Drew Davies “Codename: Softboi”
Drew Davies shares genre-bending, stadium-filling single “Codename: Softboi” vocalizing the toxicity that exists in today’s online dating. With lyrical sentiments that echos the work of contemporary artists such as Alex Cameron, John Grant and The Horrors, “Codename: Softboi” explores a glamorous retro soundscape with a 90s alternative rock edge, fusing nostalgic flair into the sensual modern vocabulary. As classic as it is disobedient. As timeless as it’s relevant, “Codename: Softboi” sees the beautiful collage of contrasts.
Davies calls out gaslighting, a form of manipulation, often used by modern-day playboys within the scope of online dating. Speaking about the song, Davies revealed that the song Softboi serves as a “satirical examination” of sexual predators who’d appear as “prince charming” only to reveal their true “lascivious desire” when they become impatience. “Toxic Masculinity is a theme examined often in the world of alternative pop by artists such as Kirin Calinan and Alex Cameron,” said Davies. “I wanted to take a close look through an alternative rock lens.”
As an artist, Davies engages in discussions of art and pop culture through his music-making. Drawing vast influences from the past while absorbing and adapting to changes, Davies’s work is constantly evolving. Unpredictable but always grounded, he brings back the pieces that are missing in today’s world. He gazes into the brokenness and ugliness but never fails to hope and dream. His songs are hard-hitting and thought-provoking.
Como “Worry”
Intimate and deeply revealing, Como releases “Worry,” speaking about a breakup and all its entangled threads. Inspired by her own life, “Worry” reads like a diary that gazes into her sadness and heartbreaks, but something else also happened when her words meet the music. Intense but aesthetically pleasing.
The Australia-based singer-songwriter tackles the experience of seeing your relationship fail and your partner drifting away, but instead of drowning, “Worry” is cathartic and therapeutic. With a luscious mood and intoxicating beats, the warm sounds of an old baby grand flow underneath Como’s smoothly stunning vocals as the duality of loss and hope engages in a melancholy tango. Everything is everywhere. Authentic and a little mystical.
It feels like something magical happening in her music, but to Como, it always comes back to real life. The three-time Austrian Music Award-nominated artist explains, “My muse is real life and real people, the complexity of our feelings, the good ones as well as the bad, and the fact that they sometimes come in strange couples.”
Como released her debut single “Suitcase” with Sony Music in 2013, and the track immediately took off. However, unlike most artists who would soon lose themselves in the business world, Como decided to pull back and refocus on what mattered the most to her, which was her music. Now as an independent artist with no restraint and plenty of ideas, Como is on the rise.
Tedworth “Going Under”
Tedworth is a humble and authentic artist, but he’s definitely not one that should be overlooked. With an intuitively industrial edge and indie emo aesthetic, “Going Under” is unmistakable and massive. From the instruments to the vocals to the lyrics, every aspect of the song feels very special. There are a lot of feelings wrapped up in the sonics, and they scream out to you in a brutally direct manner.
You can’t help but feel deeply while you listen—the frustration, anger, loss, and confusion that’s weighing down one’s spirit. But from the moment the track starts its pulse, persistence casts away the clouds that have been blocking your vision.
“Going Under” tells the story of losing hope and the will to live. Like many creative minds out there, Tedworth has once lost his way to the things he loves. He hit rock bottom. But working on “Going Under,” music again reminded him that there’s still so much to fight for. Unraveling in a heavy undertone, “Going Under” is about resilience.
The stadium-filling single is a hard-hitter that easily resonates with everyone who has ever experienced depression, anxiety, and hardship in life. It’s cathartic and atmospheric, metallic and confrontational, but above all, it’s a love letter to music written by someone who has been saved by music.
Read our interview with Tedworth where we talk about all things music related.
Punk Head: Thanks for sharing this touching anthem! I personally resonate with the song a lot. I know that many musicians too have experienced disappointment and disconnection in their career. Could you tell us more about the story behind "Going Under?"
Tedworth: Hey! “Going Under” is a song I wrote at a time when I couldn't figure out why I wasn't inspired to make music and what my purpose really is here. I got into music making when I turned 18 and really from the first moment of me making songs, I like instantly felt this huge sense of identity that I never felt before. So flashback to late 2022 I was feeling super down and I just couldn't get myself to make music anymore. It just got to be too much and I couldn't stop thinking about music so it began to get really toxic for my mental health. So “Going Under” really sparked the drive again and it really changed everything for the better; and I'm happy to make music again.
PH: Were there any challenges that you encountered while making the track?
Tedworth: Yea, right when I make my songs, I do all the instruments by myself whether that's playing guitar/bass or programming in drums. Doing everything myself right now gets to be a lot when I really wanna make something special, but luckily I had a vision for what I wanted and the pieces just fell perfectly into place. So I’m thankful for that.
PH: What do you aim to accomplish in the near future?
Tedworth: My main goal right now is to find people to collaborate with. Whether that's a producer or just some cool people who I could meet. For me, music is a very collaborative thing since there are so many parts to it. I know different artists that always do everything alone but I can't work like that all the time. I need more balance.
PH: Who are you listening to at the moment?
Tedworth: Right now I'm listening to Beck, midwest emo bands, and chill music like Mac Demarco. So it really ranges for me lol.
PH: What is the one thing that you’d like your fans to know about you?
Tedworth: Idk. Even the idea of a fan is crazy to me because it's like "Why would you put me on a pedestal like that," but that's just my own head telling me that lol. But to answer your question lol I think I would want them to know that I always try to aim for authenticity, especially on social media. Because it's so easy to fake who you are on those platforms. But it just wouldn't feel right to me if I wasn't being honest with myself and showing off who I am instead trying to be something that I'm not. If people like my music though that's a giant W for me haha.
Mystik Fool “Gone with the Wind”
“Gone With the Wind” elevates you in every splash of sounds and twangs. The track opens you up and pushes you through the leaves into the clouds, where your view is wider. Curious and open-hearted, Mystik Fool leads you journeying through different grounds, where pop disappears into rock blurring between alternative and independent, spiritual and medicine. In the end, it doesn’t matter where it goes because everything is connected and the sonics in the track have a life of their own.
“Gone With the Wind” sees everything linked together, coexisting in harmony, inspiring and bouncing between one and another, and together, they are a stronger thread. A deep bound among genres that are perceived as different or even in conflicts share the same root and harmony, which in truth, reflects nature and the world as they are, and humans are part of them.
Mystik Fool is the music project of multi-instrumentalist/songwriter Galen Deery. Like Mystik Fool’s past releases, “Gone With the Wind” is liberating and refreshing, spirited but rooted in peace and truth. One needs to be grounded to fly high. While “Gone With the Wind” sparks electrifying energy like an eagle, its strength, stillness and transparency feels like a thousand-year old tree. From the scenic mountains of Alaska to a stadium-filling, transforming sonic experience, the track sees a massive growth in Mystik Fool’s songwriting. Breathy vocals vibrate with floral sonics and booming grooves. It sets its scene in sounds that exist organically in nature, and its sonic palettes absorb that life and vibrancy.
