Regenesis. Girl With A Hawk

Girl With A Hawk is a band from Boston that I may well be following from the very first single onwards. Come 2026, here is its debut album and yes, it is as nice as I had hoped it would be. It does come with a surprise though. Based on e.g. recent single 'Wasn't It Just Yesterday', I had betted on a harder rocking album. It turns out it is more of a roots album than I had expected. An album that here and there brings Hazeldine to mind, and in a positive way, I'm more than o.k. with.

Let me start for that reason with the song 'The Fighter', the fourth on the album. When the guitar intro starts, my first thought was hey, a cover of 'Zombie' with an Oasis twist? Then the lead guitar joins and I'm back with guitarist Jeffrey Richards' lead melodies in my favourite Hazeldine song, 'Drive'. Girl With A Hawk manages to create this mix of rock and americana in a very successful way too. A twangy lead guitar, a fiddle and great harmonies. The band expands the song more and more, turning 'The Fighter' into an epic anthem by way of the long outro.

Overall, I notice how pleasant Regenesis sounds and can be listened to. Most likely the band sounds far smoother than in a live setting but as I'm not geolocated in the right place, chances are I will never know. The album allows for great listening and that is a very much worthwhile position to be in.

Girl With A Hawk formed during the pandemic and started to release singles quite soon after. Singer and songwriter Linda S. Viens (vocals, electric and acoustic guitar) was joined by Richard Lamphear (keyboards, backing vocals); Daniel Coughlin (guitars, backing vocals); Daniel George Bernfeld (bass, backing vocals); and Nancy Delaney (drums, percussion, backing vocals). Together they have created a sound that alternates between pop, rock and americana in a quite convincing way. All have a life in music and life itself behind them and decided to form a band anyway. The result is like it.

Regenesis is not the album of older musicians that have returned to music as just a hobby. For that the songs on this album are far too serious and well-crafted. These songs are the proof of their collective ability and dedication to create and arrange beautiful songs. Take the ballad 'Beautiful Today' with its bittersweet atmosphere. The music "simply" captured the mood singer Viens was in and turns it into beautiful music.

As I wrote before, I was surprised by the americana flavoured touch of the songs, but from the second spin of the record Girl With A Hawk onwards, the band totally convinced me to be listening to a good album worth exploring wider and deeper. I hope to have convinced the readers to dive in as well.

Wout de Natris - van der Borght 

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 

The Boys Of Dungeon Lane. Paul McCartney

How many McCartney albums does one need, is a valid question in 2026? It appears one more. At first listening, it is clear that The Boys Of Dungeon Lane is not just an average Paul McCartney album that is easy to ignore.  It's an urgent album with several songs that go way beyond the average.

One eye-catching detail is certainly worth noting. Andrew Watt has produced the album and has received co-writing credits of several songs. The recordings started in 2021 and continued for years. And let Watt also be the one who kicked life in Paul's contemporaries The Rolling Stones as well, with Paul playing bass on a song on 'Hackney Diamonds' and the upcoming album (10 July). Both dinosaurs of the beat, R&B and pop era still sound like themselves with Watt in the producer's seat, but certainly with a fresh sounding tinge. If not pure and pleasant surprises.

As I wrote before, Paul's voice is not what it used to be. It is in steady decline from overuse in the past decades, from 1957 right op to 2026, or sixty-nine(!) straight years. Where in the end that stopped me from playing 'McCartney III' more, his previous solo album from 2020. So far, I am not bothered much on The Boys Of Dungeon Lane. Somehow he manages to use his voice in different ways, where the wear and tear is less obvious. Strangely enough it is when he uses it in a mildly higher register.

Paul McCartney turns 84 in the coming weeks but there is not much suggesting his age. Again he played most of the instruments himself, only assisted here and there by Andrew Watt. Again an analogy with The Rolling Stones. Some of the lyrics look back at his youth, see eg 'Down South' about George Harrison I'd say and then we are talking about the 1950s. The album title is a street in Speke that led to the river Mersey, where boys went out to play. Something I can completely relate to, despite having grown up ten-fifteen years later. The adventures are sort of similar, as there wasn't much else to do then but explore the surrounding neighbourhoods.

Musically, The Boys Of Dungeon Lane is as varied as can be expected. From an acoustic ballad to a wild rocker, you'll find it on the album. With one of the highlights the duet with Ringo Starr, 'Home To Us', perhaps one of the most Beatlesque songs McCartney ever released or better, what The Beatles might have sounded had they all lived until 2026 and decided to make music together once more. Besides that, 'Home To Us' is so much alive, belying the age of the two protagonists. It deserves to be a hit, but certainly is in my universe.

From the opening song it is clear that Paul McCartney means business. 'As You Lie There' has a few faces to it. From the soft McCartney, to the harder rocking Paul. It is all there and more. This is the song by a man who was challenged to get more out of the original idea. It starts out oh so soft and nostalgic, with Paul sing-talking, looking back to a once upon a long ago. From quiet reminiscing to desperation, all within a minute. The accompaniment changes to something bordering a symphonic rock ballad. Next up is a great guitar solo and Paul shouting out his despair once again, and still more to come. It's clear this is a man on a mission and not just presenting us with another record. In a way, 'As You Lie There' reminds me of 'Band On The Run', because of all the changes.

