Glitterhouse Records, to come over and listen to his band Neànder. The music is not in my general musical range, as people following this blog will have noticed. His solo record. 'Atem',  and 'III', Neànder's latest record', both were albums I can well listen to.

Berlin band Neànder plays instrumental music, created by a drummer and three guitarists. This makes it of interest to see how a song develops and what element is brought in and leaves to be replaced by another or by a wall of sound the four create together. Often a composition had an interesting coda, just played by one guitar.

In general it is good to see that the three guitarist obviously have fun in playing their songs. As soon as a song starts, the three start moving as if palmtrees in a tropical wind at the beach. Nothing wild, just swaying to the music, that gives it a relaxed feel, no matter what happens musically.

What is also great is the tight rhythm that is there the whole time, allowing to sway along with the guitarists. True, I had to get in the mood for a few songs, but after that I was totally okay with what was going on and enjoying the music and the experience.

Photo: Wout de Natris

Finally, the true treasure of Neànder's music, is the melodies that come out of the den of noise the four make. It puts life and even some sunshine into the compositions. That melody can be a huge riff supported by all the power coming out of fingers, strings, guitar, effects and amps or lead notes and even loud shredding. The changes change the song, the atmosphere and the experience.

The Patronaat show was Neànder's first headlining show in The Netherlands and was well attended. It should not be the last time it plays a lead show over here.

My final comments is on the artwork on the t-shirts on sale. This is true art and will at some point in time become part of musea collections. I will wear mine proudly in the coming years. Thank you, Jan, for the invite and hope to meet again not too long from now.

And Afgrond (Abyss)? If I ever heard music that was not for me, it was Afgrond's. I just can't listen to grunting, but also the music for me had no head nor tails. Just noise and louder, loudest noise. The guitarist and bassist both have chest long hair, but the way they stood on stage, was as if as soon as the show was over, they stowed their wigs and went back to the accountant's office as fast as they could. Just some well-meant advice. To convince as a band, you have to show some enthusiasm guys. With music this extreme, you have to live it on stage. The grunting singer, impossible to get a single word even, got that right.

Wout de Natris - van der Borght

Singles, week 13

Week 13? Mmm, but then I'm not one for superstitions. So, no reason to skip this week and all the more reason to wish this set of singles well. The selection is once again diverse, including a few debut singles, of which one last over 13 minutes. Talking about making an entrance! A few old friends of the blog return with a new single as well. Hopefully you will be introduced to some nice new work. Enjoy!

TV Celebrity. The Anaesthetics

A new Dutch band signed to the Rotterdam based label Gentlemen Records. The Anaesthetics are from the Limburg town Horst aan de Maas and will release its debut album '1080' in May. Listening to the first single, I have the feeling of having been put into a time machine with the dial plus/minus on 1980. The dark electronic wave music coming out of my speakers hold everything from Tubeway Army to China Crisis. Like many song from the day, the sounds all come from synths, the melody, the bass pulses, the drums. That sounds cold, and often it is/was. What can make a positive difference, is the melody. The singing is the characteristic dark wave sort of thing, bats everywhere in the mid-80s. Since a few weeks the world has caught up with the dark wave styled music that is in fashion for a few years already. With a mad man, out of madness or (mis)calculation, waving his nukes in the face of the world, we are all of a sudden there. The Anaesthetics without a doubt oblivious of what about to happen when they wrote TV Celebrity, but catch today perfectly. The synth melodies actually assist in making the song sound a little lighter and stand out. TV Celebrity is not the most joyous of songs. However, with a debut single like it The Anaesthetics can be quite content with themselves.

Where I'll Stand. The Dream Syndicate

Forty years in business The Dream Syndicate is and still going strong. Admittedly, the band totally passed me by in the 1980s. Somehow, it never came my way, despite buying dozens if not hundreds of albums from the day. Come 2022 and Where I'll Stand landed in my digital post box. The dark song has a Bowie kind of attraction. The Bowie from around 1980, again that year, yes. 'Lodger'. 'Scary Monsters', those albums. Where I'll Stand is a dark song, with the drums and bass in a prominent role. The guitars are mixed somewhat behind the rhythm section, spacious and drawn out, until the lead guitar steps forward in a Robert Fripp/Adrian Belew guitar style. Steve Wynn's voice is older and sober. He's not doing anything extra. The antics are all left for the guitar (overdubs). It makes the single decent, not spectacular.

Point Of View. Beharie

Point Of View is the kind of song that allows the listener to surrender and go with its flow. Listen to how the electric guitar is played. It's like lapping water against a boat. Softly caressing, warm, lulling someone to sleep. This song is totally in control of the mood it brings you under. Beharie is the Oslo, Norway based singer-songwriter Cristian Beharie. Enveloping in a somewhat jazzy, R&B and when all is said and done a 1950s pop, without sounding like it for a second. It's all in the mood and a little in the vocal style of Beharie. Harry Belafonte, Pat Boone's 'Love Letters In The Sand', that sort of thing. There may be a thousand other singers like Beharie, this single reached me and I think it worthwhile sharing my ideas about it. Point Of view is beautifully and obviously lovingly made. Cristian Beharie fully believes in his song and that is why we can too.

Burning Temple. Highwalker

It's not just ZZ Top's Gibbons and Hill who can grow large beards, someone in Highwalker sports an enormous one as well. Is Highwalker the first Finnish band on this blog? I have no way of telling after over ten years. It may well be. What it certainly is, is the first band with an instrumental debut single lasting over 13 minutes. Created during a jam session somewhere in 2017, it was released this month. What to expect? Deep, dark chords that chug along. Huge drumming on dry and dark-tuned drum skins and an even deeper bass guitar. Was this music made for me? No, it was not. This piece is more about the 13 minutes the single lasts. The "stoner doom" band makes a statement with a first release like this and announces what it is about when its still unnamed debut album is released later this year. Burning Temple is huge, as dense as the air in a small room with loads of people partying and smoking, and determined like a slug crossing the road. I hope you get the picture.