Check out our interview with Galen Deery, where we chat about spirituality and spreading love through music.
Punk Head: I love how expansive “Gone with the Wind” is. Can you talk us through your creative process?
Mystik Fool: The process behind this song was very organic. Alaska was where the song started back in 2020, and throughout the years, it evolved. Drums and guitar were added, lyrics changed, and more elements started to take shape. In the studio while recording, the process was very smooth and easy because the song was written already. We just had to record it. The creative process changes for every song.
PH: To us, Mystik Fool's music sparks a strong connection with nature and spirituality. Is that true? Can you tell us more about it?
Mystik Fool: Spirituality is a big part of my life, I just remember being inspired deeply by sounds and teachings of eastern mysticism from a young age. And the common thread of each path always leads back to nature. So this music carries that message to attempt to reharmonizes us with the natural world.
PH: What motivates you as an artist?
Mystik Fool: Motivation for an artist comes in different ways. musically, visually, spiritually. For me, when it comes to music, I am motivated by experiences that take place in my life. I’m motivated by the people I surround myself with. A deep place in my heart longs to live a beautiful life, so I try to create that for others first using music.
PH: Who are your biggest influences?
Mystik Fool: I would say that growing up with a household filled with music from the 60s and 70s. Led Zeppelin, The Who, Santana, and Crosby, Still, & Nash. Then hearing the raw sounds from the 90s alternative scene like Janes Addiction, The Smashing Pumpkins, Tool, Rage Against the Machine. And then leaping forward to a scene of music that brought spirituality back to the forefront like Nahko, Trevor Hall, Tash Sultana, John Butler.
But I'm also heavily influenced by visual artists like Andrew Goldsworthy, Claud Monet, and Mitch Gobel.
Other influences include Maharaji, Ram Dass, Hazrat Inayat Khan, Johnny Depp, Ananda Maim.
PH: What would you like to say to your fans out there?
Mystik Fool: There’s a seemingly lost idea of love. Loving each other and encouraging each other to pursue our passion and purpose. So many people feeling depressed, anxious, alone, discouraged. The earth being torn apart and over populated, the political climate, the social infiltration of technology. All these issues must be tended to with careful attention. We must come together. We must find common ground to speak with each other. We must attempt to raise our consciousness so we can make better choices with the next generation in mind. Music is a huge way we can spread this message. I hope to see you at our concerts soon! I love you
Spearside “Not Up to Much”
“Not Up to Much” finds 90s garage rock mixed with the disobedient, upbeat but cynical, disillusioned punk attitude. Spearside’s lushly noise-coiled soundscape easily evokes a sense of belonging. “Not Up to Much” touches on nostalgia though the song itself doesn’t dwell in the past. Old and new feelings exist in conflict with one another, engaging in an end-of-the-world carnival-style dance party— the vibe is quite unusual in “Not Up to Much.” Nothing like what you’ve heard in a while.
The track talks about a person who revels in their descent into nihilism with a sensuous, scenic undertone in the soundscape, throwing a atmospheric, drastic draw of complex feelings in mixture. Sharp-edged and raw, however, like an expressionist painting, it’s these unsorted, raw, exposed nerves and emotions one has to savor. Spearside’s music is definitely something you can put on repeat, just to disappear in, or to ponder upon, or to feel. The Irish three-piece rock outfit manages to evoke a very interesting combination of experiences through one single song.
Lead by brothers Oisín (vocals/guitar) and Cian Walsh (vocals/bass), along with their friend Dylan Zovich (drums), Spearside is fiercely on the rising. Their dynamically fuzzy sound draws comparisons to The Stains and Magazine. From March through July, the band will be playing live around Dublin and London. If you’re in the area, don’t forget to check out their shows! Mark the dates:
Sat 11 March-DUBLIN, Whelan’s (Upstairs)
Fri 17 March-DUBLIN, Whelan’s (Main Room) St Patrick’s Day Festival
Wed 12 April-LONDON, Dream Bags Jaguar Shoes with Bag Of Cans
Sun 23 July LONDON, The Finsbury, Pump It Up Power Pop Weekender 22-23 July
Check out our interview with frontman Oisin Walsh where we chat about their influences and the time they built a home studio in rural Ireland.
Punk Head: I love how authentic “Not Up To Much” is. What inspired the song?
Oisín Walsh: The musical inspiration for “Not Up to Much” was a blend of The Byrds, Badfinger, and The Saints. I'm also a big Brendan Benson fan, who definitely had a big influence on this song. He has a lot of songs that are quite up beat musically but have darker lyrics in contrast, I've always loved that.
When the musical backdrop is major key and up-beat, it can offer some extra license to explore darker lyrics without the song feeling too laborious. “Not Up to Much” is about someone revelling in their descent into nihilism.
The character in the lyrics takes the tragedy of their life, their apathy, their social isolation, and uses it as an excuse to give up, blame others, and crack a wry smile while they do it.
PH: I read that you guys built a home studio in rural Ireland and this song is recorded entirely in your home studio. Can you tell us a bit more about that experience?
Walsh: We've only ever recorded our own music, we've never been in a proper studio. I've always been somewhat of a wannabe DIY producer. During the covid lockdowns I just started hoarding recording gear, got a reel to reel tape machine and tried to take producing seriously. In my experience the best way to learn is to schedule a release of music you've self-produced and just force yourself to figure it out. I record a lot of my friends' bands too like Unstuck, I track and mix all their stuff in our studio.
PH: What is your creative vision as a band?
Walsh: We would love to be a band that sounds like everything and nothing you've heard before. The challenge is to make music that is rooted in the rock n roll tradition without sounding pastiche or retro, our favourite bands have always managed this. I think true creativity comes from walking the line between utility and novelty, familiarity and freshness.
PH: What’s your goal this year?
Walsh: Our main goal this year is to keep recording and releasing new music. We also hope to play more shows, particularly outside Ireland. We've got some dates in London coming up which will be the first time we've played abroad so we're really exited for those.
PH: What is the one thing that you’d like your fans to know about you?
Walsh: When we're not playing music we're probably playing golf.
In The Middle “Brain Games”
Mesmerizing melodies journey through retro sonic landscapes, In the Middle explores the idea of a game of survival if one were to step into the maze of one’s mind in “Brain Games.” Visually stimulating, they step into the state of audio-visual interaction, taking listeners to a multi-dimensional ride with many surprising encounters. The recurring melodic motifs seem no coincidence, while it intrigues you to delve deeper into your own thoughts, it also evokes new ideas and perspective. Beyond its luscious, addictive sonic view, there seems to be a deeper game, one only you could see. “Brain Games” is definitely a track that haunts you and intrigues you to come back. Like an ever-changing maze, there’s always a deeper secret left for you to uncover.