The album continues with McCartney in a minor rocking mode. 'Lost Horizon' has a nice shuffle sound without overdoing it. Again he makes the most of his 2020s voice. It can be said that 'Lost Horizon' sounds familiar, but it has a freshness that I haven't heard for a long time from McCartney. All over the album there is a rock element that pops up and that makes all the difference for me. I'm quite convinced this is Andrew Watt's contribution. Next up is an acoustic song, that was the first single from the album, 'Days We Left Behind', holding the title to the album. Here it is that I wished his voice was better, because this is a really beautiful song and deserved his voice from twenty or more years ago. By the way, in 2026 it has become possible to miss a new Paul McCartney single, as no one alerted me to it.

Sure, there are a few songs in the typical McCartney style that appeals less to me, but they are not bad songs and that rock element that seeps in. As I read somewhere today, "this is as good as his best work in the past 50 years". That makes 'Silly Love Songs' as a single, when Paul still scored hits. Several songs can more than compete, so I agree with the writer. Like I said, it seems I need another bunch of silly Paul McCartney songs anyway. One question remains, reading about starting working with Andrew Watt in 2021, who came first, Paul or Mick c.s.?

Wout de Natris - van der Borght 

2025, week 16. 10 singles

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

Attention Span. The Dollyrots

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

Joyride. The Cocktail Slippers

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

The Power Runs Ripe. Bed Rugs

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

Bang Bang. The Noise Who Runs

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

Sweet Nothing. Jesus The Dinosaur

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

Whenever You Want Me Too. The Greenberry Woods

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

Sober. Bluai

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

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

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

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

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

Porcelain. Waste A Saint

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

Wout de Natris - van der Borght 

Creature Of Habit. Courtney Barnett

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

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

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

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

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

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

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

Wout de Natris - van der Borght

 

P.S.: Yes, I already bought the LP. 

You can listen to and order Chreature Of Habit here:

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

We Will Die Dreaming. Afasia

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

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

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

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

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

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

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

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

Wout de Natris - van der Borght

 

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

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

Drifter (/ Moon Dogs). Dreamwave

Bristol's Dreamwave has not released a regular album but two EPs in one, one called Drifter and one called Moon Dogs, and released them as one LP. As I've already reviewed Moon Dogs on 25 May 2025, I'm going to focus on Drifter here.

The EP just shoots out of its starting block like 100 meter sprinters do. Holding breath and just sprint to the finish line without thinking. Single 'Moon Buggy' is a party of a psychedelic song that slowly comes together turning into this tight rocker. The drums focus on the floor tom and hi-hat making the rhythm something that just goes on and on forever. (Don't worry, Dreamwave is not only aware of dynamics but knows how to use them successfully as well.). It turns 'Moon Buggy' into a huge musical party. If they are able to play this live successfully, there will not be a lot of people able to resist this invitation to dance and jump around.

'Web Weaver' is just as energetic. At the same time Dreamwave manages to weave a web filled with a dreamy atmosphere into its psychrock. The listener has to pay attention, as the band is going for it, but it is there for certain. The little psych stuff and the sound of the organ take care of it. Don't forget to listen to the bass part played by Grant Organ in the intro, as it really stands out.

'Space Debris' starts as a ballad. Psychedelia is let in a little more obviously, because the driving force of the rhythm is noticeable behind the balladry. American band The Black Angels come to mind, in a lighter version of e.g. its 'Death Song'. But also Small Faces and other 60s psych-pop-rockers. Dreamwave takes us on a trip around the sun at "the speed of light". 'Space Debris' shows another face of the band successfully. We may think we are float ingthrough space, drummer Alex Andrews keeps us on course. He is a strong force for Dreamwave.

When keyboard player Hester Batting starts supporting singer/guitarist Ben Symons on vocals, that is the moment when heaven must be missing an angel. Her voice adds this extra layer of psych to the band, but only because of the way her voice is mixed into this whole. It lends an otherworldly quality to Dreamwave's music. In 2025 I wrote "when I'm hearing Hester Battin sing again, I'm remembered of the only time I fell in love with a girl because of her voice coming though speakers far away at the Parkpop festival in The Hague in 1985 of 86 festival, Lorraine McIntosh of Deacon Blue." Once again, Hester Battin has this effect on me.

Single 'Over You' is another huge psych rock song that ought to attract all lovers of psych rock in spades. Great riffing, great solo, great pulse. You get the picture, right?

The EP ends with a ballad and a rather weird one. Almost jazzy, bare with only an electric guitar and Symons and Battin singing. For the whole time I'm waiting for the band to come in. Does it? You will have to find out for yourself.

With Drifter Dreamwave again put itself on my radar. The band is touring this fall. Let's hope they play not too far from here.  

Wout de Natris - van der Borght

 

You can listen to and order Drifter / Moon Buggy here:

https://dreamwaveoffical.bandcamp.com/album/drifter 

The Gaya II Space Corps. Motorpsycho

It becomes ever harder to write anything inventive on a new Motorpsycho album. Almost like clockwork a new album is unleashed into the world. At the same time there is no reason to doubt that the album will at least be as good as the previous one. The opening sequence of The Gaya II Space Corps album is so strong and overwhelming that my brain tells me the following within a few seconds: Yes, Motorpsycho!, it's good!, it's invigorating!, you want to listen to this!!! The rest of the album delivers, in spades.

