Roots. Children of the Sün

There's a time to rock and a time to roll. With Sweden's Children of the Sün it is time to rock. With its second album, Roots, following up on 2019's 'Flowers', the band sets a decisive step. Grabbing influences as far and wide as Within Temptation and Led Zeppelin, with just about everything in between, Children of the Sün always rocks out, while never forgetting about a strong vocal melody.

From the very start with 'Reflection' Roots had grabbed me and simply did not let go. Singer Josefina Berglund Ekholm is all over the place, but always in taste and never overdoing it. She has the kind of voice that is able to caress and scream out all ghost and demons in a pure form of exorcism. Such tremendous power comes through her larynx that my first instinct is to take cover and only then realise I have to enjoy what I'm hearing. As it is fantastic what she does. Ann Wilson, Anneke van Giersbergen, Sharon den Adel, just a few names to give you an idea.

The band behind her, as in the band sound's mix, is able to follow the mood and atmosphere swings of Berglund Ekholm. This band knows how to utalise dynamics in songs. The six piece is gender unbalanced, with the ladies winning. This does not prevent the band to rock. At the same time Children of the Sün shows sensitivity as well, if only because of the female voices leading up front.

Musically, it is not 100% easy to pin down Children of the Sün. The (classic) rock elements, going back up to over five decades, are easy to discern. There is a little grunge in there as well, as there is a mild psychedelia. At the same time this band is not afraid to add some ballads in the best Heart tradition, so a little folk is in there as well, just like there is goth, as I'm remembered of The Gathering and Within Temptation. All together it makes Roots a surprising album, as the listener does not get a one size fits all kind of music for his money.

Promo photo

Take 'Eden'. A piano driven ballad showing how good Josefina Berglund Ekholm can sing. Recorded with a lot of strength but without huge guitar and drums explosions. This is a beautiful and calm ballad, worked out and arranged beautifully from beginning to end. Anyone expecting 'Reflection', the opening song of Roots, to be the standard, may even find himself fooled. The incredibly strong song, with Josefina Berglund Ekholm at her top performance vocally, is almost the odd one out, because Children of the Sün is much and much more than a hard-rockin' grungy band. Take the ride Roots is and just follow its directions.

Another band in 2022 took me totally by surprise. A new name to me and a joy to add to my collection. With enough in it to stimulate me to listen to old favourites once again, while having enough steam and power of itself to want to get to know Roots, a lot better. This album contains more than enough to cater to the desires of any (classic) rock fan. And what a voice. Allow me to stress that once again, without taking anything away from the band, as it plays beautifully and at times crystal clear. Roots, get yourself acquainted with it.

Wout de Natris

Kairos 132, 2 September 2021

Catching up is a hard thing to do, with so much other things in music happening and there are not even live shows. Well there are, but I've decided to skip them for a while longer. With Kairos I'm six months behind actually, but luckily for me it is without consequence and it remains something special to do: listen to an hour of music, that more often than not is removed miles, oceans, deserts and mountain ranges away from what I listen to on a regular, as in daily basis. It's time to submerge myself in an hour of music that was broadcast in September on Concertzender last year. Read this and follow me, click on the link below and let's submerge together on the other side.

The familiar tune, mysterious and promising in one, rings out and fades away to start the programme. Just as mysterious music sounds out, interspersed with a single piano note. A female voice starts singing. It could be any of the female singer-songwriters that have stampeded the world in recent years. However, as far as I'm aware, I have not heard this song before. It is Marta Del Grandi's 'Taller Than His Shadow'. The mix of the hovering soundscapes, coming close to traditional accompaniment and her high tell-singing voice give the song something ghostlike, yet beauty. A violin comes screeching in, giving the impression of a creaking door in a haunted house. Something with shit and fans is about to happen, it seems, were it not that Marta del Grandi fades out,

to give way to Minco Eggersman. It has been a while since he was on the programme. The eeriness gives way to something more light, with a rhythm like a fast heartbeat, the music is somewhere between folk and (modern) classic. To change into something of absolute beauty. Give this to Madrugada, imagine Sivert Høyem's deep-bronzed voice and one of the best rock ballads of the 21st century may emerge.