World-building through songs is an interesting, and “Brain Games” gives you the first sonic taste of the world inside one’s brain. Logical and sensuous. Clarity runs the risk of overthinking. Inspiration comes with each new realization, but the mundane and the ordinary sits in most of the day. There are so many areas to explore in the audio-visual world of “Brain Games.” Sits with it, and you’ll find your brain relating to it.
The titular single marks the first release from In The Middle’s upcoming debut album Brain Games. Brain Games is a multi-faceted project, where In the Middle combines their love for music with comics. To accompany the concept album, they will launch a comic book that dives deeper into the lore of the album. If you love music and at the same time enjoy comic books, Brain Games will definitely bring you a lot of fun.
Punk Head: I love the idea of world-building through an album of songs. I’d love to know more about it! Base on the first release “Brain Games,” whats can fans expect from the rest of the album?
In the Middle: Thank you! Fans can definitely expect to hear a lot of different genre influences in the remainder of the album. What’s pretty cool about a concept album is that there’s so much cohesion within the storyline already that it gave us a bit more room to experiment with different sounds. We really feel like there is something on this album for everybody because of that. There’s also a lot coming up in the remaining comic book chapters that take fans through the lore of the album, and there’s a big twist at the end that we think will really shock people.
PH: How did the idea come to you? And did it evolve through time?
In the Middle: The idea definitely evolved over time, and while we knew we wanted our first album to be a concept album, it took a while for that idea to come to life. It’s hard to say the exact moment when we came up with the idea for “Brain Games,” but there were definitely a few big moments where a song would come together and inspire a major part of the storyline. We’ve been building this fictional world for a few years now and it’s slowly come together in a way that we couldn’t have imagined when we first started.
PH: What are some challenges you faced while making the album?
In the Middle: We wanted to create a cohesive storyline that people could really dive into and get lost in. If we had unlimited resources, we probably would have made an entire movie for this album, but as an independent band we had to adapt to what we had. We chose to tell the story in the form of a comic book because we felt it was the best way to tell the whole story in a creative and engaging way that fit within our abilities.
PH: What are you most excited about this project?
In the Middle: What we’re most excited about is seeing everybody’s reactions to the album and interacting with fans. We’ve had so much fun online interacting with people over music, theories on the album, and even memes. We can’t wait for live shows and meeting fans in person.
PH: One message that you’d like to share with your fans and listeners out there.
In the Middle: Thank you! You all are what keep this project going and we appreciate the support endlessly. There‘s so much to come with this album and comic book, and we’re thankful that you’re here with us.
HIGHWAYVES “FRAME IT”
HIGHWAYVES is a collective that has the potential to be one of the most known name in the scene. There are so many great things that are going on in their debut track “Frame It” that has you loving it and hating yourself for loving it too much. Opening in a star-drenched, mood-filled dreamscape, the first sound of guitars pull your in, transporting you directly to that tender, personal space of love, happiness, and memory. Reverberant and immersive, the experience is as close as two naked hearts, but there’s also the obscurity of which details are blurred along the river of memory.
What’s truly mind blowing is how HIGHWAYES shifts their energy collectively and crafts a beautifully explosive buildup. From that precious state, they drives off the bridge with catharsis and angst. They are as vulnerable and honest as anyone could be, and they connect to listeners directly through music and emotions without the distraction of being overly explicit. HIGHWAYES is a band that remind you the reason you love music—its ability to articulate and convey feelings and emotions that exist in non-linear spaces.
Mesmerizing melodies lock into your mind. Their storytelling draws you in even deeper, having you invested into the story that the song holds, like it is a sacred place, an universe where it exists, which is almost exclusively heard in songs from mainstream artists. Though it centers on the singer’s own feelings, it tells a story from every aspect: with full sensory experiences woven into the sonics. The piercing pain and suffocation. The heart-wrenching fragility. The smoky, aggressive intoxication. Then the soaring, scream, torn vocal that breaks, heartbroken but free.
Jay Spicer “Lost”
“Lost” wins your heart over with its instant appeal, but the atmospheric captivation and evocation is what makes you stay. Ever-changing soundscape sets its tone in forward motion, while Jay Spicer’s cool, laid-back vocal is refreshing and unfitted. Piercing drums penetrates the dreamful guitarscape that swings between slightly dissonant moodiness and soothing sunshine. “Lost” tackles mental health issues that people of all ages could easily resonate. Though it is written from a place of struggle and unbalance, where the scale seems to be tilting heavily to one side every now and then, but the thriving energy speaks of a dedication about making choices to fight back against the stream.
Spicer’s tastefully crafted guitar progression captures the subtle yet complex shifts of mindset and mood. His guitar alone tells a rich story. But the collective sonic affirms a positive message that no matter how bad things are, one can choose to appreciate the moments in life and think positively. The track feels inspiring and encouraging. With introspective, honest lyrics that tackles socially aware issues, challenges and resolutions woven together through the soundscapes, “Lost” is easy to love. There’s a very youthful, unbendable strength that is at core in Spicer’s sonics that separate him from all other musicians. Hailing from Cornwall, England, the twenty-year-old guitarist/singer is here to make his own mark in the music scene.
Read our interview with Spicer where we talk about his journey as a guitarist and a songwriter.
Punk Head: I love the guitarscape in "Lost." How long have your been playing?
Jay Spicer: I started playing guitar when I was four years old, which was when instrumental lessons were first available in school. Sixteen years later I am now twenty and have never stopped playing, this is what has lead to me enjoying creating such full guitarscapes in my recordings.
PH: Who are some of your influences?
JS: My influences vary for different aspects of my music. With my guitar playing the main influence has been John Mayer as he is one of the people who can incorporate such interesting guitar playing into contemporary music. With my songwriting it is based around artists that I enjoy listening to, two of my favourite artists which I like to think of myself between are Sam Fender and Foo Fighters.
PH: Can you tell us a bit more about "Lost"?
JS: “Lost” was the result of having so many big events going on in my life that I was constantly thinking about the next one and never just savouring the moment that I was in. Instrumentally, I came up with the pre-chorus first when I was trying to slot some very odd chords together and then from there I knew I needed a nice main hook which was when I got the idea of the verse and chorus part. I then just sketched out the rest of the instrument ideas and had the basic bones of the song.
PH: How has studying at the Liverpool Institute for Performing Arts made an impact on your music career?
JS: It has had a very big impact on me as an artist as I am originally from a seaside town in Cornwall, the South of England, which is a beautiful area but has no music scene. So coming to Liverpool opened my eyes to what was available and meeting all of the people at university and be able to collaborate with them was amazing. Getting a band of my own together, finding sound technology students who always want to record my songs and even playing guitar for a few of my friends in their bands or in the studio has made it a very successful university experience.
PH: What is your creative vision as an artist?
JS: My creative vision is to be able to bring a new sound of acoustic/indie rock to the market which, combining with the influence from the sea and my home can be taken to a more commercial audience. This vision will be done as a performing and recording artist with my project.