Personal Message. Melody's Echo Chamber

Will French sigh girls ever go out of fashion? My guess is no. As long as French and others longing to be French girls love to sing in this breathy, girl-like fashion, there will be sigh girls music. Melody's Echo Chamber is Melody Prochet, a French singer-songwriter who is active in music since 2010 and releasing records since 2012. April release 'Emotional Eternal' will be here fourth album. The single Personal Message has a lot of the classic French sigh girl elements in it. Of course this starts with the Serge Gainsbourg/Air bass guitar. It has a special suave sound and is played unlike a bass in other music somehow. Suave and psychedelic, I should add, as it sounds like a trip alright. What is more modern is the way the guitar weaves itself though the song, slowly but surely pushing itself forward in the musical ranks later on in Personal Message. I hardly know any Tame Impala songs, but the one I do now, 'Let It Happen', is the one that comes to mind here. The combination is simply charming.

Another Man's Jeans. Ashe

"Well, I don't know why I came here tonight", is the line I keep wanting to sing listening to the middle part of Another Man's Jeans and I can't imagine that somebody does has that inclination. The rhythm, the sound of the lead guitar. Ashe is a new name to me, but the Californian singer-songwriter has scored a huge hit on streaming services with the song 'Moral Of The Story'. Some songs pass one by. Yes, even me. Another Man's Jeans starts as strange as it ends. The jazzy-surf guitar beginning totally belies everything coming behind it and the electronic dark vibes at the end is even weirder. In between is a poppy song with a strong 70s vibe and especially one of Stealer Wheel's hits, as I indicated. Another reference is Sheryl Crow's 'All I Wanna Do'. If you like a combination of these two songs and a sexy singing, but relaxed singer, this may be your song to check out. Personally, I'm not fully convinced yet, but nice sometimes is good enough.

Weight Of You. Julia Gaeta

Some more darkness can be heaped on this edition of singles. It's week 13 of the year, so why not? Julia Gaeta is from California, but lives in Paris by way of Berlin. She certainly brought some of the Berlin vibe that became more apparent to the world through David Bowie's Berlin trilogy from the 1970s. Yes, once more it does this week. Weight Of You is less experimental that circa 50% of Bowie's first two Berlin albums 'Low' and 'Heroes', but the dark synth vibes are certainly there. In her debut solo single Julia Gaeta certainly decided not to show herself from her lighter side. With her single she totally caught the dark patch the world is moving through since a few weeks. The rhythm makes the music danceable in a slow, determined way. Played loud enough, the dark synths will totally envelop the listener, catching it without a chance of letting go. When Julia Gaeta catches you, you're without a chance. You'll be dancing to/with her all night, the dark, darker, darkest night.

Phase. Bloomsday

A lot of things in life a relative. One of those things is playing Bloomsday's Phase after Julia Gaeta's 'Weight Of You'. For the first minute I thought that the party had started, until the softish, melancholy mood of Phase caught up with me, that is. Phase is one of those songs to listen to intently before judging it. There a million songs like it. Can I make room in my head for another one? Yes, I can. The soft, deliberate way the song progresses, with its 1970s, modest lead guitar work, think Eagles for example, make it fun to listen to. Nothing is happening in Phase, on the face it, yet everything is. Singer-songwriter Iris met Alex Harwood, needed a drummer but found a guitarist and songwriting partner. Together they went on to form Bloomsday and will release a record this spring. Phase is announcing what should be a nice experience later this year. The lighter touch of this single sets Bloomsday apart from an act like Widowspeak while having a nice connection with its music. Something to look forward to.

Confetti. Judy Blank

Judy Blank shows another side of herself with Confetti. Her new single is an extremely vulnerable song, an empty ballad where a piano plays the central role. All happening around it is pure embellishment to give the song a little extra, which as such it does not truly need. The vocal melody has enough impact as it is. Confetti is a song about life after the party is over, so in a stark contrast with another song of Ms. Blank I really like, 'Mary Jane', where the party never seemed to end. But, "if every day was a party, it wouldn't be that fun to go ". Events in life only get a true meaning because of the contrasts life provides with all its ups and downs. This mood of introspection is caught beautifully in the arrangement around the piano and voice. Confetti is a beautiful song, giving a strong sense of what Judy Blank is capable of. EP 'Saddies' will be out on 22 April.

Nollestrand. De Toegift

Als laatste nog een slow song, zoals Joe Jackson ooit zo mooi zong. De Toegift is een Zeeuwse band, die met Nollestrand haar tweede single presenteert op weg naar de debuut EP 'En Ik Kon Alles Zien', die uitkomt op 1 april. Qua sfeer komt Nollestrand bijzonder overeen met Judy Blanks 'Confetti' hierboven, maar is veel breder van opzet. Hoe melancholisch de single ook klinkt, er is alles aangedaan om het, in alle bescheidenheid, een groots geluid te geven. Denk een saxofoon, zoals The Rolling Stones groots inzetten op een van hun fraaiste ballades, 'Waiting On A Friend'. De Toegift weet die sfeer succesvol neer te zetten. Langzaam, de tijd nemend om het verhaal te vertellen en muzikaal helmaal uit te spelen. Saxofonist Franklin Schiemann als Sonny Rollins? Ik denk dat hij wel blij zal zijn met deze associatie. Aan de basis staan zachte, jazzy drums en bass, met een piano die elementaire akkoorden speelt. Daar overheen waaiert de viool van Hester Julia Voddé breed uit, met de sax natuurlijk. Soft jazz kan een omschrijving zijn, maar 70s pop zoals Billy Joel kan zeker ook als een vergelijking dienen. De Toegift heeft veel in haar mars lijkt het en maakt zeker dat de EP in volle verwachting tegemoet gezien wordt. 'Zo Waren De Dagen', de eerste single, staat in het overzicht van week 9.