The mood changes to the more mysterious again. A sound like a looped and treated voice and sounds is what makes the music in the background. On a few occasions I have seen how an artist creates music like this in a live setting. Always in awe how this is possible. A voice is talking over the looped sounds but I'm not following the deathlike voice and find myself concentrating on the human flies buzzing and buzzing, creating a swirling feeling around the voice.

The buzzing continuous when something else comes in. Piano notes, a violin, re-establishing the previous mood. 'Kaykasia', the album of Eggermans is called. After a rising of the violins, a piano takes over.

Tom Snijders is a new name to me. One in a long list by now of pianists, recording solo albums with their compositions. I'm totally unable to tell them apart. Following Eggerman's mood, Snijders works quite well. His 'Sweet memories (For A)' work really well on a Sunday afternoon, I notice. If anything, Snijders caught the sweet memories in this, soft, slow, melancholy music, with the piano playing slow notes and sparse chords over a faint accompanying sound, that may be looped violins. Slow does it here.

Another name that I can't recall comes in next. Again, the music is part a soundscape meandering slowly in the background. Over it some percussion is played. I can imagine a heavy bass coming in, to start a rock song anyway, but no, in reality all sorts of sounds jump forward, only to disappear once again. Moritz von Oswald Trio's 'Chapter 3' is presented to me. It is hard to make heads or tails. This music is certainly special and reaches me, but what I miss is structure, a song. As I already wrote, I could literally hear a bass guitar coming in and introducing a song, a great song even, using the soundscape to set it apart and make it special, but it is not to be. And that is what baffles me.

There's no time to reflect further as another change is announced. Kairos is getting a move on in this episode, with little time for reflection. In fact, I find myself pausing it continuously, something I hardly ever do, to have the chance to finish my train of thought on the music. The change is to another soundscape with treated choir voices or an expensive synthesizer of course. Sounds that come at me, "like the waves out on the beach". to quote Jim Morrison. 'Bending Dreams' by Eluvium' is what I'm listening to.

A song takes over. There's a repeated chord progression and I'm in more familiar territory. Not that I know the song, but I could have, that's for sure. A singer with a voice somewhere in between Kate Bush and Josephine Foster is singing with a soft voice. 'Burn Me Again' by Alpha certainly is influenced by Kate Bush. I recognise a specific kind of chord change, besides the voice. At the same time Alpha is far less commercial than the early Kate Bush. "Burn Me Again", sounds like a witch asking for an encore, I realise. I'm sort of shocked by my association, as it's a rather harsh thing to think.

Before I can follow up this realisation, the song is gone. The mystery is what remains. This song is darker. The desire has left Kairos, that was definitely in Alpha's song. 'Frontplate' it's called and over.

A choir comes in, dark male voices dominating my ears all of a sudden, but also not naturally but treated, looped. This is classical, if not church music. I hear a church organ accompanying the, now, natural sounding voices. A woman's voice shoots up high, close to my ability to cope. It is a short composition by Arvo Pärt called 'Veni Creator Spiritus'. Not my kind of music, you will not be surprised to read if you follow this blog. But, let me add, that were I to enter a cathedral and the choir was practising this work, I would definitely sit down to listen with my eyes closed. Even when something is not my music, I can enjoy the sheer beauty of the vocal performance and the acoustics of the cathedral.

Another soundscape takes over. Mysterious sequences and crackling noises, radio frequencies and what not are interspersed in the slowly building tension in the soundscape that gets louder and louder. Reign does not get to deliver a climax, if there ever is one, I don't know, as it's 'Endplate' gives way to another piano.