The Margaret Hooligans “Hey Love”
With spacious guitar riff and hypnotic, marching rhythm, “Hey Love” floats between The Beatles, Bob Dylan, and the rawest authentic garage rock. Simple, but unbending. Rich in its aesthetic. As a two-piece band, The Margaret Hooligans surprises you. Their captivating melodic storytelling is as hypnotic as it is addictive. With one foot in the pentatonic modal wheel of fortune while the other steps into a sultry, space-out psychedelic visualization, “Hey Love” is inventive and uniquely delicious.
“Hey Love” follows “Doggie Pizza Crust” to be the latest release from The Margaret Hooligans’ upcoming third album Saturday Night at Bartertown. If anything that we have learned about the extraordinary two-piece band is the amount of love and fierce sonic instinct that they shared. Mr. Strontium’s earthy, intuitive percussion lays the groundwork. Meg’s unbiased vocal is more than ever refreshing on this release, stormy guitar and electric ukulele work taps into the mystery zoned for Twilight. With vision and artistic instinct unlike Miles Davis’, The Margaret Hooligans is meant to take the world through their unapologetic bend of reality and sonics.
Check out our interview below where we talk about how “Hey Love” comes together. The Margaret Hooligans also tease their upcoming album, so stay tuned!
Punk Head: I love how hypnotic and atmospheric “Hey Love" is. Where do you find your inspirations?
The Margaret Hooligans: We usually start out with rhythm - a good beat or riff and build from there. In this case, “Hey Love” was built from that initial drum beat that drives the song, and I was experimenting with different settings on my Fender Mustang amp and found this setting I liked, called Spoonful—it had a nice big room feel to it, something I love about old Phil Spector and Motown recordings, and that kinda drove the whole song. I think the fact that it sounded spacey and ethereal ultimately influenced the lyrics, because it felt a bit like I was calling into the void as I initially sang the words “hey love” in the original jam.
I was thinking of one of the early scenes in the movie, Contact, how they demonstrate how radio waves travel into space, seemingly going on forever. That idea always seemed weird to me, like a message in a bottle, except in this case, it’s a missive to space and whatever life might exist out there. It felt lonely and sad, which gave me the idea to sing about the slow death of a relationship, using the analogy of an astronaut going into space to talk about the growing distance between two lovers.
PH: What do you like the best about this track?
The Margaret Hooligans: I love the soundscape in particular, it sets itself apart from our other songs because I used some pedals that I don’t typically use. I also recorded it with an electric ukulele that I don’t play as often because the tremolo bar knocks it out of tune when I get too exuberant, but this ukulele has it’s own unique sound, possibly because it is made from a koa tone wood, and I think that is part of the reason why I like it. There is also a solo at the end of the song that I think is one of my best. I am more of a rhythm player, but since we are a two-piece, I have to come up with leads as well and that doesn’t come as naturally to me, so I am really proud of this particular solo—it’s not scale based, it’s not riffing off the existing vocal melody, it’s telling its own story and fits in perfectly with the imagery of blasting off into oblivion.
PH: Can you tell us a little about your upcoming album?
The Margaret Hooligans: Saturday Night at Bartertown is our third album and marks the end of a huge batch of music we recorded during the Covid lockdowns. We made so much music during that period that it has taken us about 2 1/2 years to release it all. It’s a little different from the other two albums in that there’s a little less of our typical tongue-in-cheek attitude, although there’s still a bit of that. We have some more serious fare on it, with ‘Hey Love,’ a bluesy song called ‘I Won’t Speed Up, You Won’t Slow Down,’ and ‘Say What You Want (Trousers of the Holy).’ But then we also have lighter hearted songs like ‘Doggie Pizza Crust’ which came out last month, “My Dog Ringo,” and “What Kind of Donut Are You?,” the last of which was written out of my frustration at being gluten-free and unable to find any decent gluten-free donuts. (Side note: since we recorded the song I have found an amazing gluten-free donut shop in my city called Okie Dokie Donuts.) We also are including a cover of the Grateful Dead’s “New Speedway Boogie,” which is a first for us. All of our previous releases have only been original work.
PH: What motivates you as an artist?
The Margaret Hooligans: I think we ultimately are reacting to everything that happens in the world around us, both global events as well as personal ones. Generally, I like to laugh at things that scare me, which is why we have a lot of humor in our work, but there’s a lot of anger beneath it all too, which I think comes through in the vocals and the energetic drive that Strontium always provides through his drumming.
PH: What is the one thing that you’d like your fans to know about you?
The Margaret Hooligans: As Bruce Dickinson says from the legendary SNL More Cowbell sketch, “I put my pants on, just like the rest of ya, one leg at a time, but once my pants are on, I make gold records.” And you can never have enough cowbell.
TROLN “For Love”
With elements from the tale “Bluebeard,” “For Love” is a spine-chilling post-punk ballad that tackles the horror that lurk underneath the abuse of love. Helene Navne’s stunningly haunting vocal bleeds into her thought-evoking storytelling. With soft and feathery vocals curling like smoke, dark beats send the intrigues and alarm. Immersive, atmospheric sonics that creep in and fade out, pulling emotions like strings, “For Love” is where the alarming, spine-tingling truth surfaces, blood soaking the sweet bubble of love to a heart-wrenching red. There’s nothing romantic about abusive relationship.
There’s plenty of symbolism and poetry in “For Love.” The noise and disobedient dissonance fly in and fade out, alerting the nature of crime. But the beautiful, melancholy melodic storytelling seems to have no clue of what’s going on. “And then she changed her ways for love; and she changed her name for love; changed what she wants to change for love. But that’s not love at all.” The bleeding key is her only clue, but when can she see the monster’s true nature? Instead of focusing purely on the penetrator, TROLN encourages listeners to reflect the patterns in a relationship: how far have they bent themselves for love? What are they forgiving? How have they changed to meet the demand of the other?
We chat with TROLN on their latest release “For Love.” Read more on their inspirations and messages:
Punk Head: I love how you tackle abusive relationship through this stunning, dark tune. What are some challenges that encountered writing ‘For Love?’
TROLN: I met this woman who had just left an abusive relationship, and as I got to know her reactions to it—anxiety, ptsd, fear of being alone etc—I recognized some of this in myself. Sometimes it's only when we experience stuff through someone else's eyes that we really see things for what they are. When I got to know this woman and her story, it helped me realize things about my own past, and how I have sometimes mistaken abuse or control for love. I hope that people listening to this song who may be living in relationships with abuse, control or fear, that they may listen and dare ask themselves the question: is this really love, or is the beautiful word covering up for something it shouldn't?
PH: What was your favorite moment in making the music video?
TROLN:We haven't made the video just yet, but we are working with visuals from the tale ‘Bluebeard,' in which a woman finds out the truth about her murderous husband because of a key, that won't stop bleeding. When the truth is staring you in the face, you can't unsee it even if it has heavy consequences. I love the bleeding key as a symbol for this, and we have used it in our artwork as well as in the coming music video.
PH: What is your creative vision as an artist?