But where is my unique angle? Even after several listening sessions I simply do not know. Yes, I could start comparing to previous albums or repeat how I have encountered the band circa 2001 and mention the great live shows I've seen over the years. Should I go into the influences I hear here and there in the new songs, as the band obviously is good at taking a certain sound or artist and write a new song around this vantage point? I could do it all, but it would not add to all I've written before in the past 25 years.

Is it enough to just say that The Gaya II Space Corps rocks my world every time I listen to it? That it is a rich album, filled with great songs, fiery guitar solo's and stark rhythms and even a sort of folk ballad? I think it suffices, as that is exactly what this album is and Motorpsycho presents. The Gaya II Space Corps album is a great addition to the Motorpsycho catalogue, that will please all fans. For those who are not yet but love alternative rock with some loud rocking prog and 60s influences, can better start checking the band out now. You have tons to catch up on.

Wout de Natris - van der Borght 

You can listen to and order The Gaya II Space Corps here:

https://motorpsycho.bandcamp.com/album/the-gaia-ii-space-corps 

2025, week 13. 10 singles

After a week that contained more sadness than I'd ever wish upon anyone, here is some new music for you to enjoy, like I have to set my mind to encounter more positive things. Spring and summertime are upon us once again and I look forward to the lengthening days and long evenings. Like I'm looking forward to all that great music to be released in the coming weeks and months, with some live shows as well.

Brand New Me. Robert Ellis Orrall

Sometimes a song is released that while hearing them for the first time it seems that they have been around like forever. Brand New Me, a recent single by Robert Ellis Orrall is one of them. You could have fooled me into believing the song was released in the 1970s, 80s or 90s, but just never heard me by me at the time. In 2026 the song sounds just as fresh, as this artist pretends he is Heart, Gin Blossoms and Dan Baird in one. From the modest intro riff it's clear Robert Ellis Orrall brings us back to the time where folk, rock, indie and countryrock went into a blender and produced songs like 'Magic Man' and 'I Love You, Period'. Brand New Me can be added to these two examples and all others you can think of yourself while listening to this track. Brand New Me is a delightful song, Album 'Wonderland' is out since 27 February.

Mary Anne. Magic Castles

With second single Mary Anne of the upcoming album 'Realized' (24 April) Magic Castles makes to WoNoBlog for the first time. Mary Anne is a song that mixes pop, rock and a light touch of psychedelia with faint traces of the 1960s psych and pop era. The guitar solo presented here was totally unthinkable back in those days. The Minneapolis based band, that is around since the early 2000s, is not attracting your attention in a very obvious way. Mary Anne is the kind of song that comes to you slowly, like in waves, through all the well-thought out additions in the arrangement, while singer (and guitarist) Jason Edmonds sings with his soft voice lauding the woman 'whose mind he's trying to read'. In one of the waves this subtle yet very nice guitar solo sprouts forwards, topping the song off. Mary Anne is a song very much worth while getting to know.

Rewrite History EP. Fit

One of Rotterdam's Mattan Records' latest signings is the band Fit. Today the band releases its first EP on Mattan, second in total, which does make it to this blog. Fit hooks up to that very long train called postpunk. In 2026 that means that it becomes important to be distinctive. So many Dutch bands have come and also gone in the past circa eight, nine years that I've started to develop an interest in the genre again, after the wave with Franz Ferdinand and Arctic Monkeys fizzled out. Fit consist of Ide Ploeg (voice, synths), Oscar van Cruchten and Maas van Rijsbergen (guitars), Roman van Rookhuizen (bass) and Mink Huurmans (drums). With that distinction you'll find the band is more than on the right side. From postpunk in general and more specifically 'Little Something', a track Maxïmo Park would be proud of, to more danceable tracks where a hint is given to Chefs' Special, you can find it all on Rewrite History. Fit is able to add more than enough energy and youthful exuberance to its mix, making the songs fully their own. Rewrite History is not an earth shattering experience. What it is, is a very good EP that I will want to play more often for certain, to get to know the five songs better. There is no reason to doubt why Fit should not be able to follow the route ex-labelmates The Vices have taken.

Dreams I've Had. tofusmell

O.k., I'm convinced. Reincarnation exists. Elliot Smith has returned to earth and sort of starts again where he left off when his life tragically ended. No, just kidding. tofusmell is singer-songwriter Ray Chen from Winnipeg by way of Orlando, Florida. Anyone listening to Dreams I've Had will agree with me that, at least on his single, as I have not anything else by tofusmell yet, Elliot Smith's ghost is prominently present. The soft whispering, modest voice is there. The way the song transforms from an indiefolk/singer-songwriter song into an alternative folkrock song, including the addition of a dirty lead guitar. Ray Chen does it all in a very good way and in good taste. Nobody will ever write a better song in this genre than Elliot Smith's 'Pretty (Ugly Before)', but besides this point Dreams I've Had convinces me totally. Debut album 'All My Time' releases on 24 April.

Place Memory. Cape Crush

The title song of Cape Crush's upcoming album (1 May) finds its way to this blog, making it the band's second entry. And again, The Beths entered my mind instantly. Despite that the differences between the two bands are obvious, it's there any way. It is in the way singer Ali Lipman frases here words, turns her vocal's chord changes and in the background vocals. The Beths is one of my absolute favourite bands of this decade, so being compared to them is not a bad thing in my book. Place Memory rocks in the way alternative bands do. Cape Crush adds a golden melody to its rock and combines it with endless vocal lines that are all over Place Memory. Layers of them, making the song stand out totally. Bring me more, Cape Crush!

