Viruette‘s Waylaid in Aspic can best be described as long form, loosely structured, tunefully-sung musical poetry with an edge. Viruette’s music is a form of progressive alt-rock, with songs that are lyric-heavy and musically engaging. The style reminds me a bit of the energetic alt-rock I heard occasionally while getting my music journalism start in Boston many, many years ago, with twists and turns that keep things interesting. And all those words – as a singer, I’d have to devote weeks of study to them if I wanted to remember more than half of them! – serve as another instrument, with an unexpected vocal cadence providing a slightly off-balance aspect to the tunes on …Aspic.
cover artwork by Adam Kane; image courtesy of Viruette
Waylaid in Aspic‘s five tracks each offer something appealing. If I had to pick a favorite, I’m partial to EP-opener “Sick Hominid,” with its tempo changes, variety of vocal stylings, and somewhat haunting vibe.
“Superanima,” though, is sometimes my preferred track, as it plugs along at a fun pace, has a singalongable “doo-doo, doo-doo” part, and has lyrics like “Superior mama needs a man with a real superanima, a madonna-fied interior. That lab rat’s kissing cats, and now I’m so alone. I want to drag you down…” No, I don’t know what it all means. But man, I take my hat off to the creative wordsmithing.
“Pollyanna (You’re My Billboard),” the song from whose lyrics the EP title is nabbed, is a little milder musically than the first two tracks but sports an off-kilter carnival midway sound that adds variety to this cohesively offbeat, exceptionally engaging EP.
photo by Jimmy Del Ponte; photo courtesy of Viruette
“She Dreams in Green Screen” offers an exit ramp from the carnival via a funhouse mirror vibe before the collection closes with the fun, energetic “The Water Beckons,” probably the most broadly-accessible track in the group, its pop-friendly finesse rooted in a timely pop-rock vibe but with a slightly punk edge. The whole EP is a great listening experience, but if you need to introduce a non-artistic friend to Viruette, perhaps start with “The Water Beckons.”
While the band’s earlier single releases of “Viruette,” “Call Me Annabel,” and “Maimed” offered an interesting glimpse into Viruette’s sound, the longer-form canvas of a five-song EP, the ensemble’s first multi-song release, provided a chance to take listeners on a journey, a goal the guys accomplished with aplomb. I can’t wait to hear Viruette’s next creation.
Looking Ahead
I’ve not yet heard Viruette perform live, but I fully expect this music to translate into a raucous evening of ear-ringing fun. I don’t see any mention of upcoming gigs, but there’s an events tab on the band’s Facebook page you should check periodically. And I see the band occasionally promotes its gigs via Instagram, as well.
photo by Max Hertwig; photo courtesy of Twisted Rose
Twisted Rose is a German classic rock outfit whose music is hard-driving at times, hard-rock-styled mellower at others, but always an engaging, catchy blend of rockin’ guitars and vocals, clever songwriting, tight musicianship, and a bit of a showman’s flair for flamboyant delivery, when necessary. Ich habe vier Jahre lang Deutsch studiert, aber ich spreche nur ein bisschen; fortunately, everything’s in English, so I have no worries. The foursome on Twisted Rose’s newest album, Cherry Tales, is comprised of singer Caro, guitarist Chris Bones, bass player Tino (who was recently replaced by Alfred, per this December Facebook post and as noted on the band’s website), and drummer Luggy.
Boom! Right off the bat, Twisted Rose grabs your attention with the crunchy guitar riffs of “Greed4Speed,” followed by intense vocals that echo the need for – no, the greed for – speed, at least musically. Lyrics like “I’m back, I’m back, I’m a damn hell on wheels. Eat my dust while I pass.” Yeah! I usually desire some tempo variance within a song, but “Greed4Speed” is a three-minute, full-speed-ahead adrenaline rush that, if anything, doesn’t last long enough. It totally rocks!
Next up, though, Twisted Rose showcases the ability to slow down. Thankfully. A reprieve, a chance to rest. Well, not exactly. I mean, they’re still a hard rock band, so the sound is heavy, and it even kicks off with some interesting guitar noodling before settling into the beat. Still, the slower tempo of “Wanted” is a nice reprieve. Though as the tempo slows, the heavy beat and power firmly insist “we are a metal band.” “Wanted,” though, isn’t just a soaring mid-tempo power rocker. Mid-song, a key change ratchets things up, providing variety within this mid-paced, powerful headbanger. Oh, and the closing “feel my pain” lyric followed by maniacal laughter? A priceless pièce de résistance. Or a cherry on top, to keep with the album title’s theme.
photo by Max Hertwig; photo courtesy of Twisted Rose
“Bring Back Those Days” leans into a blues influence, making it apparent from the guitar-only opening. The song plods along – metally, not boringly, but from a tempo perspective, it plods – but the song structure affords vocalist Caro an opportunity to include some inventive vocal runs, worth the price of admission.