TROLN: My vision is to use the beautiful and emotional language of music to relate to people dealing with life and its hardships as well as its wondrous moments. Music can speak directly to emotions, like no other art form, and without it I would surely be mad myself. If our music reaches someone who feels just a little better or less alone while listening, it is all worthwhile.
PH: Who are your biggest inspirations?
TROLN: People who are authentic and kind. And art that makes me feel and think. I love jungian archetypes in myths, and storytelling that helps us understand the world and people in it.
PH: What would you like to say to your fans out there?
TROLN: If you are in an abusive relationship, please get help.
Craetor ‘Keystone Sessions: Volume 1’
Keystone Sessions: Volume 1 is pretty sick. From the very first sound, Craetor knock it out of the park. They journey to some wild and dark places with sick guitar work and hovering vocals in a distant background. Keystone Sessions: Volume 1 sucks you into their sonic space—dirty, maddening, hysterical, and constant evolving. They places you in an underground rock venue past midnight where the ghosts and truth come out to play. Disobedient improv and introspective soundscapes. There’s nothing you can say or do to undo what this band does to you because they are simply that good.
With Keystone Sessions: Volume 1, the vibe is escalating through the four tracks like a subconsciously channeled beast. “Villager” astonishes you with their committed drastic rock energy. “Ender” climbs to a new hight, channeling Darth Vader before they burn everything to the ground. “Obsidian” opens another level of otherworldliness. “Stone” then builds on the noise and the madness with newly emerged wrenching melodic lines as if they are torn to be shown. It’s grungy and even darker. Instead of restless metal splattering rock battles, the track has more contrasts and emotional vulnerability than the rest.
Instead of an EP with four tracks, Keystone Sessions: Volume 1 feels more like a 16 more minutes epic rock jam. Everything seems to be authentically and organically tuned to a continuing storytelling. It’s better than drugs and healthier for your mind and body. They hit some sweet spots with their “ugly,” fuzz-dazed, extreme noise-spitting soundscapes. Rapid, ever-deteriorating guitar work and the haunting, die-or-alive vocal and the confrontational, self-conflicting drum collectively become the soul that soars through the name Craetor.
The history of punk rock teaches us to never overlook what a three-piece band can do. The West Massachusetts-based band sounds fuller and more inventive than an orchestra. It’s hard to believe the huge volume and epic work they created are from only three people. It’s simply incredible. Whether you’re here to get lost in the music or to admire out-the-world guitar solos, Craetor is the band for you.
Keystone Sessions: Volume 2 is coming out in March 2023. Stay tuned!
Carnival Mind “Roam”
Guitars, voices, a melodies, and some words. That’s all they needed to make music. Humble but inspiring, Carnival Mind brings you a piece of music that is honest, light for its weight, but heavy for its meanings. They invite you to a corner of peace and happiness, to contemplate, think, and reflect. Asking for nothing, but giving so much to the rest of the world—that speaks true for them. Through words that are never complicated, lines that are full of wisdom, “Roam” challenges the mainstream style of life. Like Bob Dylan meets Jack Kerouac, unapologetic lyrics, harmonica, folk and country meets the free spirited artistic expression, “Roam” is about truth and freedom.
Breathing in the intense guitar work that pulses fiercely like the force of life, while melodies and harmonies weave together, sparking balance with conflicts, like the roaring nature that cannot be tamed, “Roam” storms through your whole body and mind, leaving you forever changed. “Freedom has its cost, but it’s not much of a price to pay; Cos I don’t have no answers, like many here I’ve lost my way.” Carnival Mind speaks nothing but what’s true for them, but why are we finding our answers in lines with no answers at all? Perhaps, that’s a journey for the listeners.
Carnival Mind is heading out on their North America tour soon, but before that, they will release an EP titled Sky’s the Limit in March, so stay tuned if you liked what you’ve heard. Check out our interview with the band and learn more the messages in their music.
Punk Head: I like the rich storytelling and the warm vibe in ‘Roam.’ What’s the meaning behind the song?
Carnival Mind: ‘Roam’ is a tale of discovery. It’s a journey into a world which we all inhabit but the question is … do we really understand that world at all?
With so many luminaries and icons that we are encouraged to blindly follow by society and the media, ‘Roam’ explores the alternative options to those long-kept beliefs. Carnival Mind has never shied away from challenging ideals of mainstream societal views of life.
Our songs like ‘5am,’ ‘Easy to Run,’ and ‘Wasted’ show that we’re not afraid to shine the light on social and political hypocrisies.
PH: Was there any challenge that you encountered while making the track?
Carnival Mind: We think a lot about our music and how people are going to perceive it and as a band, we always challenge ourselves to be honest and relevant, as long as the vibeis never compromised, ever. Often a song requires contemplation by the audience to truly understand what message is being delivered, however, sometimes the message is obvious. A song like ‘Remember’ allows people to immerse themselves into their own childhood memories. Whereas ‘One Year’ shows the vulnerability of relationships, especially for the one left behind after a breakup.
PH: What’s your goal this year?
Carnival Mind: Carnival Mind is just finishing off the final recordings for our debut album Sky’s the Limit, which is scheduled for release in the U.S. in March.
We appreciate the ongoing support of the American fans and hope they enjoy our music as much as we’ve enjoyed making it. There have been a lot of unsubstantiated rumours that Carnival Mind will be signed to a major U.S. record label later this year… Carnival Mind couldn’t possibly substantiate those unsubstantiated rumours. We can confirm that we’re still awaiting our invitation to headline ‘The Troubadour.’
PH: Who are your biggest influences?
Carnival Mind: When the American people get to listen to our new album Sky’s the Limit, they’ll hear the rock, country, folk and blues influences that is the Carnival Mind sound. We’re inspired by some of the greats of modern American music and their legacy shines bright in all our songs. They’ll also hear timeless songs like ‘Love Will Take Us There,’ ‘Shots,’ ‘King of Hearts,’ and ‘Married to the Blues.’
PH: What is the one thing that you’d like your fans to know about you?
Carnival Mind: We are so appreciative of our American fans as they’ve supported us with every song that we’ve released from the very beginning. American fans are the absolute greatest and Carnival Mind can’t wait to thank them all face to face with our North American tour, so stay tuned Folks!!
Solari “Everyone Is Your Friend”
“Everyone is Your Friend” surrounds listeners with swirling, dazzling synthscape. Flamboyant, illusive as if being in the balloon of an urban dream, while the pulsing desire to connect more profoundly with another sink-floats amongst the dreamful colours. “Everyone is Your Friend” perfectly captures the fleeting feeling of loneliness and isolation that people often feel being in a big city—surrounded by people, everyone is your friend, but somehow, no one is really listening to your voice.
Featuring many original analog synthesizers, the silky, cloud-liked sound pads breath with emotions as if they are telling a story on their own. On top of that, the vocals trace the character Solari dancing under the neon-coloured sky, surrounded by eye-dazzling skyscrapers. It’s easy to drift away, to go with the flow, to lose yourself in the voices, but the search, as if a primal instinct, continues on its own. Solari consists renowned producer/composer David Baron and drummer/beat maker Renée Hikari. “Everyone is Your Friend” marks only the beginning of their collaborative journey. The two has teased more brilliant singles and a full length EP coming in the near future.