It is Jeroen Elfferich returning to Kairos. His work is more intricate but also almost minimal as the same progression is played over and over, until a new one is thrown in and repeated over and over. "Fine' is a track from his album 'The Minimal Piano Series Vol. 1'. It is kind of funny, this music, waiting for something to happen. That is what this music is. Can another variation of notes by added to the existing ones? The answer is yes, it takes patience, but the difference can be a small halt before the next, yet same note is played, changing the feel of 'Fine'. "Fine' literally is the point of rest in this Kairos. After having been hurried along for over twenty minutes, Elfferich gets eight minutes to play his piano in a tender, yet decisive way. The main melody does not know any hesitation. The left hand countermelody is where the hesitation and other feelings and emotions are found. Fascinating.

The change is that as well, as some mysterious sound creeps in together with a weird, digital percussive sound, as if coming to me from underwater. 'Dream 52' by Johanna Knutsson & Sebastian Mullaert brings me in a totally different world, totally unknown as well. I notice I feel like captain Kirk after having been beamed down by "Scotty" to another unknown planet. Friendly? Unfriendly? Kirk can't tell but the accompanying music by Johanna Knutsson & Sebastian Mullaert is ominous. This does not bode well for the (anonymous) Enterprise's crew. The only comforting sound is the bird song, that does sound familiar. Luckily, we know that after a few setbacks, Kirk always prevails.

More piano. Again slow played notes and chords. Extremely delicate and some chords played so hesitatingly, it is as if the composer is making them up on the spot. As if what I hear, is what was thought up while I'm listening. However, slowly but surely Roger Spees is finding his stride, and turns 'Feeling Of Hope' into a beautiful composition.

When a more eerie tone comes in, it's clear that Spees' time is up already. His final note fades away in a singing saw kind of sound, that goes on and on. What is happening here? Is this it? Yes, it is what Rutger Zuydervelt shares with us this month.

He fades away underneath a very traditional sounding voice. "If you've got leaving on your mind", it sings, accompanied by an acoustic guitar. Totally timeless, although there is a traditional country feel to it. I've never heard this before. So what is it? Patsy Cline. An American country singer who is dead for a very long time. A famous name I think, but from before my time and not something my mother brought with her from Canada. So, it passed me by. I may have missed out on something though, as I really like this song. With a brave lyric by the way. The music is on the verge of horrible country music but is not. Cline strikes the right tone and the irritating fiddle and banjo's, in the wrong kind of country song, are all missing. And then I read some more. This is not Patsy Cline but Brigid Mae Power who sings 'Leaving On Your Mind'. This explains why the song sounds so modern (and perhaps the lack of fiddles and stuff). Despite the misunderstanding, I stand by my words.

More soundscapes that come in underneath Ms. Power. It is Yiu Onodera & Celer's 'A Renewed Awareness of Home'. Droning music comes into my ear, with the, for this Kairos, characteristic waves on the beach sounds. Sounds that come and go. Until they solidify somewhat, I notice. Some percussion comes in, in the form of sounds that is, and very wide apart. It's mysterious and baffling. What to make of it? I really have no clue.

I'm saved by a guitar and a high voice. Faintly I recognise the music, as I'll admit not to have played the album a lot after reviewing it last year. Hearing 'Mirror', I have to admit to that having been an omission. Sufjan Stevens is revered by many a critic, but never did much for me. Not in the beginning of his career and not in the 10s. His cooperation with Angelo de Augustine was to my liking and perhaps I should be listening to it more. The song comes by twice it seems.

Slowly but surely sounds can be heard that are not a part of 'Mirror. Finally, weird sounds take over completely. Don't ask me to speculate on what it is. Industrial rhythms take over. Sounding a little like the 'Rain Chant' at 'Woodstock'. Everything available to ram on is used by Moritz von Oswalt Trio. 'Chapter 7' even turns into sounds resembling a melody, the percussion into real drumming. Something is really happening here. There's no need to imagine a bass guitar here or whatever. The trio does its own thing, no matter how mystifying at times.

 My apologies, I only now notice that I have missed one composition. Every four seconds of it! To atone, I've added the cover art. Let me know if you notice.

Wout de Natris

Click here to listen:

https://www.concertzender.nl/programma/kairos_624858/

 

Playlist. Kairos 132

00:00 – 00:16  Kairos Tune by Wino Penris.