Wait, there's an eleventh this week, but for a different reason.

Complience. Muse

In the past week I have listened to Complience several times. It holds Muse elements that are instantly recognisable. But where is the energy, the surprising antics, the drive? The song simply bores me, I'm sorry to say. A bit like a lot of songs on 'Black Holes And Revelations'. An album that I never got to the end of. It made me miss what I think is Muse's best song, 'Knights Of Cydonia'. To make sure I will put on the last song of the upcoming album first.

It's not that Complience is a bad song, it's just not exiting enough for Muse's standards. Too slick is the word I was looking for. Spotify starts playing Midnight Oil's 'All The Time Of Writing' out of its own accord and I'm pricking my ears up immediately. I'm awaiting the review of 'Resist' anxiously. My ticket for the farewell show early July is in the pocket. Any other day, I'd say that the average Muse song has a higher impact. Not Complience.

Wout de Natris

Singles week 43

This week we make another selection from all the recently released singles, maxi singles and EPs. Including some very surprising ones.

Three. Death Star Discotheque

Early July 2020 Death Star Discotheque made its debut on this blog, back to back with what most likely was the most exciting song released in 2020, the totally under-named 'I'm Not Getting Excited' by The Beths. Death Star Discotheque returns with a maxi single called Three. Exciting is the right word to use here, as the alternative rock with a hint or two of grunge mixed into the music, is of the kind that easily moves through walls and doors. The North-Brabant four piece band does not hide its intentions for a second. The guitars and bass are all over the place, where the drummer is one of the grandchildren of 'The Muppets' drummer 'Animal' and most likely has as much fun as the best known puppet drummer always used to had. Three songs, three times fun, three winners.

جن. Mulla

Since about a year I'm sent information on and music from the loudest musical scene: all sorts of metal. The people following this blog will know that's not my scene, most of the time, but I have to admit that, at times, I certainly am surprised by what comes by. Sometimes by the music and sometimes by the origins of the bands. Ukraine, India, and now "raw atmospheric black metal" from Iraq. The titles are in Arabic, the band is called Mulla and plays, at first, instrumental metal, excluding a scream of a deepest agony. For minutes this remains the case, until a grunting bursts loose as if a wildman released from a cage. I would think that playing this music may be life-threatening in a deeply religious country. جن is here. Mulla has obviously listened to what happened before in the rest of the world. The guitar is distorted in such a way that it almost becomes gravelly. The drummer must be totally wrecked after playing in this tempo for 10 minutes. And my throat and vocal chords bleed by proxy. Can I listen to جن for long? Of course not, but I got to review an Iraqi dark metal band and that stands for something.

Pickin' In The Graveyard. The Royal Hounds

Now for some contrast, here's a traditional souped-up country band called The Royal Hounds. Tradition is everywhere in this song but because of the fiery tempo the song becomes more and more fun to listen to. In fact a little bass and drums solo only heighten the fun. This is what The Hackensaw Boys would sound like had they opted for a drummer and an electric guitar instead of traditional bluegrass instruments. Because of the tempo, the idea of that strange hybrid punk country does come to mind. The song starts so surprising, in hindsight. The intro does not give anything away of what is to come. This could be a Chris Isaak song, until the drum kicks in and off The Royal Hounds goes iton that graveyard "where old songwriters go to decompose". A word that all of a sudden gets two meanings because of the combination of words used in the sentence. The band has a truckload of Jimmy Stelling speed playing on all the instruments. Yes, some good old fun will be had by all listening to this single.

Wet Dream. Wet Leg

Another, second, single by new duo Wet Leg on WoNoBlog. This fun, up-tempo short song does everything the other way around. A girl sings about a boy having a wet dream about the girl, while touching himself. They sing it with total abandon, although some blushing is involved as well. There remains some chastity. After 'Chaise Longue' Wet Leg lay it out to the world. Don't expect complex music, the duo is about having fun with its music and shows the level of musicality within it with ease. Making the most of a limited amount of instruments, while undoubtedly making people dance in the meantime. Leaving things out is an integral part of Wet Dream. Bass and drums under the voice is often enough before two guitars come in. Nothing is made more complex while reaching for and gaining a mximum effect. Most artist chaise after this chalice for ever. Wet Leg has found it twice in only two released songs. A promise for 2022? Yes, madam.

7000 Hours. The Chelsea Curve

A single a month is the regime The Chelsea Curve has set itself on and several of them have come by on the blog. The reason why is easy to explain. The band produces songs that contain great pop elements and rock out as bands used to to do around 1980. Bands like The Pretenders, Blondie before 'Heart Of Glass'. female fronted rock bands from the U.K. and U.S. able to mix the best of both worlds. Just listen to 7000 Hours and you know why that sort of music may simply never go out of my fashion. The Boston trio does a lot of things right here. Great singing by Linda Pardee who is great at harmonising with herself. The trio plays tight and sticks to the elementary pop-rock idiom. A modest solo played by guitarist Tim Gillis is the only embelishment The Chelsea Curve affords itself. Apart from Pardee's singing that is. In the winter of 2022 there will be an album. Something to look forward to alright.