The energy picks up again on “Say Hello.” The tempo isn’t necessarily as fast as it seems, but it is quite a ride. There are an off-beat “fast, make it fast” background vocal and a guitar line that curls back on itself that push the song forward, plus some aggressive drumming in spots, all seemingly tugging the song to move faster, providing an invisible tension that propels the track to a much quicker end than even the short 2:30 runtime might suggest.
photo by Max Hertwig; photo courtesy of Twisted Rose
“Crossing the Line,” a true power ballad, follows, with piano accompaniment and a Scorpions-esque nearly-spoken/sung balladic intro before guitars and a booming rhythm section join. Cracking vocals and lyrics like “I see now I was crossing the line; I feel now the seed of remorse” deliver this as a potential slow-dance favorite that becomes a much more curious romantic song choice when the lyrics are considered (in the vein of Warrant’s “Sometimes She Cries,” for example).
“Back to the Old Days” opens with a fifties rock-style guitar riff. Perhaps inspired by Marty McFly’s “Johnny B. Goode” but, of course, updated. Regardless, the axe stylings as the riffs roll strike a nostalgic tone, as do the vocals, which approach shouted-singing when such energy is required (while the backing vocals are, in fact, shouted). The tempo here is nearly as aggressive and non-stop as on the disc-opener, to the extent that, while the influencing decade is different, it’s another pure adrenaline-rush number.
photo by Max Hertwig; photo courtesy of Twisted Rose
“Friday Night Blues,” next, is a purely hard-rockin’ blues lament with the requisite blue axe riff declaring the album’s stylistic musical shift from the get-go. On this particular number, be sure to enjoy the axe solo. You can’t miss it, even as the primary lyric in the song is “you’re gonna miss me.”
Straightforward classic hard rock returns, serving up “Party Time.” For sure, you’ll find yourself singing along with the playful “oh-oh-oh” and “hey-hey-eyy” lyrics. The tempo on this song isn’t especially fast, but it is relentless. “Rock You Away,” next, is similarly styled and tempoed, but the singalong phrase is “wo-oh.”
“Skull” feels like a travelling song, a road trip song. More drivealong than singalong, if there is such a thing. But there’s also an uplifting, soaring feeling to the track. It’s a little harder rock than your typical gettin’-things-done movie montage music, but it would otherwise fit such a role.
“We Can’t Get Enough” kicks off with the recurring guitar hook that ties the song together and makes it one of the album’s memorable songs. That and the catchily repeated “more, more, more.” The desire for fame and success espoused by the lyrics also serves as the theme for the song’s clever music video. Oh, and hard rockers have gotta dig the explosion sound at the end. Because, you know, rock ‘n roll.
photo by Max Hertwig; photo courtesy of Twisted Rose
Twisted Rose closes Cherry Tales with the melancholic ballad “World is Burning.” It’s a heartfelt, emotional, powerful song that’s most obviously anti-war, with the proceeds from the song earmarked to help those affected by the war in Ukraine, but it also includes some broader pro-earth sentiment in the lyrics. If you don’t get a lump in your throat listening to this ballad, you’re probably not human.
Yeah, yeah, kind of a downer ending to an energetic, fun album, though you do get a sense of “people power” and solidarity from it, so that’s not a bad thing. Plus, it’s a worthwhile endeavor for art – even when that art is rock ‘n roll – to make you stop, think, and feel. Plus, you can always re-start the album if you have a need (or greed) for speed.
In total, Twisted Rose’s Cherry Tales is one of the best rock albums I’ve heard in the last year. Stylistically, this would have been a must-have release about 35 years ago, a big hit rock album with some chartable singles. Even today, with a nod to its classic rock roots, Cherry Tales is a fresh-sounding, modern hard rock album that’ll connect with young and old (sorry, not “old”; I mean, “classic”) rockers alike.
photo by Max Hertwig; photo courtesy of Twisted Rose
Looking Ahead
If you want to catch Twisted Rose live, be sure to check the “Tour” page on the band’s website every so often. The website currently lists a few dates in Germany from April through June and teases an October performance in Barcelona “to be announced.” Also, this November 28, 2023 Instagram post says Twisted Rose is back in the studio, so hopefully there’ve been some new future-favorites recorded that they’ll be sharing with us all in the not-too-distant future.
Hello again! Yes, my writing has slowed down again the last few weeks. To those of you I’m planning to review, your target date has been pushed back a month. As I mentioned in my first “Publisher’s Corner” column last month, which some of you seemed to enjoy so I’ve decided to continue to write them from time to time, long-time readers know my writing time varies widely due to my career job and my family responsibilities, so you’re not surprised when I disappear from the blogosphere from time to time.
As last time, I’ve decided to share the first dozen songs from today’s morning YouTube binge, something my wife and I do at my house some weekend mornings while enjoying our morning coffee. Since morning YouTube and coffee binges are a couples affair, the playlist doesn’t extend across my entire musical taste, particularly at the harder rocking end, but it’s a pretty good glimpse into the rest of what I listen to and enjoy. And, of course, it’s music I’d recommend.
Also, if you’re curious about the latest goings-on of a few of the artists that have been featured in the Blog over the years, you can skip to the end to find some notes and links.