00:10 – 01:57  Marta Del Grandi. Taller Than His Shadow. Single. Fire Records.

01:38 – 04:31  Minco Eggersman. The Crossing Place. Album ‘Kavkasia’. Volkoren.

04:08 – 06:34  Héctor Oaks X Coco-Paloma. Intro. EP ‘No Hay Mañana. KAOS.

06:16 – 07:24  Minco Eggersman. Hidden in Clouds. Album ‘Kavkasia’. Volkoren .

07:14 – 09:47  Ton Snijders. Sweet Memories (for A.)
Album ‘Solo (2*). Munch Records.

09:25 – 12:16  Moritz von Oswald Trio. Chapter 3 (partial).
Album ‘Dissent‘. Modern Recordings. 

11:34 – 14:15  Eluvium. Bending dreams. Album ‘Similes’. Temporary Residence.

13:50 – 18:00  Alpha. Burn me again (partial). Album ‘The Sky is Mine’. Green UFOS.

17:41 – 19:41  Reigns. Frontplate. Album ‘The House on the Causeway.
Monotreme Records.

19:29 – 22:49  Arvo Pärt Veni Creator Spiritus. Theatre if Voices/Ars Nova Copenhagen/Paul Hillier. Album ‘Creator Spiritus’. Harmonia Mundi USA.

22:29 – 24:30  Reigns. Endplate. Album ‘The House on the Causeway.
Monotreme Records.

24:20 – 32:03  Jeroen Elfferich. Fine. Album. The Minimal Piano Series Vol I. BSR.

31:17 – 38:56  Johanna Knutsson & Sebastian Mullaert. Dream 52.
Album ‘In Dreams- Live At De Waalse Kerk 2019’. Circle of Live/Modern Matters.

38:35 – 41:46  Roger Spees. Feeling of hope. Album. ‘Piano Tales’. Self-released.

41:10 – 41:14  Heinrich Schütz. Ego sum tui plaga doloris (fragment), from ‚Cationes sacrae quatuor vocum (SWV 53-93). Album ‘Schütz, Cationes Sacrae – Kleine Geistliche Concerte I – Madrigali. Brilliant Classics.

41:28 – 42:40  Rutger Zuydervelt. Sol sketch 7. Machinefabriek.
Album ‘Sol Sketches’. Self-released.

42:30 – 45:27  Patsy Cline. Leavin’ On Your Mind. Brigid Mae Power.
EP ‘Burning Your Light’. Fire Records. 

45:14 – 49:21  Yiu Onodera & Celer. A Renewed Awareness of Home (partial).
Album ‘Generic City’. Two Acorns.

49:08 – 49:14  Sufjan Stevens & Angelo de Augustine. Mirror (fragment).
Album ‘Chorusing. Secretly Group.

49:14 – 54:01  Sufjan Stevens & Angelo de Augustine. Mirror.
Album ‘Chorusing. Secretly Group.

53:52 – 59:57  Moritz von Oswald Trio. Chapter 7.
Album ‘Dissent‘. Modern Recordings.

The Origin Of Air Quotes. The Slow Clock

There are albums that pose a challenge to me. The kind of album that I instantly like but can not find the right angle to write about. The story does not present itself to me. Like what happened to me at my final high school exam Dutch, where nothing presented itself as it always had in the past. I simply had nothing to say on any of the topics.

It's here where I have the advantage. The Origin Of Air Quotes is a fine, no, more than fine album and surpasses everything I have heard by The Slow Clock so far and that is a good place to start.

The music is on the alternative side of pop music, but pop music it is. At times pretending to be uglier than it is, at times going for the pearls or for the speed while displaying a great melody. The Velvet Underground, Django Django, The Cure influences all can be heard. Obvious alternative rock/pop influences. There's also a nod to The Beatles in the harmonies and a sprinkling of Frank Zappa in the weird voices here and there. In other words, varied.