Wout de Natris

 

 

 

Week 26 / 10 singles

We are half way the year, summer is officially upon us in the northern hemisphere, restrictions on the pandemic are lifted. Whether that last one is a smart one to do, time will tell us. If we're unlucky, relentlessly. In the meantime we will all enjoy the chances summer offers. Musically, I present another very diverse set of recent singles and EPs. Had you asked me about all the acts present here, with the exception of one world star, had I not have this blog and the relations coming from it, I would have just stared at you. Who? Now, I can share great songs with you, from metal, to singer-songwriter and country(rock) to garage rock and back. And Lorde, who has released a truly great single. Enjoy!

Technodrone. The Ugly Kings

Listening to Technodrone, the single from Melbourne band The Ugly Kings' upcoming album 'Strange, Strange Times', brings me back decades to my first, and only, Nazareth album, 'Loud 'N' Proud'. Songs like 'Not Faking It' and 'Teenage Nervous Breakdown', without my realising it, introduced me to hardrock. Technodrone is the 2021 version of hardrock. The slowly proceeding time has brought dozens of other bands that made variations to that emulation of hardrock Nazareth made at the time. Anyone hearing The Ugly Kings play the song can fill in a few of their own favourites. It all results in a song that rocks with influences from the new wave darkness of the mid 80s, some post grunge from around 2000, ending with some desert rock from the south-western U.S.A. It's all in this song, that pushes all the right rock buttons.

Nowhere Friday Nights EP. Linnea's Garden

Linnea's Garden has featured a few times in this spot before. With the whole EP available it is time to focus on the output of Linnea Herzog once again. 'Non-Dramatic Breakup Song' sounds as uncomplicated as the title is hopeful. A nice alternative pop song that pushes all the right buttons. 'Friday Night' continues this mood perfectly. Linnea's Garden masters the challenge to successfully combine the up with the somewhere in between, so the mood never gets to the down. Musically that is an extremely attractive position to be in as both can be stressed within seconds within a song. Match a minor chord with jubilant singing and everybody is jumping on the roof instead of jumping off. 'Friday Night' has this beautiful melody, while really hitting the instruments hard, past the point that is seemly in a studio, creating a thick layer of feedback here and there. 'Replacement' is a, all in perspective, softer song that I could imagine to have found a spot on a late 70s Blondie album. Debbie Harry's band would have nothing to be ashamed of had it been able to cover it at the time. 'Glitter' really goes for the throat, with the lead guitar barely in control, so heavily distorted it is. The two singles promised a nice EP, Linnea's Garden fully delivers and more than just nicely as well.

Kaleidoscope EP. Hilary Scott

It is over two and a half years Hilary Scott, yes, only one l, found her way to this blog with her album 'Don't Call Me Angel'. Last week an EP saw the light of day and it kicks off in a great way. 'Just A Shame' is the kind of tight singer-songwriter country rocking song that I just love to hear every once in a while. The pick up of the drums sets that tight expectation within the second it plays out. A nice intro follows before Hilary Scott starts singing in a dreamy fashion, where the band moves between tight and loud and dreamy and accommodating. Scott voice is harmonising with herself, creating a wall of vocal sounds. 'Almost Home' is slower, but again that powerful drumming is what catches my ear first. The song is one of dozens of not hundreds of the kind, true. But listen to Hilary Scott singing and chances are you'll be sold. With a voice between soft and loud, deep and high, she touches me. The lead guitar explodes a little in the chorus and shines a light on it. If I have to name someone else it is Alanis Morissette at the time of 'Jacked Little Pill', with a few years extra on her. 'Too Much Is Not Enough' underscores this idea. Hilary Scott could double as Alanis' twin sister here, with great result. This is a great song. 'And Just' moves more into pop territory and doesn't reach me in the way the first three songs do. It never truly comes alive for me. The beginning of the final song, 'Free Country', moves into R&B territory and is not for me. With three and a half out of five Kaleidoscope does not score bad, I'd say.

Shrug. Lunar Vacation

Lunar Vacation, why not?, is a band from Atlanta and releases a single to announce its debut album to be released in the fall. The song's writer tells us through the song's lyrics about the way she broke free from conventions after going through a process of realising not fitting in them. She has set the serious theme to an indie rock song, that contains a little light and some shade. The song also falls into two halves. Where the beginning is hesitant, the second half shows the breakthrough, or so I can imagine after reading the bio. Grace Repasky has a nice voice that shares the mood of the song in all the right ways. Bass, drums and rhythm guitar together are tight enough, to allow the lead guitar to sound a little wobbly in the main riff, until the song truly takes off, with some great bass parts running around. Shrug certainly is the kind of introduction to a new band I like. It makes me want to hear that debut album now!

Castaway Angles. Leprous

With a bandname like Leprous I had expected to hear a lot of noise and metal of some kind. It may well be that this is the usual musical environment of the Swedish band. I do not know, as this song is my introduction. I could not be more surprised to hear a delicate song with a singer reaching for the higher registers of his vocal range. True, the song becomes louder slowly by the minute it lasts, but metal, no. 

Like almost all other musicians Leprous was put on hold because of the pandemic and started working on an album that perhaps never would have been without it. Again the positive within the extremely negative. The album 'Aphelion' sees the light of day late August. Castaway Angles is an impressive introduction. Leprous manages to contain the delicate and the forceful within one song, without going overboard on either. The vocal performance of Einar Solberg is an important part of this achievement.

You! Vera Ellen

Looking back where I found the name Vera Ellen and I run into two recent emails. One of the duo Girl Friday and one on a new Flying Nun Records signing. You! is the debut single of Vera Ellen on Flying Nun announcing the album 'It's Your Birthday' for some time later this year. I should have recognised the stamp in Vera Ellen's music immediately of course. The accent in her singing and the music have the feel of The Beths' brilliant 2020 album 'Jump Rope Gazers'. You! is slightly more alternative and punky. It has a slightly rough edge, mainly because of the sound of her voice. You! is deliciously up tempo. The kind of alternative rocking song that is direct and in your face. A kick in the butt to start moving to the rhythm. "I only wanted you", as Vera Ellen sings, may be a bit overstated, but there's no doubt I like what I'm hearing and can't wait to hear more.