Read our interview with Solari and learn about this unique collaboration.
Punk Head: I love how imaginative the soundscapes in ‘Everyone Is Your Friend’ is. Who are some of your influences?
Solari: Kraftwerk, Pet Shop Boys, Daft Punk, Depeche Mode, Duran Duran. The George Kaplan Conspiracy, Com Truise, Castlebeat. We love synthesizer soundtracks too: Drive, Tron, Blade Runner.
PH: What did you enjoy most about making this track?
Solari: This song was added last to a collection of songs we had created for our debut EP. The EP felt unfinished - like it was missing something - and ‘Everyone Is Your Friend’ has everything that was missing. It was like making a perfect meal but and then realizing you have to make the dessert. The production was super fun because it used a ton of original analog synthesizers including a Modular Moog from 1967.
PH: Can you tell us more about you as an artist?
Solari: Solari work together in record production. David is a producer/engineer/musician and the first gig they did together was for Shania Twain at Sun Mountain Studios. Renée was somewhat new to the recording studio - having mostly been a live drummer - and hired as an assistant originally. The studio is her true home. The pair spend a lot of time working. Solari is the result of what the duo likes and the gear around them. Solari is a studio creation. We have a lot more to say and want to make many songs.
The pair has now worked with artists from Beth Gibbons, Greg Gonzales (Cigarettes After Sex) to The Lumineers.
PH: What is coming up next for you?
Solari: We have a lot of music coming out. We will release a few more singles then our first EP. We have a great music video coming out that was shot last summer in Brooklyn. Stay tuned!
PH: What would you like to say to your fans out there?
Solari: Thank you! We appreciate you listening. Please add/follow/like us if you like our music. It makes all the difference as the algorithm loves interaction. It’s the Matrix. We are happy to be part of it. Plug us in.
Carson Ferris “Drive Alone”
Inspired by the work of OneRepublic and Ryan Tedder, Carson Ferris’s music draws you in almost on an instant. Intriguing guitar work radiates melodies and rhythms, giving the track a nice indie touch, pulling audiences closer to the artist, then the infectious groove and even touching vocals glue you to the song. “Drive Alone” is an instant hit. It’s the kind of song that you simply can’t stop listening. And when it reaches its last note, the melodies continue to haunt you for long.
In “Drive Alone,” Carson Ferris delivers a message which everyone could relate: to take control of your own life and be in your own lane, not letting someone else or anything else to determine your life. There’s a lot of courage and momentum in his vocals and the sonics. Honesty and transparency seems to come natural in his music, and it shines through. The dynamic “Drive Alone” inspires changes and actions. Listening to this song is a healing and cathartic experience.
Check our interview with Ferris below, where we talk about his inspirations and music journey.
Punk Head: I absolutely love how appealing your storytelling in "Drive Alone" is. Can you tell us more about your musical journey so far?
Carson Ferris: Just like in Drive Alone, where I'm talking about not wanting to take the backseat and going my own way, sometimes I have to weigh the advice people give me. One time I was having a meeting with a social media guru that my former producer had introduced me to, and he thought it would be a good idea to put out a fake news story that my parents had gotten me engaged! At the time I was only eleven. These sort of situations have popped up all throughout my music career so far, and even just in everyday life, though maybe not usually that extreme.
PH: What do you like the best about this track?
Ferris: I like a lot of things about ‘Drive Alone,’ but if I had to pick one I would say I like the main guitar riff the most. Me and my producer were sitting in the studio working on this song, and he started plucking it out, and I was like, ‘yeah! That's the one!’
PH: What do you aim to accomplish in the near future?
Ferris: I’ve been spending lots of time in the studio, and I plan to be consistently releasing songs every 6 weeks, building up momentum and getting my music out there.
PH: Who are your biggest inspirations?
Ferris: One of my biggest inspirations is OneRepublic. What grabs me first is the rhythm and melody, but then I keep listening because the lyrics keep me interested. I really admire Ryan Tedder's lyric writing. In the song ‘Someday’ there's a line that goes: ‘Sometimes I drown in the weight of the things that I think I need.’ It uses a lot of cool imagery, and it really resonates with you. The melody usually comes easier to me, and the lyrics are more of a challenge, so I would love to pull people in with the melody, but then they stay for the lyrics.
PH: What is the one thing you’d like your fans to know about you?
Ferris: I want them to know that I really appreciate their support. It's an amazing and humbling feeling to know that I have fans who care about what I create and the music I share.
Gary Dranow “Something About You”
Inspired by a real life love story, “Something About You” tells the tale of a man, who was once alone and empty, meeting the love of his life. Dedicated to the love his life, Gary Dranow and band bring a heart-warming, love-infused, dynamic rock tune to life. Sultry, energetic, and nostalgic. “Something About You” taps into the mystery and celebration of life itself with a wholesome classic sounding. The track eases in with charming twangs and captivating riffs. Passionate, heartfelt vocals then elevate the vibe along with a splashing drum. “Something About You” is a track that makes you want to live in it forever.
In 1996, Dranow had a dream about meeting the future love of his life, which later became the hauntingly longing A-side “Destiny Road.” A few years later, his dream came true, and now decades later, he looks back at his own journey of finding love with B-side “Something About You.” Brighter tone and more optimistic sounding, but his passion and authenticity stay true. “Something About You” has the similar traveler/gypsy vibe as “Destiny Road.” Even though the years have passed. His heart hasn’t changed.
Read our interview with Dranow below and learn the stories behind this new single.
Punk Head: I like the storytelling in “Something About You.” Is there a person/event that stimulated the creation of this track?
Gary Dranow: It's a story about time travel…Just kidding. The song came from a dream I had in 1996 and wrote my song ‘Destiny Road.’ Well, in the song I meet the love of my life. As a follow up to the dream and the song I wrote a love for song for this future love of my life, ‘Something About You.’ Well it turns out, I moved from LA to Park City, UT in 1998. A few years later I actually met the world traveler, Elizbeth. We met when I started coaching her in ski racing. Long story short we’ve been married for 18 years.
PH: What do you like the best about this track?
GD: It’s heartfelt and turned out to be a true representation of our relationship and her wonderful attributes. I do like the music, the melody, how the band come together in the studio and produced this song, my second favorite on my album next to ‘Destiny Road.’
PH: What is your creative vision as an artist?
GD: I write songs about life experiences. Each one is a story, a life lesson wrapped in a song. I write to change people’s lives, to reach out to people who have shared experiences. I also like telling stories about history or things that are current things affecting the world and society. I would say it starts with touching people in a positive and profound way. Get people to see things, feel things, think about or question things in ways that they have not before. To shine a light on issues and even personal struggles and leave them understanding that they are not alone.
PH: Who are your biggest influences?