The Slow Clock fits in at the fringe of what is happening in alternative rock all over this country in the past few years. It could make songs like this, but after shedding youthful exuberance, The Slow Clock is able to present a deeper layer within its songs So, less effect by making the melodies come out more and shine, real bright.

I have never met Harmen Kuiper, as he is The Slow Clock, but I imagine someone going to his job during the day and hone his songs in his spare time. A lot of love and hard work must have gone into working out these songs, so a lot of spare time. Every single one sounds just right. The right lick, the right sound, different voices for different songs. Put the album on and be amazed how diverse it is. And how exciting some of the songs are. The one because it is up tempo and exciting, the other because of the way the guitars only barely fit the others' melodies or just because of the beauty contained in the songs. All together, you will find there's a lot going on on The Origin Of Air Quotes.

All that hard work paid off. This album is a modest album, because Kuiper wanted it to sound modest. You do not find things that do not need to be there. What I hear is exactly enough. Not long ago I wrote of New Zealand's Pickle Darling and Astral Swans from Canada. Somewhat longer ago on Moon Moon Moon from The Netherlands. The three one man bands are certainly kinsmen of The Slow Clock. With ease The Origin Of Air Quotes fits in with the quality of these albums.

What makes up a masterpiece? For me, in music, three album come up immediately, well four, two by the same band, 'Abbey Road', 'Wish You Were Here'/'Dark Side Of The Moon'. 'Grace'. No, sorry, The Origin Of Air Quotes will never fit in between there. I will go as far as calling it a modest masterpiece. The songs are all intricately made, well-thought out and able to truly reach me. The album has a few songs that stand out in a way the best Django Django song, 'Giant' does. 'Like Another Leopard' is one of these songs. 'Cutting A Zero' could have been a relentless rock song, but here is the 'Giant' quality once again. In the slower segment, start with 'Inappropriately So' and the next song on the album, 'Monumental'. It all points me to the overarching conclusion, The Slow Clock does not have to resort to effects to bring out its best. The song does the work all by itself. Of, course, there is an embellishment in the form of a harmony vocal or extra guitar line. They all strengthen the end result.

I've said what I wanted to say, I think and emerge myself once again in 'Cutting A Zero'. What a song! And what a lot of words for someone who had no idea where to start.

Wout de Natris

Violet Light. Maya de Vitry

Niet zo lang geleden had ik nog nooit naar de muziek van de Amerikaanse muzikante Maya De Vitry geluisterd, maar haar recentelijk verschenen album is me in de afgelopen weken zeer dierbaar geworden.

“Each track on the album features a unique band”, aldus de bandcamp pagina van de Amerikaanse muzikante Maya De Vitry. Het leek me geen aanbeveling, maar Violet Light klinkt verrassend consistent en over de hele linie prachtig. De instrumentatie op het album is warm en zeer smaakvol en dat zijn kwalificaties die ook zeker van toepassing zijn op de zang van Maya De Vitry, die imponeert met haar mooie stem. Violet Light klinkt vaak als een volstrekt tijdloos singer-songwriter album, maar hier en daar slaat de balans door richting Amerikaanse rootsmuziek. Door de sfeervolle klanken en zang verleidt dit album makkelijk, maar het groeit ook nog een tijd door.

Ik ben de naam Maya De Vitry in het verleden wel eens tegen gekomen, maar ik had volgens mij nog niet eerder naar haar muziek geluisterd. Haar deze week verschenen derde album Violet Light is daarom mijn eerste kennismaking met de muziek van de singer-songwriter uit Nashville, Tennessee, en het is een bijzonder aangename kennismaking geworden. 

De Amerikaanse muzikante beschikt over een zeer aangename en ook erg mooie stem en heeft haar nieuwe album ook nog eens voorzien van een mooi en sfeervol geluid. Dat geluid kwam op bijzondere wijze tot stand want Violet Light werd opgenomen met een enorme waslijst aan muzikanten, die vanuit meerdere studio’s bijdroegen aan het album. 