In Your Face. Goatfather

Time for some hardrock bordering on metal. I'm reminded immediately of metal bands from Scandinavia somewhere in the 90s. The deep end is closely guarded. All is dark and resonating the lower registers of the guitars and bass, match by forcefully played drums. The skin and cymbals are pounded on, not played. 'Monster Truck', release 17 September, will be Goatfather's second album. The French band really lays it on, showcasing what they are capable of. The singing is forceful, loud screams are thrown in for dramatic effect. I'm glad I do not have to imitate it. Listening to it is fine, as Goatfather finds the melody within its stonerrock with ease. Somewhere halfway the song a guitar solo is allowed to escape the deep end adding immediately to the whole. As I wrote, forceful stuff, In Your Face is.

Ravenala. Kloothommel

And here's single number three by Kloothommel on this blog. Ravenala is the antithesis of what I've just heard. The song starts with a jazzy rhythm and jazzy sounding guitar. Kloothommel presents itself in laidback mood on Ravenala. High clear sounding guitars meander of the relaxed rhythm the bass and drums lay down. The singing matches the mood totally. As the song plays out a guitar overdub here and there can be heard. Large sections of Ravenala are instrumental by the way, where the band plays out the little motives its created in the relaxed way the whole song is constructed. The Ravenala is a Madagascan tree, "the traveller's tree", and the traveller's mood is reflected in the song. The kind where all's fine and nothing needs to be done. With only a week left before Kloothommel releases 'Portonovo', Ravenala provides a nice incentive to start listening to the album, once again.

Boulevard. Tessel

In January Utrecht based band Tessel debuted with its first single and on this blog. With Boulevard a second single is released. Boulevard is a light-hearted alternative pop single that manages to lay the right kind of accents in the rhythm of the song, giving it a sprightly character. Listening closer I realise that Tessel within the context of modern Dutch alternative rock could best be compared to Roberto Jacketti and the Scooters than to The Scene. The pop element in its two songs are of the kind that could appeal to a larger audience than current bands as Slow Worries or Price most likely will. At the same time Tessel operates fairly close in the same fishpond, most likely the one directly next to the other pond. Boulevard is the kind of song that settles into the mind just this little easier, like nowadays The Vices do. That's not bad company to be close to.

Solar Power. Lorde

Lorde is no longer a teenage girl but a young woman. Having sprung on the world with a global hit out of nothing, 'Royals'. That is getting close to a decade ago. For me, things went quiet where Lorde was concerned. That has more to do with me, most likely, as her music was not in my range, really. With Solar Power she attracted my attention once again. This single is an extremely powerful song. Lorde more or less does the same as with 'Royals', but with less electronics. An acoustic guitar drives the song onwards into a modern rhythm, with a traditional instrument. The surprise comes with the chorus, when Solar Power becomes a stripped down version of a Primal Scream hit like e.g. 'Loaded'. Lorde overdubbed her voices several times, making the song more mysterious. For me it comes as a big surprise, as, unlike 'Royals', Solar Power works directly for me. Where 'Royals' took its time conquering me, Solar Power has no hesitation. The song holds several elements that make it extremely attractive. Yes, there's a little Lana del Rey in there, but a lot more Lorde. Simply well done.

Wout de Natris

 

Listen to our Spotify Playlist to find out what we are writing about:

https://open.spotify.com/user/glazu53/playlist/6R9FgPd2btrMuMaIrYeCh6?si=KI6LzLaAS5K-wsez5oSO2g

Week 25 / 10 singles

Almost at the half of 2021, the longest day staring me in the face when writing, having already passed by when this post is published during the week. By now hundreds of singles have been reviewed this year, with no end in sight of course. I'm just glad that most do not reach me. It does lead to a very wide range of music that comes to my attention with a lot of moments to truly enjoy when listening, opening me up to albums to come soon. Also it's impossible to review all albums, so for some this section makes up a little in attention provided. In week 25 artists from no less than six countries come by. The music is quite diverse as well, so enjoy.

Brave Warrior EP. Keeley

The Brave Warrior EP is the debut album of the Irish singer-songwriter and band Keeley. Anyone listening to the music will recognise the 90s undertones, a good word considering the label releasing Brave Warrior was co-founded by The Undertones' Damian O'Neill, in the songs. Fans of bands like Hurricane #1 e.g. can be quite content.

Keeley got her inspiration for the record from a top heavy subject: the murder of a German tourist in Northern Ireland in 1988. She got obsessed with the, unsolved, murder and is writing about it for years now, both in a blog and through her songs. She has one single goal: solving the murder. How commendable her work may be, this post is about her music.

That music mixes the more serious side of Britpop, Suede, Ride, Hurricane #1 with more electronic sounds, bringing the music over the decades into the 20s. The more electronic the songs become, the second two, the less they impress me. So I'd like to point you to the first two, the more poppy 'The Glitter And The Glue and 'Last Words'. The up tempo songs have a lot of bravado, all working through the guitar up front mixed exuberance. It is here that the Bernard Butler albums of Suede come to mind. The voice of Keeley comes as a surprise. My first impression was to hear a man singing and listening to 'Last Words' especially, I can't even shake the thought. This ambiguity does not change my take on the song. It works alright. So overall, I have some doubts left, but certainly liked to get acquainted with this debut EP.