We’re big Def Leppard fans, but we hadn’t really gotten into their new stuff… until we first heard “Kick” in the spring of 2022. The accompanying album, Diamond Star Halos, is probably my favorite Def Lep disc in more than two decades. Fresh, energetic, engaging. The guys seem to have really tapped into some serious creative juices on this album. And yes, “Kick” is a new spin on Def Lep’s classic rockin’ hit single.
Van Ghost was the second artist I reviewed when I launched the Blog. In my “The Road Back” series, chronicling my road back to music journalism, Van Ghost was entry number two. That review covered a 2012 concert and the band’s The Domino Effect album, from which the energetic, dancealongable “Return to Innocence” is pulled. “Return to Innocence” is a little more straight-ahead rock ‘n roll than the Def Leppard song before it, which is harder rock, but still pairs well. I know Van Ghost was a rock band in a pop and country era, but there’s still no reason straight-up classic rock fans shouldn’t know about these guys and include them on modern playlists (or own physical copies of their music, if that’s your thing). A good follow-up to Van Ghost would probably have been Bryan Adams, but instead, on this morning’s playlist, we followed this song with…
The Dayz. A big rock band with an energetic style and a kind of funky – at times jazzy – groove. The band comprised several of New York’s best local musicians at the time. Again, one of those things about a great band not finding the audience that would love it. It happens more than you might think, which is one of the reasons I write the Blog. With my limited writing time, I stick to artists and albums I enjoy and think you should hear (rather than wasting some of my sparse reviews dogging a band or album you probably don’t know anyway, though I do infrequently cover a big-name artist if I’m so inspired). Anyway, back to The Dayz, once I began playing their music during our weekend morning music-and-coffee sessions, they’ve become one of my wife’s favorite bands, too. This song is a great introductory song to The Dayz, after which you can explore the rest of the band’s catalog. Here at the Blog, you can find a review of the band’s EP2, on which “The 4th Estate” appears, and a review of one of the band’s live shows, which I review as part of my “New York Residency” series in 2016. Unfortunately, The Dayz dispersed a couple years ago, so you’ll have to enjoy the band’s existing catalog; there’s no new music on the way.
Some ’80s pop-rock songs hold up better than others. Few hold up as well as Glass Tiger‘s “Don’t Forget Me When I’m Gone.” Canada’s Glass Tiger still tours to devoted home-country fans (if I became aware of a Boston-area show, I’d definitely try to be there), and the band owns a back catalog that’s much deeper than they’re probably given credit for. They also had a few hits, and “Don’t Forget Me When I’m Gone” was their biggest. Personally, I’m partial to the Canadian video for this song, which is playfully cheesy and fun. That’s why it’s the version on the playlist. (The U.S. version is just concert footage.)
Sara Bareilles is one of America’s best songwriters, and I often wonder why she doesn’t seem to get more acclaim. I mean, with the depth and breadth of her music catalog, you’d think she’s be one of those most-sought-after concert tickets some year. Not that she’s not appreciated – she is one of the most successful artists out there and her 852,000 Instagram followers and 1.7 million Facebook followers are nothing to sneeze at – but those numbers are not nearly as high as the quality of her work and longevity would suggest they should be. And her 9 Grammy nominations and 2 wins just seem too few. Clearly, Broadway realizes her talent, and that’s pretty cool. But back to this song, “Gonna Get Over You”: It’s an uptempo, danceable number with a fun, clever music video. Actually, I’d almost dare you to try not to dance along with this song. Anyway, this song is always a sought-after addition to our morning playlists, as are several of Sara’s other hits.
This song is the sole repeat from the December 9th playlist. Rightly so. iLO is one of our favorite singers. With her amazing, rich, recognizable, versatile voice, she’s someone you should know. Of course, when it was initially released, I reviewed Fragile Heart, the EP that contains “Safety Net.” iLO’s 2015 showcase was also part of my “Road Back” series; my desire to share what I heard that day clinched my decision to launch the Blog. These days, she’s an in-demand songwriter with a publishing deal, but whenever she releases a new song or performs live, mostly around London, it’s a must-hear or must-attend moment.
There’s something about curating a playlist to make you really appreciate Bryan Adams. I think I missed “When You’re Gone,” the duet with Melanie C, when it was initially released. The album never broke the top 100 in the U.S., and no singles on the album charted in the U.S. The United States music biz had moved on from Bryan Adams by 1998, which is a shame, since he was still releasing great music. With Melanie C involved, I suppose it’s not surprising “When You’re Gone” reached #3 on the UK charts in 1998. Anyway, this “classic version” of “When You’re Gone” appeared on the second disc of Bryan’s 2021 release So Happy It Hurts. Disc one of that album is comprised of new, original music. (“Kick Ass,” is one of the several songs on disc one that deserves a listen.) Disc two is re-recordings of many of Bryan’s hits. We’ve been enjoying a lot of Bryan Adams’ songs, old and new, during our music-and-coffee mornings; this is one of our faves.