Anyone. Joan as Policewoman

Twenty years ago, I wrote about Joan Wasser's solo project Joan as Policewoman in the old magazine predating the blog by eleven years. 'Real Life' made Joan as Policewoman one of my favourite new artists at the time, just like she became for my then girlfriend, now wife. We saw her several times life in concert in Amsterdam and The Hague. And then, somehow, she slipped from my attention and her she is back announcing the 20 year anniversary version of 'Real Life' with the release of Anyone as a single and once again I'm immediately drawn into the jazzy tune. Anyone is the musical equivalent of a day where you do not have to do anything else but relax. Just lying around or reading a book. Anyone is the kind of song that I just want to listen to and not have to do anything else. It is beautiful and then some. 

Nobody's Heroes. The Menzingers

You will have to go back to the very first months of this blog to encounter The Menzingers. In April 2012 'On The Impossible Past' featured on the blog. I wrote about punk pop and a likeness to The Hold Steady. What the band produced in the past fourteen years, I don't know. Today I've encountered Nobody's Heroes and decided to write about it. The band, no longer young men, kicks the song off with an acoustic guitar and an organ, before the band kicks in. There's not much of punk to be found. There's certainly a hint of emo in the vocal delivery. The music is more alternative rock like they used to make around 2000 in the U.S. with just a lighter touch to the sound bringing the band closer to e.g. Gin Blossoms. The combination works well, because it makes singer (and guitarist) Greg Barnett's voice and vocal delivery stand out more. The music is serving, adequate and simply nice.

Cool Job. Telehealth

One more time machine on the blog. Seattle band Telehealth debuts on this blog with a song that is as odd as it is danceable and slightly infectious. A song like Talking Heads and many bands following it, like in the 00s Franz Ferdinand could have made. I'm not even going to mention the bands that sprouted this decade. For me the source is Talking Heads and let's stick there. Telehealth has all the things in place that allows for comparisons. The odd sounding rhythm, the guitar lines that are as weird as they are full of rhythm. The lyrics that seemingly are randomly generated and sang in a way that is somewhere between declaration and song. Did I mention that it works? It does and there is an album coming up. 'Green World Image' releases on 15 May. I've heard enough to want to hear more.

Over You. Dreamwave

Dreamwave returns to the blog with a song that lands somewhere in the middle of alternative rock, alternative pop and psychedelic rock. Over You manages to hold a 1960s psych and garage rock vibe and mixes it with The Black Angels on a good day, something the Austin band seldom to never has and Green Day exuberance. The result is a tremendously upbeat song that invites to dance to and sing-along with. The guitar riff may be standard for the genre, it makes Over You come totally alive. The female voice supporting the singer, gives Over You a party feeling as well. The Bristol based band has released two EPs at once, 'Moon Dogs' and 'Drifter' on 20 March. 

Born To Kill. Social Distortion

In 2004 I bought my first Social Distortion cd, 'Sex, Love And Rock & Roll'. The first four songs on that album are so fantastic. Then I found out that the band was around already for over 20 years. That makes over 40 today. And yes, Mike Ness' voice is definitely not one of a young man. The energy put into Born To Kill is phenomenal though and brings me in a good mood immediately. This song is one of a band on a mission but has nothing left to prove. Born To Kill is like a shot of adrenalin, immediately energising the senses and body into action. I would not recommend moshpits for the fans of the first hour but with a song like this the band ought pick up punk lovers of all ages. The song goes out with a banger of a guitar solo as well. Album 'Born To Kill' will be released on 8 May.

Wout de Natris - van der Borght 

GOLDSTAR. The Sophs

With a few singles already on this blog in the past months, it will not come as a surprise that the band's debut album can be found here as well. The band was signed on the basis of a few demo's, without even having played a live show. Let's call it talent and expectations. 

The Sophs is Ethan Ramon (voice), Sam Yuh (keyboards), Austin Parker Jones (electric guitar), Seth Smades (acoustic guitar), Devin Russ (drums), and Cole Bobbitt (bass) and is from Los Angeles. Based on the previous singles, it was already clear that GOLDSTAR ought to be a very varied album. No song sounded the same and that more or less goes for the songs on the album. Expectations fulfilled.

One song The Sophs sounds like its unique self, in others like a band I'm still trying to find the name of in my head. Ethan Ramon's voice comes so incredibly close to that singer. In those same songs The Sophs sound like The Violent Femmes on a pop streak. At the same time The Sophs manage to surprise by taking a song in a totally different direction. A little pretentious? Perhaps, but definitely with a panache that makes them come away with it with so much ease.

The Sophs is a six piece band. The songs are so eclectic that it seems like all six members must have an equal hand in the creation process. Songs are so different that it is hard to imagine one person being responsible for all these ideas.

I am very much tempted to start sharing examples but I decided to refrain from giving them. GOLDSTAR is the kind of album that you need to explore for yourself. With one exception, as this band is totally obscure: The Plan! 'I'm Your Fiend' was definitely inspired by one of the songs on the Swedes eponymous album from 2001.