GD: This is an easy one, early Eric Clapton, Jimi Hendrix, SRV, Danny Elfman and Robben Ford.
PH: What is the one thing that you’d like your fans to know about you?
GD: That I’m vulnerable and that I lay myself open to write my songs. That I am a Bi-polar 1 with Mania and that it is okay and if my listeners relate to my songs that they will find meaning in them for themselves.
Intercontinen7al “Some Thousand Feet High”
Music without border is a vision shared by many creative minds across the globe. Formed in 2020, the international collective Intercontinen7al makes history when they begin to record music across all seven continents, featuring over 30 musicians from 15 countries. The vast and diverse cultural and musical backgrounds and influences that go into their music creation is intriguing and leave many to think of “world music” in default, but that’s not where their sounds lay.
The featured track, “Some Thousand Feet High,” from their third album Intercontinen7al Vol. 3 taps into an universal sound with a universal message that appeal to everyone no matter where they are, reminding you of the human experience that we all share. Featuring thought-provoking lyrics and captivating pop melodies, the track is cinematic, moody, dark and melodic.
“Some Thousand Feet High” vibrates between the sultry atmosphere and vulnerable, emotive, urban experiences. Introspective and stunning, the track leaves you thoughts wandering through the sparks that evoke, remind, connect dots in your mind. Being so absolutely refreshing, yet at the same time, nostalgic and intimate.
In response to Russian and Ukrainian war, the profits from this record go toward Ukrainian refugee relief. Read our interview with Intercontinen7al about the massive process behind their completely virtual collaboration.
Punk Head: I love the moody atmosphere you created in “Some Thousand Feet High.” Can you tell me a little more about the song?
Intercontinen7al: Absolutely! So this song has an interesting origin story :) Some Thousand was completely composed and recorded remotely, using the music multi-track app BandLab. Jukerok, an extremely talented Egyptian musician, uploaded the main haunting piano, synth and guitar melodies into a BandLab project file back in June of 2021, and provided the title of "Some Thousand Feet High" with some lyrical ideas. Within a week our vocalist extraordinaire Andrasta from the United Kingdom provided some thought provoking words and melodic vocal parts, but maintaining the song title that Jukerok had established. Other artists in the group eventually began providing their respective parts by "stacking" their tracks onto the BandLab project, including USA's Dale Pearson on saxophone, Argentina's Nereo on bass, and Japan's Tnbt on drums.
PH: Was there any challenge that you encountered while making the track?
Intercontinen7al: As stated above, since the whole track was completed remotely instead of in a physical recording studio environment, it took a fair amount of back and forth communication within the BandLab chat environment to determine the status of individual instrumentation tracks. However, since this is INTERCONTINEN7AL's third album, we have developed a solid cadence regarding how to finalize these songs for the record.
PH: Can you tell us more about you as an artist?
Intercontinen7al: INTERCONTINEN7AL is truly unique, in that we are the first band to ever record original music with instrumentation across all 7 continents, to include Antarctica. Our latest album Volume 3 includes a remastered version of the song ‘Manor Hill,’ which includes instruments from all continents, and contains an opening classical guitar passage from Aymar de Lichtervelde and percussion from Stijn Thoolen, both stationed in Antarctica at the time of recording.
PH: Who are your biggest influences?
Intercontinen7al: Our influences vary considerably, due to the scope and scale of the group. For example, Andrasta lists Prince, Meat Loaf and Jim Steinman as major influences, while for me personally (Matt Smith, band founder and musician), I would list Pearl Jam, Chris Cornell and John Frusciante as artists that made a major footprint on my musical psyche. Our group covers a wide range of genres, such as heavy metal, pop, blues, funk, and even showtunes, so no stone is left unturned.
PH: What is the one thing that you’d like your fans to know about you?
Intercontinen7al: One thing that I wanted to reiterate is that our band strives to raise money for respective charities with each release, and for Volume 3 all streaming proceeds or sales go towards Ukrainian refugee relief. Please consider donating to the cause.
Hush Victoria ‘Hush Victoria’
From the ashes of successful Twin Cities punk rock acts comes Hush Victoria, a high energy power trio is ready to storm the world with their bone-raw vocals, noise-coiled flickering drones and a commotion of a drum. With a 3-track debut EP Hush Victoria, they have proved to be uniquely different. “Under the rug” hooks you up with hard-hitting rhythm and addictive melodies harmonized with rebellious vocals. The punk ethos is deep rooted, in their bones, but the sonics are always inventive.
“Acetylene” is quite a surprise. From the noise-inflicting drones, the second single shakes off all the expectations you have garnered about them. They try on a bleak guitar riff with crispy drum and bone-raw vocals, creating quite sonic sight. “Forever A.M.” is emotive but not depressive, drenched with mental energy. It’s more intimate and full of contrast, exhilarating but edgy, like Nirvana meets early PJ Harvey. Atmospheric and strongly appealing.
Hush Victoria teases their powerful live performance in the interview below. Learn about their band history and influences. And if you liked what you hear, don’t hesitate to catch them live!
Punk Head: I like the emotions in “Hush Victoria.” What is the creative process like?
City Matt: Typically, Brandon will come up with a part--sometimes just a verse, sometimes a whole song. He'll demo it for us and, if there's energy behind developing it further, we'll work out drums and bass lines in the rehearsal space. It's a really collaborative effort and has been working really well. Brandon is a really talented songwriter and that propels the whole band forward. Brandon writes the lyrics as well, and that's a place where his skills cannot be understated.
PH: Was there any challenge that you encountered while making this EP?
CM: For us, it was helpful to set a deadline. We decided that this music would be released in December, and that ‘flag in the ground’ was very effective. All three of us are pretty focused people, certainly as far as music is concerned, and the deadline got us focused on the studio. For us, the recording process is really efficient--we recorded the EP in my studio, so we weren't constrained by time, etc. I tracked and mixed the songs, but I did realize that I was too close to the music to master the EP, so we had a great engineer here in town named Tony Williamette take over those duties.
PH: Can you tell us more about you as an artist?
CM: All three of us have been playing in various bands for years, so we'd seen the ups and downs of that experience. This project felt different right from the start. All three of us had just come out of bands that we really loved, so no one was eager to jump in to something that didn't feel 100% right. But from the first rehearsal it was clear we were doing the right thing. It was amazing how quickly we gelled as a band and, as trite as it might sound, playing music with each other is the thing we look forward to the most each week.
PH: Who are your biggest influences?
CM: We all come from punk rock backgrounds. We all love Rancid for sure. Brandon and I are big Gaslight Anthem/Brian Fallon fans as well. You can certainly hear indie rock influences in the songs, and even a bit of 70's AOR or 80's metal can sneak in there, but that's pretty subtle. This EP has a good variety of tempos and arrangements in the three songs, but some of the new material we're working on will develop that theme even further.
PH: What is the one thing that you’d like your fans to know about you?
CM: If you like the material on this EP, you should really see us live. We make a hell of a powerful impression for a three-piece band!