Dreams. The Wandering Hearts

On its new single The Wandering Hearts present the sort of country music that is moving to the edge of my tolerance level for the music. Until the sun breaks through in Dreams, a song Marty Stuart wrote for the band. That moment is reached when the chorus is fully harmonised by the two singers, AJ Dean-Revington and Tara Wilcox. My levels of tolerance move totally out of earshot. Playing the song again, the intro reflects the chorus and I'm fully into the song. Musically anyone familiar with the country, roots, alt.americana segment of music, will hear nothing new. This is traditional music by now. The extra is in the singing. Both have great voices that become even better when singing together. Listening to the harmonies feels like being in one of the best dreams ever. What is the opposite of a nightmare called? Dreams may provide the answer to that question.

Wild Eyes. Jack Francis

Jack Francis from Southampton releases his third single from an about to be released album on the Rotterdam based label Gentlemen Records. The song is a hybrid between folk and soul. It has a distinct southern U.S. feel that belies his Southern English origins. Wild Eyes reminds me of my introduction to my favourite song of Jon Allen, from Winchester, not that far from Southampton, 'Take Me To Heart'. Both have the same rough edge on their vocal chords, while mixing that roughness with touches of tenderness and warmth in their respective songs. A reference to reverence stands central in Wild Eyes. Jack Francis shares his feelings for someone and the surge of happiness in his mind coming with it. Feelings of love and flying high with his head in the clouds. "Feeling soft, like midnight summer breeze", those kind of feelings. So, it should not be a surprise that a warm Hammond organ waltzes through this song like a knife through butter. Wild Eyes is a bittersweet song about being in love and happy. Nothing more but certainly no less.

Am I Alright Now. Ramkot

Alright, time to throw in something louder. The name of this band from Gent already promises some noise. Ramkot delivers although not in the sense that one might expect. The band is not ramming it in. One influence I can pick out easily is fellow Gent dwellers Soulwax. Like that band Ramkot plays with the boundaries of a traditional rocksong. Rock Am I Alright Now does, but not in a straightforward way. The pace is interrupted just as easily as it is expanded by going full out. A vocal part, a part where all play 100% uninterrupted, changes to the rhythm, synthparts under the singing before the band returns. It all can be found in just a few minutes without changing my perception of Am I Alright Now in any way. This is one hell of an alternative rocksong.

Morning Star. King Woman

From there we dive into even heavier music. King Woman is a band from the Bay Area around singer and songwriter Kristina Esfandiari. She is active in a host of other bands. All with names unknown to me, just like King Woman was until today. She started King Woman as a solo project in 2009. It grew into a band when Joey Raygoza and drummer Peter Arensdorf joined her. This single from the upcoming album 'Celestial Blues' (30 July), is as dark as it is alive. Esfandiari sings in a low register, lending her voice a touch of mysteriousness. It is not even that different from Ellie Rawling's voice, with the difference that King Woman's music is metal with soft spots in between that make Morning Star breathe in a pleasant way. The moment the band is released it makes a direct impact. Kristina Esfandiari keeps singing in her soft, almost whispering way. Mixed right over the solid background. The mix makes the song intriguing and interesting.

Niemand Meer Tegen. Jeroen Woe

Jeroen Woe en Niels van der Linden zijn langzamerhand een begrip in Nederland. Samen nemen zij in het TV programma 'Even Tot Hier' het nieuws op de hak op uiterst komische wijze, maar niet zonder een villein randje wanneer zij hun eigen boodschap er in mixen. Muziek speelt een enorm grote rol in hun kleinkunst die 100% inspeelt op de actualiteit. De samenzang is fabuleus, net als hun muzikaliteit. Hoe groot de rol van toetsenist Miquel Wiels daarin is, kan ik van buiten niet goed inschatten. In ieder geval is uitbundigheid vrijwel altijd een belangrijk onderdeel van hun muziek.

Dat maakt de solo single van Jeroen Woe eigenlijk heel erg verrassend. Het nummer is totaal ingetogen. Meer een echt kleinkunstnummer, dat eigenlijk gaat over de weemoed van vroeger uitgaan in de stad. Over een tijd die, lang, voorbij is. Nu is het er niet leuk meer. Alle vrienden van vroeger liggen al op bed, als Jeroen arriveert. Er zijn zat mensen in de stad, maar niet diegenen die Jeroen had willen zien na een avond werken. Het leven van een artiest en "gewone" mensen loopt uit elkaar, onvermijdelijk. Niemand Meer Tegen is net zo bescheiden qua muziek, als dat het fijn is om naar te luisteren.

Fine Dining. Clinic

After a hiatus Clinic is back for certain. Already a new single sees the light of day after releasing 'Wheeltappers and Shunters' in 2019. The sound is familiar. Of course, I should add. Clinic has such a typical sound that not having it equals not being Clinic. The typical, high synth sound is there, as is the typical voice and talk-singing of Adrian Blackburn. If there is any comparison to make, it is the synthesizer sound of Ultravox' 'Vienna'. All is electronics on Fine Dining, in a way that is reminiscent of the despondent 80s when the sky was about to fall on our heads. "Fall into the void", Blackburn sings, a variation of the sky falling. Where I could not stand most of the 80s acts most of the time at the time, I have a soft spot for Clinic ever since somewhere in the early 00s. That soft spot was easy to press on with Fine Dining.

Heart Of Gold. Molly Burch

Wasn't the title Heart Of Gold already given to another song and not the least of songs a that? Molly Burch decided not to care and released her own song under that title. It is an undercooled sort of love song that sings about love and her own heart of gold, but there's nothing showing for the passion she feels. That has to do with the uncertainties that come with love: "Will I be the winner or the loser?" Questions that do not allow for living in the moment, see Jack Francis just reviewed above. Too much thinking about love usually is not a good thing when falling into it.