The Sophs truly takes its listeners on a musical journey with a surprise around each corner. There are a few quotes, like Janis Joplin's introduction to 'Mercedes Benz' and John Lee Hooker's "how how how". Expect spoken word poetry besides just singing. Singer Ethan Ramon shows himself as much as the band does. Soft songs are invaded by dirty guitars. Almost everything goes in the musical universe of The Sophs.

GOLDSTAR is the kind of album that may announce a new band that is going to make a huge difference in the coming years. One of these albums that may be remembered for some time. But then, sometimes that does not happen. Time will tell. In the meantime, I have a new favourite album right now.

Wout de Natris - van der Borght

 

You can listen to and order GOLDSTAR here:

https://thesophs.bandcamp.com/album/goldstar 

Mosquito. Hater

Hater can be found on this blog for nearly ten years, but I noticed that the Malmö, Sweden based band's last album was reviewed by Erwin Zijleman. Translated to English he wrote in 2023 that "'Sincere' is considerably better than the already good, yet dreamy 'Siesta'". Well, I copy his words here, as I think Mosquito is better yet again.

The band, Caroline Landahl, Måns Leonartsson, Adam Agace and Rasmus Andersson, delivers (again) with its latest album. The mix between the dreamy and indie pop-rock is just about perfect. The album opens with the poprocker 'Landslide', where the rock is supported by atmospheric sounds that pop in and out of the track. Landahl puts herself right in the middle claiming the song as hers. She shows her different voices in the harmonies, making the song sound varied, with the full support of the band. 'Landslide' is the kind of song that makes me prick up my ears straight away, moving into full listening mode.

The contrast with 'Angel Cupid' is considerable. The tempo goes down, an electronic rhythm leads the way assisted by something close to sleigh bells, without creating a Christmas vibe. The bass driven intro of 'This Guy?' creates a rock vibe that the rest of the song does not necessarily have. It is somewhere in between, with the bass and drums going for it and the rest of the band appear to be dreamy. And then the lead and rhythm guitars joins in, making the song ever tougher, while not disturbing Caroline Landahl's mood. As I wrote before in week 51 of last year, 'This Guy?' just grows and grows.

Quite often I write some more on an album. In the case of Mosquito that is not necessary. Hater continues along the line of the three songs described in the above. If you put them on and like what you are hearing, I assure you you will enjoy the rest of the album as well. Hater delivers full time, balancing between the three corners of its triangle, pop, indie and rock.

Wout de Natris - van der Borght

 

You can listen to and order Mosquito here:

https://hatermalmo.bandcamp.com/album/mosquito 

2025, week 9. 10 singles

This week is most likely the saddest in my life so far. Sad and bad news kept piling up. All this was written before it got really bad. So, enjoy it, enjoy life, family and friends!

Not Around Anymore. Broken Social Scene

With the title of its upcoming album Canadians Broken Social Scene make a jump towards a time where A.I. has replaced us. 'Remember The Humans', 8 May, points out the paradox the A.I. creators share constantly, that they are about to wipe out humanity but forge on nonetheless with developing A.I. Single Not Around Here Anymore puts the dot on the i, should we not have gotten the message. Musically, the single reminds me of the mid 80s jazzy folk episode with bands like Everything but the Girl and Working Week. What this band adds, is some more modern, albeit laidback grooves and atmospherics. The result is a pleasant single that allows Broken Social Scene to make its debut on WoNoBlog.

Might See You There. Weird Nightmare

The solo project of ex-Metz' Alex Edkins keeps putting fun singles out. The 2.02 minutes long Might See You There is no exception. It is a punkrock track with a great pop feel, as Edkins is able to put this feel into his vocal melodies, that simply invite singing along to. It is built on a pop tradition of ages. Singer Julianne Riolino adds the female voice that makes listening to Might See You There even more pleasant. Of the song Edkins says to have been listening to The Undertones a lot. Now that is a band that evolved quite a lot over its four albums (before its hiatus), but I can hear where he's coming from. Punk and pop was written all over the band's first two albums, with 'Teenage Kicks' as absolute highlight. Might See You There is not that good, but absolutely so nice. Album 'Hoopla' will be out on 1 May.

There Goes The Neighborhood EP. Steve Geraci

After releasing a few singles, here's the whole four track EP. Steve Geraci is the front man of a band called The Tear Downs but made this EP with producer Dave Westner, who plays the keys, drums and bass. Geraci himself plays guitar and bass. With the title song, the EP starts with a rock track that is a neat version of rock. Neat as in, it doesn't fly off the road nor cuts corners. Neat as in a golden melody and a lot to like. It opens the door to the EP wide. Geraci and Westner brought their scissors to 'Voice In My Head' and show they can rock a bit more dirty, with a great rhythm on the drums and stop-start guitar and bass work. As I wrote last year, the name springing up is Dan Baird and in this year it still is. I'm sorry to say, to quote Steve Geraci in 'Paradise Lost', it is not for me. The song does not come alive for me, although that sax, that could be taken from a Spandau Ballet song, does its utmost. Everything is alright again with the punky 'Save Yourself', that for me is the prize song of There Goes The Neighborhood. It rocks and is extremely sleazy. In 1977 it would have come with a free safety pin and all.