You might have seen Cami Bradley on America’s Got Talent a decade ago, with her re-arranged versions of hit songs taking her to the finals of that competition. It also led me to dig into her musical past and discover her independently-released EP Seas, which spent years as one of the four or five discs I rotated through my car CD player. I’m not sure how easy a physical copy is to come by these days – Amazon says it’s sold out. It also doesn’t look to be available for streaming on Spotify. In fact, I can’t find where you can listen to the EP in its entirety, but several of the seven songs are available on YouTube (just not grouped together to be easy to find). “Waiting” was one of the songs on the Seas EP, though, and it’s a very fun listen. Since shortly after her AGT run, Cami joined forces with singer-songwriter Whitney Dean to form The Sweeplings. The vibe is slightly different from Cami’s early solo work, but man, some of those songs are thoughtful and powerful – all of the well-written, produced, and performed, so be sure to explore The Sweeplings’ music, too.
This is a fun pop song penned by one of music’s great hitmaking songwriters, Diane Warren. Just the words “written by Diane Warren” tell you it’s worth a listen. Indeed, this song, in which Warren teams with singers Rita Ora, Sofía Reyes, and Reik, delivers. The song has a fun, light pop energy and will get you up and dancing pretty quickly. Warren herself even makes an appearance in the music video, her first music video appearance, which is kinda cool for those of us who’ve admired her songwriting talent for decades but haven’t seen her in a video before.
We discovered pop singer Anne-Marie through some of her many musical collaborations, which help showcase her exceptionally broad-ranging vocal talent. This song, the title track from Anne-Marie’s 2023 album release, is a country-tinged, danceable pop number that features contributions from Shania Twain. So, yeah, star power. It should be no surprise that this is an infectiously catchy song.
I’m a big fan of Gavin DeGraw‘s music. He often goes soft or mid-tempo, but I really dig it when he packs the energy, as he does on “Best I Ever Had.” Lyrically interesting, as is always the case with singer-songwriter DeGraw, “Best I Ever Had” will also have you jumping around. Pogo to it, if you’re so inclined. I often do.
When Camila Cabello released her solo debut album, Camila, in 2018, I quickly checked it out and was convinced, in part by this song, that she had a good chance to be hugely successful. And by that, I mean she has songwriting skills and a memorable voice and delivery that were likely to result in longevity. The crossover appeal of Camila’s music spans genres and generations, which is why I was psyched when I heard she’d be a coach on The Voice in 2022, potentially encouraging an older demographic to sample her music and broaden her appeal. My first impression of a new artist is not always right, but this time it was. And this song remains a favorite, as do many of Camila’s other releases.
OK, that’s twelve. And within a couple songs after this, we began to go about our business this morning, leaving music to play in the background but not curating it as actively. As with the last time I shared a morning playlist, let me know what you think. Do you still enjoy these? Should I keep sharing them occasionally? Would you mind if I shortened the list, when I do this, to six or eight? But yeah, that’s it for the “YouTube and morning coffee” playlist.
As promised, though, I’ll also share some happenings with favorite artists…
News and Releases
Several of my favorite artists have welcomed new releases recently. Some I’ll be reviewing in the future. Others I won’t. (Hey, I don’t have time to review everything.) But just to keep you all in the loop:
Ashley Jordan: I make no secret of the fact that, if I were to start a record label with just one Boston-area country music artist, it would be Ashley Jordan. I’ve reviewed the of Ashley’s live performances at the Blog, and I’ve penned this review of her album He’s Crazy. Well, last week Ashley released her latest single, “I Wanna Be That Girl.” To be honest, this past week has been so crazy I haven’t even listened to the song yet, but it’s Ashley Jordan, so I have no doubt it’s going to be exceptional.
Metalite: AFM Recordsreleased Swedish melodic power metal band Metalite’s Expedition One last week. I wrote about three of the band’s singles from this album in my review of “New Generation.” (You can find my thoughts on “Blazing Skies” and “Disciples of the Stars” in the “Looking Back” section of that review.) I covered the band pretty thoroughly in that review that I probably won’t review the album, especially if my time is limited, though I reserve the right to change my mind. But if my review of “New Generation” piques your interest, be sure to give the album a listen.
I’m sure a lot more has happened with the Blog‘s favorite artists, perhaps some I should remember, but those are the ones I can recall right now.
In the coming weeks, watch the Blog for reviews of music from Viruette, Sado-Domestics, Major Moment, Michelle Held, Eddie Japan, Rachel Stacy, Dokken, and many others, including Twisted Rose, whose review I finished today and is just awaiting a final proofread this week.
This “Publisher’s Corner,” as always, will be published right now, sans proofread, so hopefully there aren’t too many typos here. Hopefully I’ve introduced you to some new music today. And please let me know what you think of the “Publisher’s Corner” format; I do listen to suggestions… well, except those that would require me to spend a lot more time on what is intended to be just a quick-hit write-up.