Maya De Vitry koos voor iedere track op het album de muzikanten uit en deze speelden hun bijdragen al dan niet van afstand in. Dat fysiek samenkomen in de studio lang niet altijd nodig is, is de afgelopen twee jaar wel vaker bewezen, maar het kiezen voor steeds een andere band voor verschillende tracks op een album is niet zonder risico. Met zoveel verschillende muzikanten wordt het geluid op een op deze wijze gemaakt album al snel een bonte lappendeken, maar Violet Light van Maya De Vitry klinkt verrassend consistent. 

In iedere track nemen weer andere instrumenten en muzikanten het voortouw, maar omdat de sfeer van de tracks niet wezenlijk verandert en de stem van Maya De Vitry centraal staat, komt de consistentie van het album niet in gevaar. Het levert overigens wel flink wat muzikale hoogstandjes op, al spelen de muzikanten op het album vooral ingehouden. 

De sfeer op het derde album van Maya De Vitry is de sfeer van een tijdloos singer-songwriter album, al kan de muzikante uit Nashville hier en daar ook flink opschuiven richting de Amerikaanse rootsmuziek, wat een gevarieerd album maar zoals gezegd ook consistent klinken oplevert. 

Maya De Vitry tekent op haar nieuwe album niet alleen voor hele mooie vocalen, maar ook voor andere akoestische en elektrische gitaren, banjo, viool en kazoo. Het legioen muzikanten dat haar bij staat op dit album voegen onder andere mandoline, bas, drums, orgel, keyboards, blazers, strijkers en een pedal steel toe aan het warme geluid op het album. Verder dragen meerdere zangeressen, onder wie Maya’s zussen Monica en Nina De Vitry achtergrondvocalen bij. 

Het levert een zeer smaakvol geluid op, dat ondanks het grote aantal instrumenten dat is ingezet betrekkelijk ingetogen klinkt en heel veel ruimte open laat voor de prachtige stem van de muzikante uit Nashville. Violet Light van Maya De Vitry is een tijdloos album, dat moeiteloos een aantal decennia geleden gemaakt had kunnen worden, maar dat ook niet misstaat in het heden. 

Het is bovendien een album dat kwaliteit ademt. Die kwaliteit hoor je in de bijzonder fraaie klanken, in de mooie warme productie van Ethan Jodziewicz en Maya De Vitry, in de geweldige en soms uit de tenen komende zang van de Amerikaanse muzikante en in de uitstekende songs op het album. 

Direct bij eerste beluistering was ik elf songs en ruim een half uur (waarom worden er momenteel toch zoveel wat mij betreft net wat te korte albums uitgebracht?) onder de indruk van de muziek van de singer-songwriter die mij tot dusver nog niet was opgevallen, maar sindsdien grijp ik met enige regelmaat naar dit prachtige album, vooral wanneer de zon onder is buiten regen en wind de dienst uitmaken.

Erwin Zijleman

Singles, week 11

In week 11 there is, once again, a very diverse set of recent singles we can present to you. There are even two songs that could be called protest songs for the 21 century. You will find songs from Ireland, all the way to a near devastating single from New Zealand and a lot in between. Enjoy!

Vrijheid, Gelijkheid & Zusterschap. Sophie Straat

Wat een grote beelden, woorden en uiteindelijk ook muziek. Sophie Straat schopt de moderne wereld eens hard voor de kont en zegt waar het staat in de 21e eeuw, ook al lijkt het soms de 18e als ze om zich heen kijkt. "Vrijheid, Gelijkheid en Zusterschap", parafraseert Sophie Straat de slogan van de Franse Revolutie voor 2022. Muzikaal gaat het alle kanten op, maar een ding is zeker, het nummer settlet zich vrij makkelijk in mijn brein. Het rockt allemaal heel beschaaft. De muziek is duidelijk aanwezig, maar zeker ondergeschikt aan de boodschap. De tekst somt ongeveer alle achter- en misstanden in de wereld op, met als uitkomst uiteindelijk vrijheid, gelijkheid en zusterschap. Allemaal onderstreept met een aan Brian May referende gitaarsolo. Als de wereld, zowel hier als elders, haar stevig meegedeelde boodschap overneemt, is het snel geregeld. Voorlopig wishful thinking, maar het is maar weer eens gezegd. Luid en duidelijk, nog een keer dan: "vrijheid, gelijkheid en zusterschap".