The music is downplayed. The song is bare. Tight drumming is at the bottom, the rest are all accents and two to three notes contributions. Molly Burch does not release her passion until the end of Heart Of Gold in the aah, aah, aahhs she sings. All together Heart Of Gold is pleasant to listen to. A song that is able to get into your head and that is what music is intended to do in order to be successful.

For No One. Susanna & David Wallumrød

Is the world waiting for yet another The Beatles cover? A good question, but listening to For No One in the version of Susanna and her cousin David Wallumrød, I'd say yes it does. Susanna and David played together in their youth and both went their own way in music, pursuing their own careers. In 2017 they were invited to perform together and this was so much fun they decided to do so more often. Of course in 2020 and a lot of 2021 shows were cancelled. Susanna released her solo album with poems of Baudelaire put to music by her. Next she went through the recordings made of the performances she had already played with her cousin. The result is an album called 'Live'. For No One is the first single and it is played in a subdued version. There's even more melancholy present than in the original. In a way as if there's nothing left to save nor win. The song is immediately recognisable for all already knowing it, while adding more than enough of themselves to justify the release of the song. Beautifully done.

She's Gone. GA-20

This story starts with mentioning a record label that was started for one reason only: to release a record by Chicago blues legend Hound Dog Taylor. That was the start of legendary blues label Alligator Records. Come 2021 and blues trio GA-20, named after that Gibson amp, decides to honour Hound Dog Taylor with a tribute album filled with his songs recorded in the here and now. Only recently The Black Keys have done the same for northern Mississippi hills blues. GA-20 does not have the name Dan Auerbach and Patrick Carney have but listening to the dirty groove GA-20 lays down in She's Gone, the world has to prick up its ears for another blues record. She's Gone is far dirtier than e.g. 'Crawling King Snake' that opened the singles post of week 20. The rough and rowdiness of the electric Chicago boogie is passed on to a new generation this way. Blues is blues and should attract new fans as well. The ugly slide sound cuts through my ears. George Thorogood reincarnated as well, but for all I know he may still be playing around the U.S. once again as soon as it's allowed. She's Gone is a thorough introduction to the album, aptly called 'Try It ... You Might Like It'.

 Wout de Natris

 

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Week 24 / 10 singles

Slowly but surely we are approaching the halfway point of 2021, this weird year, like most of 2020. The longest day is staring us in the face, summer following right behind it. Finally The Netherlands is enjoying sunny and warmer days after an unusually cold spring. And right before the summer, we present a host of new singles, coming from all sorts of place around the globe. From Spain to Italy, New Zealand to New Hampshire and finally from The Netherlands itself as well. Enjoy!

 

Many More Drugs. Geoff Palmer

With a new album by his The Connection bandmate Brad Marino out, Geoff Palmer could not stay behind, of course, I might add. Of course, Many More Drugs is another pure pop/rock gem. Palmer (and Marino) are aces at writing pop-rock songs that immediately catch your ear, infiltrate your brain and sort of take over from there. Although illegal substances never really appealed to me, I could be mistaken soon when someone hears me singing the title of this new, oh so fun song. Geoff Palmer in his teenage years was in search of a song by The Dickies, he was not able to find (I imagine) as he mistook the title to be Many More Drugs. It turned out to be 'Manny Moe And Jack'. The only thing I don't know is whether he stopped liking the song after finding out about the true title ... My guess is no. Why write a great song like this so many more years later? Pop rock doesn't come much better, folks.

Rose + Crown. AMMO 

Mystery shrouded in a layer of darkness is what best describes the new single of AMMO. She's a singer and multi-instrumentalist from Los Angeles, best known for the release of the album 'The Cathedral' in 2019 with her band Brass Box. When the pandemic hit, like everybody else she found herself alone and what does a musician do? Make music we have found out in the past year. No one wanted nor wants this pandemic but we are hearing music that we would perhaps never have heard without it. Rose + Crown is a piece of music reflecting the darkness many experienced being locked up in homes, with disease, death and foremost uncertainty all around. What I hear is almost more atmosphere that music. Swaths of music move in and out, Ammo's singing brings Irish singer of 'Orinoco Flow' fame Enya in mind. The b-side, what in a name with downloads?, is a cover of The Sound, from a Adrian Borland tribute album, called 'Total Recall'. In the 1980s I was not a fan, but this cover is quite nice actually. Firmer than Rose + Crown, also because more prominent drumming (Axel Posell) and guitar playing. The dreamy part remains present in the way of (recording the) singing. Together the two tracks work as a single.

Centuries Asleep. Bottomless

Centuries Asleep, that sounds like science fiction movies/tv series or the princess from a fairytale, Sleeping Beauty. I just realised how the name in English is so different from Dutch, 'Doornroosje' (Little Thorny Rose). Whether Bottomless refers to either, I can't tell. What I can tell though, is that if this is doom metal than I can listen to it easily. Bottomless may play tough (and sing tough), Centuries Asleep is a fine song. The melody brings a song like 'Paranoid' to mind, the small changes in the music nearly every band in classic rock I listened to for decades now. Bottomless is an Italian band consisting of Giorgio Trombino on guitar and vocals, Sara Bianchin, bass and David Lucido on drums. Together they know every trick in the classic rock book and share the first single of their self-titled first album with pride. The deep end is taken care of in a wall of sound created by the bass and rhythm guitar. The drums shine through the whole perfectly. And on come the riffs, flying all around your ears. Yes, the real thing.