Carissa Johnson is a highly-acclaimed, award-winning singer songwriter-slash-asskicking rock singer. Among Carissa’s more notable awards, she earned a Boston Music Award for Best New Artist in 2017, and she won Rock Act of the Year at the 2019 New England Music Awards. I’m pleased to get a chance to review Carissa’s latest single, “Congratulations,” which showcases her many, varied talents – songwriting, forceful yet tuneful vocal delivery, and, in this case, an engaging sarcastic rock ‘n roll tone: “Congratulations, you lost me good… Now you’ve got what you wanted.” Those lyrics, bookending the chorus, absolutely drip and are delivered exquisitely.
Carissa Johnson
On “Congratulations,” Carissa serves up an “I Hate Myself For Loving You” (Joan Jett) edge with the opening guitar riffs, a hint of an Avril Lavigne smirk in the delivery, an insistent tempo reminiscent of Jimmy Eat World, and a strength and power that’s sort of alt-rock meets pop-friendly rock with a punk attitude. All the while, Carissa’s voice serves up a tone that’s all her own, identifying this song as quite specifically a Carissa Johnson number. And that’s what you want as a musician, for people to be able to recognize you within just a few notes. (I mean, yikes, her tone on the lyric “don’t you look behi-i-ind.” Shivers!) It’s helpful from the perspective of a music fan, too, because once you recognize her voice, you know the song’s gonna rock.
Among recent reviews I’ve written, I’d pair Carissa’s music most closely with Phil Jamieson’s, though she’d slip in easily alongside any rock band from alt-rock to classic rock. Among Boston-area rockers, she’d be the hard-edged pop alt-rock equivalent of more straight-ahead rocker Jennifer Tefft.
If the above has piqued your interest, check out “Congratulations” on YouTube (the song starts 48 seconds in, but it’s an amusingly, creatively cool video!), Spotify, bandcamp, or wherever else you consume music.
photo by Alex Bartole; photo courtesy of Carissa Johnson
Looking Ahead
There are currently two dates listed in the “Tour” section of Carissa’s website: Saturday, January 13th with Shy Husky at The Middle East in Cambridge, MA and Friday, January 26th at the Two Bridges Luncheonette in New York, NY. Check back periodically for additional shows, as they’re added. And be sure to follow Carissa on your favorite social media – you can find those and other links on her linktree.
Bada Boom! is the new EP from Boston-area classic hard rock stalwarts Axminster. It might be recency bias talking, and it probably is, but this pumped-up, hard-rockin’, high-energy four-song EP levels up from the already-high bar set by the band’s previous EP, Tightrope, which I reviewed a few months ago. Rather than repeat the band’s background info from that review, I’ll dive straight into the music. (If this is your first encounter with Axminster, please do read the Tightrope review, too.)
Bada Boom! kicks things off at 11 with fast-moving speedster “Don’t Wind Me Up.” Pouty ’80s-style melodic hard rock vocals couple with guitar crashes, funky hard rock rhythms, and a fast-picking rip-roaring guitar solo on this track. Even though, upon closer examination, the tempo isn’t quite as fast as the song’s frenetic nature makes it seem, “Don’t Wind Me Up” is definitely an energetic pleasure trip for any classic hard rocker.
image courtesy of Axminster
“Thick N’ Thin” follows with a little more of a sidewinding rhythm, with a vibe akin to Ratt’s “Way Cool Jr.” but a classic rocking vocal and guitar edge that might fit just as well with that era’s Aerosmith tunes. “Thick N’ Thin” is chock-full of rough-edged vocals and guided by a steady rhythm section with a hooky rhythm. In several places, the music peters out a little before recoiling and bursting forth with renewed power to very cool effect.
“Backfire” is a drum-heavy hard rocker with a crunchy bass line and some really cool kamikaze lead guitar runs, all steadied around iconic yet uniquely identifiable ’80s hard rock-styled vocals, always pushing the edge of the vocal envelope.
The EP closes with the punchy rhythm of “White Lie Fever.” The band sounds nothing like Mötley Crüe, but I’d sandwich this song between “Girls Girls Girls” and “Kickstart My Heart” as a nifty fit in a classic hard rock playlist.
photo courtesy of Axminster
I could spin this EP over and over. (I have!) It’s an energy-filled four-song collection reminiscent of the very best classic hard rock songs of old but with an energy and enthusiasm that makes it timeless. Simply put, this is a great new collection of axe-driven rock ‘n roll from one of the best foursomes out there plying their trade. Those of us in the Boston area are lucky to have Axminster in our midst, still churning out brand new original classic rock favorites in the band’s inimitable style.
You know, I don’t see any upcoming live dates mentioned on the band’s website or Facebook page, but as kickass as these songs are in a recording, I’m betting they’d be even kickassier live, so I’m hoping there are some gigs in Axminster’s future this year.
Liner Notes
As a cool side note, Bada Boom! includes the work of a pedigreed production team. The EP was mixed by Bob St. John (Extreme, Collective Soul, Duran Duran, Dokken) and mastered by Adam Matza (Steven Tyler, Extreme, Dweezil Zappa, Mary J. Blige).