Eb en Vloed. Claude

Had ik geweten dat Cloud, wat ik verstond, Claude was dan had ik misschien niet naar dit nummer gaan luisteren. Maar het is inderdaad de nieuwe single van de man die Nederland vertegenwoordigde op het Eurovisie Songfestival in 2025. Eb en Vloed is een lekker pop nummer dat aansluit bij muziek zoals die gemaakt wordt door een Amerikaanse band als The War Against Drugs, maar dat met a) een enorm shot pop en b) de mystiek die vaak te horen is bij een band als De Toegift. Claude speelt met alle drie deze onderdelen, geassisteerd door producer/co-schrijver Jeroen van der Voort. De derde schrijver is Arno Krabman. Zoals bij The War on Drugs heeft het nummer die enorme drive voorwaarts. Het tempo is niet zo zeer enorm hoog, maar laat je de hele tijd voorwaarts denken, als het surfen op een draaikolk. Ik ben prettig verrast door dit nummer van Claude, die overigens op een enkel woord na, volledig in het Nederlands zingt. Ook dat zette mij daarom op het verkeerde been. Cloud, eh, Claude, onthoudt die naam.

Pain. Janne Schra

There is a lot to write about Pain. How short it is, 1.45 minutes. The video could have been the set up of photo shoots of which each individual photo could go into a museum. More importantly, is the conclusion that it is a beautiful, serious song. In the past I have never been attracted to Janne Schra's music. It was just not made for my ears. Today I'm writing about a second single from her upcoming album, 'Work Out'. Pain is a bittersweet song, that mixes resignation and expectation, but above all is so warm. That warmth comes for an important part from the electric piano and from Janne Schra's voice. There are also some very nice details in the arrangement. The more you listen, the more details come forward. Pain is a beautiful song. 

Victim Of Luck. Metric

Canadian band Metric is on route to the release of its tenth album, 'Romanticize The Dive', 24 April. The new single announcing the album rang a faint bell. Metric? Searching the blog I found two albums, one from 2012 and one from 2015 (and a solo album by singer Emily Haines reviewed in 2017 by Erwin Zijleman). After that silence on these pages. What to expect of a new single? In short, a pleasant pop track with an electronic angle. Singer Haines has a voice like I mentioned recently in GUNMOLL's debut album, including a reference to Danish band The Astroid Galaxy Tour. All together that makes for a pleasant listening experience. Metric does not rock the boat in any way. It wants to please and succeeds.

Planet I.C.E. Dropkick Murphys 

It took the music world a while but protest songs are totally back in fashion. Now leave it to Dropkick Murphys to lead the punk pack. No nice Irish folk punk, uilleann pipes or tin whistles here. The band around singers Al Barr, who seems to have gotten out of hiatus for this song, and Ken Casey is angry and lets the world know it is, loud and proud. There is no holding back, pointing to scumbags and all. The song is one fast flow of anger oozing out of band and record. It's time more artists start speaking their minds as to all appearances democracy in the U.S. is in peril. "May you live in interesting times", is a famous Chinese quote. Well, at times things are becoming too interesting to my taste. Dropkick Murphys, sing loud, sing proud and I'll wear my hoodie from 2001 in support.

Qualm. KANT

More noise, but this time from Germany. The Aschaffenburg band KANT puts itself in the heavy psych rock niche and I can totally live with that. It takes a few seconds before the band takes off, where the tempo of the drummer already leaves no doubt where this song is going. The rest of the band is taking its time. KANT loves punk as much as heavy psych. The difference is the psychedelic effects on the guitars. Qualm is a song that brings the two sides together. This is a song that will invite one part of the fans to get into the moshpit while the others can move their heads up and down on the side and back of the venue, move on the spot and sing along. KANT knows exactly what it is doing and what effect it wants to reach. This tastes like more, but I understand Qualm is a 7" single only.

Camp Song. Lucky Break

What to make if 'Camp Song', one half of the single with 'City Lights' that both announce Lucky Break's debut album 'Made It' (8 May)? It is a short song, like the big hits around 1965, 2.30 minutes. The U.S. singer-songwriter, presents a song that can be played with an acoustic guitar around the campfire in the woods of Michigan where she wrote the song. What I hear, is a track that has a modern drumbeat and a wide arrangement in which a lot of things happen, especially in the choruses. Some sounds are easy to determine, others a bit harder. The combination makes for a song that has something of a singer-songwriter country song and an alternative twist. Believe it or not, I can, as it were, hear Tammy Wynette sing Camp Song, but also R.E.M. Now that is what I call a hybrid.

Deathwish feat. Mark Fry. The Haunted Youth

In 1979 The Cure released it's first album and one of the tracks, later re-released as single, is 'Boys Don't Cry'. 47 Years down the line the band gets an answer from a Belgium band correcting them. 'Boys Cry Too', is the name of The Haunted Youth's upcoming album (8 May). The single of the album has the uplifting title Deathwish. The music does not give that impression, unless its tempo suggests the equivalent of driving a car at full speed into a wall. It just may, listening to the chaotic end. The Haunted Youth goes at it like the siren rock of Big Country's signature song 'In A Big Country' and adds a relentless pace. The Belgian band sounds familiar because of this but because of the power it has put into Deathwish totally convinces. What the role of Mark Fry is in this song, I don't know. I do know this is not the Mark Fry who featured on this blog last year with 'Not On The Radar. The Demos'.