This Free Life. Jane Willow

The new single and video is one big complaint on the housing market in Dublin, where it becomes impossible for most people to buy or even rent a decent home in the city. Welcome in our new world. Now housing crisis is a topic I have heard for over decades, but never as acute as in recent years. Anyone who follows Jane Willow knows how serious the topic is for her and many, many others in Ireland. The song, from her debut album, Burn So Bright, is one of the stronger ones on it. It has power that reflects the anger she feels. The strings create a swirl that meets the anger and the power exactly in the middle, giving the song an injection that lifts it tremendously. The guitar chords and organ provide a pop feel that gives the song a sing along quality as well. Many different parts make up a strong song, getting the accusation against modern society over even better. A protest song in 2022. Who was it who said recently that they don't exist anymore?

Won't Let Go (Ode To Dan Vapid). J. Prozac

With the title song of his album J. Prozac unleashes another burst of energy into the world as if it is not coming out of a two year lockdown. Can it keep up with this much energy? It will have to as there's no return from listening to Won't Let Go. Punkrock at its most punkrocking kind of fun. Incredibly tight and loud drums propel the song forward. The pounding on the skins is everywhere and then some more when the song calls for it. The bass finds its way in between it all with some nice runs, giving it some great accents. Finally there's a wall of guitars providing the melody, the rhythm and the soloing. There's a lot going on in just a few minutes. J. Prozac knows how to build up a punkrock song of near epic proportions.

Solitaire. Donna Blue

Recently Donna Blue announced its debut album, to be released in May. Finally, I might add, as it has been a long wait, undoubtedly with thanks to the pandemic. On the other hand time flies and gives us the second single from the album. Solitaire is a return to the French language and Danique van Kesteren as lead singer. Of course, the 60s vibe is all over Solitaire. If the song had been made by France Gall in 1965, would it have won the European song contest too?, no one would have been surprised. Solitaire has that quality, in sound and feel. The surf lead guitar, played by Bart van Dalen, is what sets the song somewhat apart. It gives Solitaire a harder core than the French sigh girls had at the time. The orchestration and organ are totally authentic. A quality Solitaire also possesses is playfulness. In the, always, longing timbre Danique van Kesteren can put into her singing voice, something naughty is shining through, underlining the playfulness the song contains. With Solitaire Donna Blue has made me even more curious for what lies in store with 'Dark Roses'.

Bottle It In. Sulfate

Bottle It In is more an experience than a song, at first hearing. The music pounds it in. While later in the song it is hammered in, without pause. "Protect your child, from earthly desires" is the fist sentence shared with the listener, in a dark voice in between singing and speaking and later referring to the single's title. The result is a long song, over six minutes. The atmosphere is almost claustrophobic with loud sounds coming from everywhere around. I can imagine Bottle It In to be totally intimidating for a lot of people. Sulfate is the other band of Wax Chattles' Peter Ruddell, with David Harris on drums and Hariet Ellis on bass. The album, 'Godzone' was released in September of last year but totally passed me by. So to make a little amends, here's the spotlight on Bottle It In. An alternative, dark rock song that sets itself apart by giving no quarter and follows its own relentless route. Impressive is the word.

On Time. The Riven

Straight up rock comes from Sweden today. On Time is labelled as metal, but what I hear is Jefferson Starship of the first half of the 80s with only a little red peppers added to the mix. In other words, a great melody is joined by a couple of great guitar riffs and fiery solo. Grace Slick and Mickey Thomas are replaced by singer Tote Ekebergh, who can fill in for both. On Time is gloriously up tempo. The Riven knows how to write and present a good rock song. The bass and the guitars all have interesting parts to follow. A guitar duel here and there. The three men can all play, that much is clear. From the opening riff, returning all throughout the song, to its final notes, On Time rocks and holds enough of a pop element to please both sides of the coin.