The rich, lush, plush sound of French progressive rock act Madlen Keys melds a light, poppy flavor with long, meandering progressive rock musical runs to deliver a sound uniquely its own. You can hear a variety of influences in Madlen Keys’ music – obviously progressive rock, but also some timeless sixties/seventies psychedelic folk and more recent alt-rock influences.
image courtesy of Rock Rose Music
It has been quite cool having this album follow Catbells’ dream-pop album Partly Cloudy, which I reviewed yesterday, in my to-be-reviewed playlist for the last few months. There’s a dreaminess to Madlen Keys’ music that places the two much closer together sonically than you might guess from their nominal musical genres, resulting in a really pleasant back-to-back musical experience.
Madlen Keys’ album-opener, “The Maze,” sports a vocals-only beginning, with instruments following soon thereafter. The music is soft and dreamy, while the verses feature a musical accompaniment different from the rest of the song, as if they’re vocal vignettes. In true progressive rock style, the music meanders and wanders a bit but remains tethered to a consistent, recurring verse and chorus.
photo courtesy of Rock Rose Music
“Breathe” follows, with spacy sounds akin to those found on Bob Lord’s recently-reviewed album The Six Observables melding with a dreamy nature reminiscent of the Catbells album I just mentioned. “Breathe” repeatedly builds from mellowness to nearly a wall-of-music power like a more typical, straightforward rock song, but the sounds and the musical journey are soft and airy. The song ends with a reverberating, vibratingly twangy, distorted rock guitar riff. Because of the breadth of styles this song calls upon, it is the song on Event Horizon with perhaps the greatest potential crossover appeal, with the best opportunity to reach the broadest audience.
Madlen Keys mellows out a little on “Flaming Trees,” its lyrics delivered with a soft tone at first, as if a secret revealed, then more confidently firm as the song builds toward the middle. “Flaming Trees” is the longest track on the record, clocking in at more than six minutes, so it stands to reason there is a significant prog-rock instrumental section – the whole back half of the song, in fact – including a long, soaring guitar run that’ll turn this tune into a favorite among guitarists.
photo courtesy of Rock Rose Music
“Keep a Secret” is another song with a vox-only opening, this time echoing vocals with only a buzz backing them for more than a minute before the instruments slowly creep in, notably exotically-picked strings for a while, then drums, before the song finally becomes a theme-driven, not-unexpected, progressive rock jam.
“The Stream” has a nifty mid-speed tempo; its music is well-matched to the prominently-recurring lyrics, words you’ll quickly learn and sing along with: “We don’t know for certain anymore, anyhow. ‘Cause we have known and failed now for so long.” Of course, the song isn’t entirely uncertain; it builds from a softer start to a stronger finish.
“Memories of My Friends” is a soaring number that builds in power as it, like “Flaming Trees,” leans into some pretty cool prog rock guitar in the song’s back half.
photo courtesy of Rock Rose Music
“Ubik” utilizes a more haunting, uncertain tone, which continues through most of the song. Even the very late shift toward a more musically dense, voluminous sound during the last minute of the song is more disquieting than usual, setting it apart from the more cathartic musical jams in this record’s other tracks. It’s the one song on this disc that, while musically beautiful like all the rest, will leave you a little unsettled at the end.
Event Horizon ends with “Pensando en Ti.” It’s a bit more flowing and is quite clearly a storytelling song. Beginning as a lightly instrumented folky track, partway through, this song transforms into a more theatrical number, putting an oddly eclectic end to this enjoyable, creatively progressive record.
If you want to listen to individual tracks, my picks from this disc would “The Maze,” “Breathe,” and “The Stream,” but I’d recommend listening to Event Horizon in its entirety. As with many progressive rock albums, the songs fit together nicely and all contribute to the overall listening experience.
Looking Ahead
Madlen Keys has a few gigs already scheduled for 2024. You can find the concert schedule on the band’s website. (Yes, I’ve linked to the English-language version of the website.) You can also keep up with Madlen Keys via the band’s social media pages, which are listed on Madlen Keys’ linktree.
Partly Cloudy is the debut full-length album release from folky dream-pop artist Catbells. The album skews toward the pop-rock end of the dream-pop genre, increasing the likelihood that individual songs on Partly Cloudy might readily connect with a broader audience. Catbells’ songwriting suggests a breadth of influences coloring her musical palette, driving noticeable song-to-song nuance.
Catbells’ songs are mellow but structured, with a sense of purpose and destination. The key to Partly Cloudy‘s substantiveness is that it’s a song-driven album. I was intrigued by this album quickly upon my first listen, but I spun the disc several times before committing to a review, waiting to see if its appeal would fade. I’ve been fooled before by soft, dreamy music. No such surprise here; instead, this disc gets better with each listen.