Different Kind Of Light. Jade Bird

Avid readers of this weekly post on recent singles know by now how diverse they can be. The switch from Bottomless to Jade Bird hardly could be larger. From doom metal to a soft-voiced singer-songwriter is but a small step here on WoNoBlog. Jade Bird made her debut on these pages with her first album in 2019. Her new single and title track of her new album to be released in August makes its way here as well. Jade Bird presents a soft and delicate singer-songwriter song where her voice is right up front. Behind her an acoustic guitar and an electric piano are accompanied by bass and drums. The mix is spacious, creating the aural impression of large spaces in between the different instruments. All together it makes Different Kinds Of Light a delicate, fragile song, sounding as if it could break when touched to insensitively. A listening experience it is.

Do You Remember The Times. Island

All things must pass, to quote George Harrison, and the title of Island's new single are given truths for everyone. Even those desperately hanging on to older times are nudged out by youths one way or another. This goes for bands as well. As Island is only releasing its second album this year, its them doing the nudging, I hope for Island. Going on the single the Brits are familiar with their Canadian colleagues Half Moon Run. Both can be dreamy in their music, but Islands here is more solid. The guitar is louder, the drumming a little firmer, while not forgetting to dream. The quality is in the layers of echo and delay put into the music. The singing is fully self-assured. This band knows where it wants to go. It will not settle for less than arena's is my guess. The music can be blown up to giant proportions, while it's swinging enough to make the audience sway, even dance. Patience is a nice thing. Album Yesterday Park is on its way.

I Don't Wanna Learn Anymore. Los Chicos

From London we move to Spain. All thanks to Boston based label Rum Bar Records I get to know one after the other Spanish punkrocking band. A strange twist of geography perhaps but I and the world get the wiser from it. Los Chicos rock out in the best U.S. tradition. Its music starts and stops with The Ramones. Revved up 60s hits with a lyric suggesting that juvenile thoughts of growing up in denial is de rigeur. Who really wants to learn? Most people I'd say if there truly was an alternative to not learning. So I can relate to the lyrics to some extend. Once upon a time I could relate to them too good, but the wall changed the course of the ship alright. There's one school Los Chicos did not mind going to and that's the rock and roll high school. The band graduate alright. So from that moment onwards it becomes easy to shout "I don't want to learn anymore". The band already has.

Heart. Reb Fountain

A new single from Reb Fountain, short on the heels of that fabulous remix of 'Hawks And Doves'. In a way Heart is a surprising song. There is the relaxed atmosphere her songs excel in but Heart is very different too. A few influences are combined here, setting the song rather apart from her eponymous album. The beginning brought Chris Isaak's first albums to mind. That "cowboy" kind of twang the guitar plays is not as dominant as in e.g. 'Blue Hotel', but unmistakable. The singing is a totally different thing. Here it is Nancy Sinatra, and hits like 'You Only Live Twice' or 'Bang Bang', that come to mind. The third influence is that old synth sound carrying part of the song. The result is a song that is from 2021 but somehow has a feel of being decades old. This change of direction Heart presents to me, is something I have to get used to, I found, but the feel is unmistakably there already. Heart and I will be alright together.

Female Creed. The Hornets

And back to Italy, the nice city of Modena to be exact. The Hornets are a garage rock band about to release its first album in July. Musically the band reaches back to an era from before the band members were born, or so I guess. Tough riffing like Joan Jett and her Blackhearts were good at. Two guitars playing over a bass and drums background. Both able to hold back creating the vibe of stop and start. The dynamics in the song work really well. I won't beat around the bush. Female Creed is not the best song in this genre, but that said the enthusiasm is enticing. I'm sure the band can set a venue on fire playing like they do. A nice introduction to The Hornets this single is.

The Edge Of The World / For Real. The Celtic Social Club

The French - Scottish band has survived the Brexit and releases its first single since. There's always a hint of folk hidden in but more in the sense of The Waterboys and Big Country than Steeleye Span. But even more than I remember from the band's recent album that was reviewed on these pages. In The Edge Of The World, the single's A-side, the Big Country guitars are very prominent. Not as extreme, as in simulating bagpipes, but clearly recognisable as such. The Celtic Social Club adds violins to the line up, adding some more folk into its rock. The A-side is a tough song that grabs my attention immediately. Dan Donnelly's vocals are totally convincing. He is at that edge and live reporting to us. B-side For Real is an up tempo song as well, but in the style of Dexys Midnight Runners' first album, without all the brass. Because of Pierre Stéphan's fiddle, it also has a little of 'Too-Rye-Ay'.

Once upon a time singles were supposed to become hits, preferably huge ones, now they are at best there to attract attention, to a band, an upcoming album and live shows. The hits part I, unfortunately, doubt, that I'm enticed to hear the album, visit a live show, at some point in time, certainly. So, as far as I'm concerned, mission accomplished. This the the kind of mix between pop - folk - rock I like alright.

Phase out. La Belle Époque

The story of La Belle Époque was on the blog a few weeks ago when the debut single 'Sanity' was on, so I won't repeat it. For Phase Out Pablo van der Poel is the lead artist. Together they finished a song that was once meant for the second Mister and Mississippi album. The result is a song where Van de Poel can really, and I mean really, excel as a lead guitarist. Not that he lets go of all brakes, no far from. The brake is on in this one part experimental song, one part jazzy groove, one part psychedelic rocker. Jimi Hendrix as an influence? Sure, I believe you. A mild form of '1983 (A Mermaid I Should Turn To Be)', something like that. Without the LSD, but not totally without a hint at some substance or other. The guitar is exploring the edges of the song, with a weird underwater-like effect on it. Hearing Van der Poel letting it rip is usually nice and Phase Out is not an exception. I have no way of telling how all the different songs will work as an album, but the two singles so far are both worthwhile listening to.

Wout de Natris

Listen to our Spotify Playlist to find out what we are writing about:

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