Absolute Maximum. Scrunchies

Absolute Maximum is the second single of Scrunchies' upcoming album 'Feral Coast', out on 1 April, unless a joke of course. Listening to this single, my take is Scrunchies don't do jokes. At least not where its music is concerned. Also on Absolute Maximum the trio goes full out. Danielle Cusack fills everything and then some with her drumming, not unlike Meg White did in her days before retiring. The fuzzed bass of Matt Castore takes care of the deep end of the song, while guitarist/singer Laura Larson fills up the spaces up front. The sound as such can be called ugly and it may well be Scrunchies takes that as a compliment. This song isn't about beauty but about the absolute maximum effect of the music. The hard rocking riffs, the feedback, the fuzz, its all straight in the face of the listener. About as radical as New Zealand's Wax Chattles, but more straight forward punk, Scrunchies is. This is not music take take on without gloves and please, steer away from it on a loungy Sunday afternoon. Go for it on a weekend night though. Pogoing guaranteed, as this is punk for the 20s.

Livin' The Dream. Speedfossil

My favourite singing accountants return to the blog. What I'm hearing does not match my eyes looking at the accompanying video. Speedfossil makes a fantastic alternative pop song of great quality. This is what this review should be about and is. Livin' The Dream brings pop music from a couple of decades together with a more alternative pop/rock kind of music, resulting in a tight rhythm guitar in the middle of a playful song. Speedfossil is not satisfied with one single idea in a song. Livin' The Dream contains several and all worked out to make it perfect. So expect tempo changes, interludes and horn arrangements. It even holds a prog element in the solo interlude. Can I be surprised by music after listening to new songs for decades? Yes, easily and fairly regularly as well. It may well be that Speedfossil's new single is one of the extra category. Previous single 'Luckiest man In The World' was nice, Livin' The Dream is something else alright. The band ought to be starting to live it on the basis of this song quite soon.

Come With Me. Aaron Skiles

Some more alternative rock, from the U.S. this time. Aaron Skiles presents a mix of Ronnie Wood solo lines, Boston circa 1990 alternative rock with a Dinosaur Jr's., so J Mascis' voice, with a dark garage rock shade combined all in one. Come With Me is a hybrid song in several ways, but a rocker in all. Within its three minutes and a little it combines undercooled singing with energy, like a frozen waterfall. The main chord progression gives the song even a touch of aggression, underscoring the chorus line "I wanna lose myself tonight". Not much later the main solo's of the song burst lose as well. It may be 2022 but a grand rock song built around a powerchord riff is still made today. Skiles, usually in Bourbon Therapy, surrounded himself with two Drive by Truckers, including Matt Patton with whom he wrote the upcoming album, Wreckage From The Fire', due on 22 April. If Come With Me is anything to go by, it is going to be interesting.

You, Me And Everything Else. Friendmaker

This week we finish with a debut single and second single coming out of Ireland. Friendmaker is a new band from Carrickmacross, close to the Northern Ireland border. The music is as atmospheric as I remember the Irish countryside to be from my one time visit in 2004. Anything can happen, weatherwise, and these unexpected changes are reflected in You, Me And Everything Else. A storm coming in on a beautiful and sunny, almost windless day. Coming in from over the Atlantic, announcing itself for hours on end. Exactly in this way Friendmaker's first single slowly builds up, with this difference, Frienmaker's storm remains well in the bounds of being acceptable. The storm in Doolin blew one of our tents apart.

Yesterday, I heard 'Fuzzy', the song that introduced Grant Lee Buffalo to me about half a life ago. One of many songs that somehow disappear, but not from memory. I could instantly sing along with it and felt the same warmth as in 1990 plus a few years. You, Me And Everything Else has the same effect on me, I notice. The song holds an inner beauty. It's like a light burning from the inside, setting everything aglow. Slowly but surely more elements are added to the one man and his acoustic start. It fleshes the song out in a delicate but decisive way and a lot of good taste. What an introduction to a new band this single is.

Wout de Natris