Album-opener “Fade (Rainy Day Demo)” has a Stevie Nicks-ish vibe. In other words, Stevie might perform a song like this if she were to perform in this genre. Catbells’ voice can be a bit soft and wispy, but it’s also firm and full, hinting at plenty of power in reserve. “Fade” is a terrific introduction to Catbells’ musical style. If I had to compare Catbells’ style to anyone else I’ve reviewed, it compares closest to Bridget Davis & the Viking Kings (reviewed here, here, and here), who I’ve always categorized as folk-rock or pop-folk, not dream-pop.
photo by Marisa Cherie; photo courtesy of Howlin’ Wuelf Media
As noted, Catbells’ songwriting is a key to her music’s strength. Indeed, song two, “Wilderness,” has moments that are a little reminiscent of the Beatles. The song has a very late sixties-early seventies flavor, akin to some of the Beatles folkier songs during that time frame; also, slightly reminiscent of the successful folk crossover sound from that era. “Wilderness,” like the song before, is engaging because the song has something to say, its songwriting moves it along with purpose, and, of course, Catbells’ voice and instrumentation are pleasant and original.
You’ll find mildly crunchy pop-rock guitars on song three, “Gone Too Far,” which would be as at home as one of the dreamier songs on a radio-friendly alt-rock band’s album as it is on this disc. Also, there’s a sound effect that sometimes makes me get up and look outside to see if there’s a dog barking whenever I hear it, so thanks for that, Catbells. All is forgiven, though, because this is a really cool song, barky sound notwithstanding.
“I Wish” is sonically very familiar, again more alt-rockish. There’s a hint of an eerie, haunting sound, particularly – but not just – in the guitar, that recalls for me Chris Isaak’s “Wicked Game.” (Yes, I overuse that reference in my reviews; clearly, I need another.)
I’ll not go song-by-song through the rest of disc. Each song is uniquely original, and you’ll certainly have your own personal favorites.
It is worth noting that , a couple songs later, “Same As You” has a lyrical delivery that’ll get stuck in your head. Specifically, the line “I… I will remember you.” But also the jangly bonging of the music, which is comparatively uptempo for this album.
For its variety, which is something Catbells does adeptly on this album, despite the similarity of the songs’ sound, I specifically enjoy the music spaciness – as in, outer space-iness – of “Ground Force,” in addition to the earnestness of the song’s vocal delivery.
“Trying Not to Feel” is one of the album’s more melancholy songs, with its cool, introspective lyrics that are exceptionally well-suited to the music, driven initially primarily by a purposeful strum that continues throughout, with Catbells’ musical cadence and vocal tone befitting the chorus’ main message of “Trying not to feel, makes me want to cry.”
Finally, the album ends with song thirteen, “Riding Tides,” a very clearly spoken-sung song with an echoing vocal effect that’s not necessarily unique to this track, but it’s much more apparent due to the light instrumentation, which is mostly a… is that a ukelele?
In all, it’s a great album, an enjoyable listen. I sometimes think I should listen to Partly Cloudy in a dark room with only the spinning reflections of a disco ball lighting the room. I haven’t, in part because I don’t own a disco ball, but if you are able to try this, let me know how it goes. I bet it’ll be a cool experience.
Even if you don’t have many artists like Catbells it in music your collection, she is a best-of-genre artist with crossover appeal, so as a music fan, you should probably at least be aware of her and sample a bit of her music. You’ll probably be glad you did.
More Recently
Even though Partly Cloudy was just released a couple months ago, on October 27th, Catbells does have a more recent single release. Her cover of “Walking in the Air” dropped on December 15th. You can find the song here on bandcamp and here on Spotify; the video is here on YouTube. Catbells’ Instagram followers heard a preview on December 7th, so if you dig Catbells’ music, it’s probably worth following her on Instagram.
photo by Muriel Delepont; image courtesy of Leighton Media
I wasn’t planning to write a Christmas review this year – in part because I’m so backlogged that by the time Christmas songs began to appear in my inbox, I was already booked until February. But I’m feeling a bit of Christmas spirit at the last minute this year – it happens some years, but not every year – and there’s a song that hit my inbox this December that you really should hear and will certainly enjoy. So, without further ado…
Critically-acclaimed singer-songwriter Elliott Murphy checks into this year’s holiday sweepstakes with “This Christmas I Want Less,” a Christmas song about not wanting more stuff in this crazy world. Then again, Murphy recants a bit during the song’s bridge with the pivot “‘Cause I’m clearly at an age where I can really say I’ve had enough. Give it a rest on Christmas Day. Well maybe there’s a few things you could do for me…” and asks Santa if he might have the gift of optimism in his overstuffed bag of presents. (Psst, Elliott, if Santa delivers on nixing the apocalyptic visions, I’d appreciate it if you could direct the jolly old elf my way next.)
Murphy’s voice is deep and convincing, almost Burl Ives-ish, if you need a Christmas reference, but deeper and more coolly rock ‘n roll. I guarantee you took the time to check out this song, with its worthy message and cool strum-and-spoken/sung delivery. I bet it’ll become an annual Christmas favorite.
More Elliott Murphy Info
Murphy’s most recent full-length release, Wonder, dropped in 2022. He also has several shows booked in Europe in 2024. Check out the “Tour” page of his website for dates and locations, plus more performances as they’re added.