Chris Hyson “Honey Magnet (feat. Josh Arcoleo)”
“Honey Magnet” offers a multi-dimensional and deeply immersive sound bath. The subtle yet brilliant expansive tune evokes an earthy connection within the drastic, kaleidoscopic urban landscape, in which jazz and ambient meets avant-garde and cinematic modernity. “Honey Magnet” marks the 2nd single released from Chris Hyson’s upcoming debut album Sidekick, due in March 2023. The London-based producer brings his unique, refreshing taste and keen observation within the vibrant, dynamic urban environment into his music creation.
“Honey Magnet” features producer/saxophonist Josh Arcoleo on tenor sax. In the first half, the smooth and rich timbre of the sax is melted into the texture of the backdrop. Later, it rises above all in a wrenching wail, full of personality and emotions. Hyson’s production style is tailored to bring every aspect of Arcoleo’s performance to the fullest. Instead overshadowing or shadowing, sonically, they are more like two players who’re in conversation with each other.
“Honey Magnet” progresses so gently and magnificently like the tidal change at sunset. There’s a give and take as it moves forward. A massive joining of vibrant sonics shines of creativity and individuality. It highlights those brief moments of beauty and awe that never ceases to impress you. They exist under a broader backdrop that moves in its own pace. It shakes the ground ever now and then, evoking those big, indescribable feelings within you—like the overwhelmingness standing in the middle of a city like a stardust amongst the changes and progressions. In a way, you’re witnessing history, and in another, you’re part of it.
In this tune, we have a grounding relation with the earth and greenness, brought by the use of world instruments and organic sounds. Tenor sax then chimes in with its soulfulness and life experience. The vibrant, ever-changing sonic palette introduces listeners to a fast-paced evolution of art and technology at the heart of the city. Then there’s the swirl and otherworldliness that addresses something that’s larger than all of us, something we yet to be able to explain—like an entire universe in one’s eye, “Honey Magnet” is marvelous.
Love Ghost ‘Venganza Del Fantasma’
Inside one’s mind is a maze and a great mystery. A town of ghosts and demons holding all your secrets. The living don’t like to go there. They live in the sun. They smile and act, not so different from one another, but behind each face and body, they casted a long shadow, where the world’s greatest love and sharpest loss lives—and that’s where Love Ghost begin their storytelling. On their latest EP, venganza del fantasia (Ghost’s Vengeance), the four-piece alternative rock band delve deep into the realm of consciousness.
The four-song EP explores the duality of Spanish and English, alternative rock and hip hop. Emo peaks angsty vulnerability throughout. Grunge gives it a pulsing undertone of extremism and misery, like the spirit and blood running through the vein. In the illusive, fainting distortion of a backdrop, frontman Finnegan Bell’s haunting, intimate vocal details the angst, the craze, the emo, and the loss of all control.
Lyrically, the entire album gives out a Jack Kerouac aesthetic. The prose exposes a sense of spontaneity in storytelling, tackling topics like spirituality, love, loneliness, depression, anxiety and different topics of mental health in one sitting. Sometimes it feels like Love Ghost have articulated all the feelings that you didn’t know how to address previously, and the answer is both lyrically and musically. It’s that mixture of feeling, somewhere between deterioration and hopelessness, anguish and sensibility. It’s non-linear and complex with everything all intertwined together like a thread of chaos exploded in a grand mass. Love Ghost is really good at capturing an experience through the perspective of what’s going on inside one’s mind.
Time moves differently in “Ghost Town.” Western Cowboy meets Futuristic Cyber Punk bridges bleakness and sci-fi. At the verge of slow burn and great intensity, Love Ghost and Santa RM gets you on the edge of your seat at all time. While the extremely well-crafted soundscapes and painfully captivating melodies makes you want to savor every single second of it.
“Inferno” tells its story from the perspective of a psychopath. The thick, mesmerizing guitar riffs instantly drops you into an alternative gangster reality of Los Angeles. The aesthetic of the song is somewhere between Joker and Godfather. Violence and love are intricately intertwined together, and so does warmth and coolness, extreme and vulnerability. It makes your heart ache at the same time giving out the best allure of emo and hip hop.
“ALI3N” and “Pick Myself Apart” reminds you of Machine Gun Kelly, but mainly because both songs have a very specific yet universal sound. “Pick Myself Apart” depicts a hopeless romantic, who is extreme, melancholy, deadly and self-blaming.
Hardly any characters from Love Ghost’s EP is black-and-white. They are all deeply flawed. In the wrong hands, they could very well be labeled as monsters, but Love Ghost see the human side of them. There’s compassion and warmth in their songwriting that connects people together. Through depicting the inner world of these characters, they reflect the different sides of humanity, the different aspect of ourselves.
Dream of a Man in a Top Hat “The Destination”
“In a jumble of thoughts, you can sometimes catch a glimpse (it’s unclear) of something.” — Dream of a Man in a Top Hat “The Destination.”
There are many ways to describe Dream of a Man in a Top Hat’s latest release. On the surface, the song sounds like an introspective nightmare in a wonderland of swirling madness. If you get deeper, you’ll hear a retro fusion of distorted nostalgia. From there, if you put it on repeat, you’ll hear a painting that drifted in all direction until it has become an obscure impression of something you could and couldn’t recognize—an unclear, non-linear representation of a complex experience. Perhaps that’s more keen to the feelings and aesthetic of “The Destination.”
The music duo, Dream of a Man in a Top Hat are no doubt dreamers. They have a very distinctive sound that rips off the pretense of the world and declares who they are. No apologies, no crowd pleasing, no bullshit. They brings to us the maddest dream with warmth and humanly relatable emotions. Stylistically, every song they share has the ability to hit your music sweet spot while throwing you off the tracks with something entirely new. Like two adventurers who are also deep thinkers and psychedelic experts, they deliver the world through a lens of combined familiarity and bizarreness.
“The Destination” is a tune that sort of grows on you. It does take some getting used to if you’re new to Dream of a Man in a Top Hat. Listening to their music is like discovering a hidden door of a new world, a world inside a world. It’s never boring when it comes to their music. “The Destination” is a kaleidoscopic encounter between grunge, experimental, psychedelic, jazz and disco. Drastic, retro guitar riff full of twangs in black distortion. Their rockers’ charm draws you instantly to a different time and place, stirring some nostalgia inside, which soon becomes very addictive.
Things are happening all over the place in “The Destination.” Wherever you look is a scenic intrigue. Dream of Man in a Top Hat manages to paint abstract and impression at the same time. At one point, a modernistic sax stumbled upon this strange world and got lost in their music. Hear from there what it stimulated. From a singular motion, butterfly effects flood in through vivid sonics, stirring a different sight—now you’ve found the key to the hidden world.
Melodies are emotive and stirring, but they are not exactly the way you’d expect them to be. There’s a song hidden below the chaos and commotion, and it’s driving you crazy just to hear it. The treatment here in “The Destination” also reminds you of the experimental aspect of Radiohead.