Wout de Natris - van der Borght 

Sivert Høyem live. Monday 9 February 2026, Paradiso Amsterdam with King Hüsky

Photo: WdN-vdB

The man with the arguably best voice in rock music this side of any Alps in the world, is on tour and one stop was in the Paradiso, Amsterdam. With his album, 'Exiles' out for 20 years and 'Lioness' for 10 and celebrating his 50th birthday on this tour, there was a lot to commemorate. Enough to release a best of album in 2026.

For my wife, seeing Høyem live was a first. (For me it was as a solo artist.) Her question was, does he really have such a beautiful voice? Having seen Madrugada live for the first time on tour supporting the 'The Nightly Disease' album, I knew the answer of course. Believe, me she was convinced. I was looking at an adoring face for most of the concert.

Høyem played a good cross section of his oeuvre. I had to admit that I am far less familiar with it as with his band's. Madrugada's albums have simply been played far more often. There is also another thing. When younger, lyrics are memorised far easier. In the Madrugada encore singing along was far easier for me.

Photo: WdN-vdB

Høyem's solo work is more varied, in the sense that the arrangements will go in far more different directions. In general he rocks a little less loud and that is o.k. I already have a 'Blood Shot Adult Commitment'. The blues infused atmospherics are regularly there. His voice is his voice and that pulls me so smoothly into his songs.

This is exactly what happened during the show. Song by song Høyem and band pulled me in further and further. Looking around me and over the venue's hall, I wasn't the only one. Even in the very quiet songs, people were totally quiet. No Dutch disease here this evening. The audience was very well mixed in age and gender. From 20 to 70 somethings, they were all there. And, if Paradiso wasn't sold out, then it may have been able to have a few dozen persons extra before it would have become uncomfortable.

Majesty, WdN-vdB

To have a legacy like the one Sivert Høyem has to tag along, is no sinecure. His band Madrugada made a musical difference to a lot of people and with Kaizers Orchestra and Motorpsycho is the best band to have come out of Norway, in my opinion. With his solo oeuvre he has come, by comparison, a very long way. But when 'Majesty' and especially 'The Kids Are On High Street' are played, I noticed the whole audience going one step further. But wasn't Sivert Høyem as well? It looked like it.

It all ended with the big ballad of his last album, 'Dancing Headlights', 'Hollow'. To leave us with a ballad does show how certain he is of the power of his ballads. and rightly so, 'Hollow' is a beautiful song. Conclusion, a near perfect show was played, near, as the guitarist made a few noticeable mistakes and a few times was mixed too loud. It was all forgiven, as it was a memorable show.

Then the support act. King Hüsky is a totally new name to me and will be forgotten quite soon. I am not sure I ever saw a less inspired and inspiring artist then King Hüsky. I realise it is not easy to stand alone on a stage with a slowly filling room in front of you, where most people will not be there for you. And being only one man, his voice and an acoustic guitar. But, he had a whole room to win. People were sympathetic, but not for a second I had the idea that the man wanted to conquer anyone. There's nothing more I can tell you, as not a single thing made a lasting impression on me, except the listlessness of the man. There's just nothing more to tell, I'm afraid.

Wout de Natris - van der Borght 

To Be Continued. ER Jurken

What a strange band name, ER Jurken. Now jurken is in Dutch the plural of jurk, meaning dress. Musically, the band reminds me of a lot acts, but I still have not really gotten my head around what. On top of all this, I've played the album multiple times in just a few days, so enough reasons to delve in a bit deeper.

E.R. (Ed) Jurken is the name of the artist. So, it is not a band but a solo artist. To Be Continued is his second album, after the release in 2021 of 'I Stand Corrected'. I'm not familiar with this album, but this one is going down really well. Jurken goes back to a time when bands wanted to write pure pop songs. Here and there I hear The Kinks in abundance, but combined with a U.S. country feel not unlike Midlake presents or Wilco with a 100% pop intent.

It is even more in the singing that I am triggered the whole time but my brain just doesn't find the answer so far, except that the harmony vocals bring me back to Midlake circa 20 years ago. The outcome is very varied songs, somewhere in between pop/rock and ballads. Enough of that, let's focus on To Be Continued.

ER Jurken plays songs that go to my brain immediately. Hundreds of songs and albums paved the way for this one to hit straight home. Because that is exactly what To Be Continued did, so I noticed. This album combines the best U.S. and U.K. pop music has to offer. Somehow it is a perfect amalgam. To perfect the music, Jurken brought in three members of Chicago's powertrio Junegrass, Ben Brazil, Grant Engstrom and Jack Schemenauer on bass, guitar, drums and percussion, his friend Jonathan Kult on piano and worked with Paul von Mertens who wrote the arrangements for the horns and violins. On top of this all are the heavenly vocals of Jurken and especially when he starts to harmonies with himself. At least my guess is that by far if not all the the layered vocals are Ed Jurken. The result is an exquisite experience to listen to.

Within a few days To Be Continued has made me an addict to the album. I just have to put on the album again and again. It has been a while since an album has made such a great impression on me. Experience teaches me that quite often an album like this may fizzle out soon after, but there are certainly very positive exceptions to this rule. Time will tell which way To Be Continued will go but in the mean time I'm going to enjoy it for the whole of the ride.

As I already wrote, the album is so varied. It can rock rather hard, like in 'Mighty And Concealed', and still have that flowing almost floating vocals. But also listen to how the lead guitar's solo mixes with the string section. This is something else. There is the light pop of 'I Do', with a country twang added for good measure. The pop ballad 'Morning Paper' is another example of variation. Again that singing is there. Musically, the album is top already but the harmony vocals are the extra layer making the album so much better.

I was totally taken by surprise by To Be Continued, as I started listening without any form of expectation. Within a few songs I knew I was in for a treat, for something special. ER Jurken managed to keep that expectation in place until the very end.

Wout de Natris - van der Borght

 

You can listen to and order To Be Continued here:

https://erjurken.bandcamp.com/album/to-be-continued-2  

 

Lightning Might Strike. Juliana Hatfield

Juliana Hatfield brak door in de jaren 90, maar gaat naarmate de jaren vorderen steeds betere albums maken, wat ook weer op gaat voor het deze week verschenen en echt uitstekende Lightning Might Strike.

Concurrentie had Juliana Hatfield, want bijna niemand brengt twee weken voor het eind van het jaar een nieuw album uit. Het is goed nieuws voor de fans van de Amerikaanse muzikante en dat is een groep waar ik mezelf zeker toe reken. Juliana Hatfield had ooit het patent op gruizige indierock, maar ze verwerkt inmiddels wat meer invloeden uit de pop. Het klinkt allemaal bijzonder lekker, zeker als de Amerikaanse muzikante ook nog harmonieën toevoegt, maar wat zijn de songs van Juliana Hatfield op Lightning Might Strike ook goed. De Amerikaanse muzikante heeft inmiddels een imposante stapel albums op haar naam staan en dit nieuwe album hoort absoluut bij de betere albums.

Ik had eerlijk gezegd geen interessante nieuwe releases meer verwacht nu het einde van het jaar snel nadert, maar een album van de Amerikaanse muzikante Juliana Hatfield is altijd iets om naar uit te kijken. Mijn eerste kennismaking met Juliana Hatfield stamt uit de late jaren 80, toen ze de band Blake Babies aanvoerde, maar mijn liefde voor haar muziek werd pas echt groot toen ze in de jaren 90 soloalbums ging maken. 

Juliana Hatfield was in de jaren 90 niet de enige muzikante die stevige gitaren combineerde met bijna lieflijke zang, maar ze behoort wat mij betreft tot het allerbeste dat de door vrouwen aangevoerde indierock uit de jaren 90 heeft voortgebracht. Objectief maakte ze haar beste albums overigens in het huidige millennium, met In Exile Deo (2004), Made In China (2005) en het onder de naam The Juliana Hatfield Three gemaakte Whatever, My Love (2015) als persoonlijke favorieten. 

Niet alles dat de Amerikaanse muzikante de afgelopen 25 jaar heeft uitgebracht was raak, zo heb ik wat minder met de albums die ze uitbracht met songs van Olivia Newton-John, The Police en E.L.O, maar albums met eigen en nogal politiek getinte songs als Weird uit 2019 en Blood (tot mijn grote verbazing niet besproken op de krenten uit de pop) uit 2021 waren juist erg sterk en moeten ook worden gerekend tot haar beste werk. 

Heel veel jonge vrouwelijke muzikanten uit de indierock van het moment hebben zich stevig laten beïnvloeden door de muziek die Juliana Hatfield met name in de jaren 90 maakte, maar zelf is ze de afgelopen jaren wat opgeschoven in de richting van een meer pop en rock georiënteerd geluid dat eerder aansluit bij muziek uit een verder verleden dan bij de indierock van het moment. 

De muzikante uit Massachusetts, die haar voormalige thuisbasis Boston inmiddels heeft verruild voor een plekje op het platteland, werkte twee jaar aan het deze week verschenen Lightning Might Strike, waarbij ze werd geholpen door een bassist en een drummer, die van afstand hun bijdragen aanleverden. De rest deed Juliana Hatfield zelf, inclusief de harmonieën. 

Lightning Might Strike is getekend door de ziekte en het overlijden van dierbaren van Juliana Hatfield en is een album met het (nood)lot als centraal thema. In tekstueel opzicht is Lightning Might Strike (de broer van haar moeder werd op jonge leeftijd door de bliksem getroffen) een wat somber album, maar de songs van Juliana Hatfield klinken meestal behoorlijk opgewekt en dat is dit keer niet anders. 

Zeker op haar vroege albums klonk de stem van de Amerikaanse muzikante nog erg meisjesachtig, maar de zang op Lightning Might Strike is echt uitstekend en heeft nog altijd het uit duizenden herkenbare geluid van Juliana Hatfield. Hier en daar hoor je nog flink wat flarden van de muziek die Juliana Hatfield in de jaren 90 maakte, maar Lightning Might Strike klinkt wat minder gruizig en sluit bovendien wat meer aan bij de popmuziek die vanaf de jaren 70 wordt gemaakt. 

De muzikante uit Massachusetts liet op al haar recente albums horen dat ze een gelouterde en uitstekende songwriter is en ook op haar nieuwe album schudt ze de ene na de andere memorabele popsong uit de mouw. Ik gaf eerder al aan dat Juliana Hatfield in het huidige millennium haar beste albums heeft afgeleverd en Lightning Might Strike past qua niveau prima bij haar andere recente albums.

Erwin Zijleman

 

Je kunt Lighting Might Strike hier luisteren en bestellen:

https://dekrentenuitdepop.blogspot.com/2025/12/review-juliana-hatfield-lightning-might.html