I first got into King Kobra‘s music back in mid-eighties, when the band was touring in support of its 1985 debut album Ready to Strike. The band’s latest recording, We Are Warriors, features original members Carmine Appice (drums) and Johnny Rod (bass). Vocalist Paul Shortino has been with King Kobra since 2010, though many classic rockers may remember Shortino best as the widely-lauded lead singer of Rough Cutt in the mid-eighties. Guitarists Carlos Cavazo (Quiet Riot) and Rowan Robertson (Dio) round out the line-up for this release.
With so many of classic hard rock’s best players on this album, you can expect songs that showcase the guitarists’ shredworthiness and Appice’s legendary skinswork. And, of course, Shortino’s trademark powerful rock ‘n roll wail. The album lacks that obvious, in-your-face, hook-filled hit single that grabs the listener’s attention right off. The songs are well-crafted, showcasing the band’s musicianship in the way album-oriented rock discs from the seventies and eighties typically did. Throughout, We Are Warriors is a strong collection of songs with staying power. And the hooks are there, they’re just a little subtler; after a few listens, favorites emerge.
image courtesy of Glass Onyon PR
Album-opener “Music is a Piece of Art” is a representative introduction to the band’s 2023 sound; it’s a solid rock number that features Appice’s drumming coming to a peak, stopping, then continuing. Shortino convincingly sings his ode to music, with lyrics like “you are my passion, you’re heaven-sent, you’re my companion without end.” And the song features a classic mid-song guitar solo, more soaring than shredding, taking the listener on a brief journey before returning to the melody.
It’s not the only ode to music on the album, though. It’s immediately followed by the funkier-rockin’ “Turn Up the Music,” another song extolling the band’s love affair with music.
“Secrets and Lies,” next, ratchets up the energy; it’s a more intense rocker with a catchy sidewinding rhythm; it’s drum-heavy and the first song on the album to showcase some serious shredding in the guitar parts.
Several more songs stand out on the disc. For example, “One More Night” coolly cycles through three tempos from verse to bridge to chorus, with the frequent changes giving the song a more progressive rock feel.
King Kobra’s cover of “Love Hurts” is well-done, featuring the power and anguish of the original, though I’ll never understand why so many online lyric sheets – and this song – use the lyric “love wounds and marks” instead of Nazareth’s – and the Everly Brothers’ original – “love wounds and mars,” which has the added benefit of rhyming with the previous line. But that’s a personal pet peeve. Ignoring that, the song is well-done and, stylistically, it fits neatly and cleanly into this collection.
Following “Love Hurts,” the rest of the disc tends more toward album tracks that showcase the band’s skills, not quite as hooky as the first half but enjoyable songs to kick back and enjoy. In fact, with the exception of the title track, the rest of the songs I’d release as singles – those with the catchiest hooks – are found on “Side A.” As any AOR fan knows, that doesn’t mean I’m slagging on “Side B”; it’s called album-oriented rock for a reason.
“Darkness” connects with the listener quickly with its funky rock rhythm, crunchy axework, and soaring vocals. The song somehow feels densely-packed with instruments (perhaps due to Appice’s hard-hitting drumming) yet airy enough for the guitars and vocals to dance around a bit. Pretty cool stuff.
Title track “We Are Warriors” is a heavily playful ode to the L.A. rock ‘n roll lifestyle (opening lyrics: “I like hitting the Strip, there’s action everywhere…”) with a beat that seems to keep constantly pushing forward, with the drums imploring the song to speed along faster. Alternately, the guitars and vocals could be seen to be running behind, sitting at the back of the rhythmic envelope, as it were. However you choose to describe it, it sounds cool and maintains an engaging tension. Old-school ’80s rockers are gonna enjoy this song.
Disc-ender “Side By Side” is one of the softer songs on the album, still with a steady, driving rhythm but with a softer edge and guitarwork that soars, like the vocals, more than it shreds.
In its entirety, We Are Warriors is an exceptional classic hard rock album that showcases the talents of several of the genre’s icons. The instrumentation is exceptional and varied, and Shortino is one of hard rock’s iconic voices. Although each listener will have different favorites, every song is well-conceived and performed. Indeed, if you’re an eighties hard rock fan, assuming you give this disc a few spins and take the time get to know the songs, you’ll dig it. More with each listen.
“Just a Story From America” was the classic title track from Elliott Murphy’s 1977 album. Abigail Rose Clark is a talented vocalist and the daughter of longtime John Mellencamp drummer Dane Clark. When Clark’s vocal talents are applied to Murphy’s classic song, the result is an engaging, updated version of the original, containing the same emotion but delivered with a more modern, timely sound. It’s a well-composed revival that could serve to introduce this thoughtfully-crafted song to a brand new audience.
photo courtesy of Leighton Media
The pace and tempo of this recording is actually reminiscent of a John Cougar Mellencamp song – something I noted upon initial listen before reading the press material and learning of Clark’s Mellencamp connection. Abigail’s vocals are brash, forthright, and engagingly enunciated, with a delivery that’s sometimes direct, other times playful, as the instrumentation requires. It’ll have you rocking along, likely so much that you frequently forget to listen to the words, thus necessitating repeat plays. This is, indeed, an engaging rendition of a ’70s classic. If you’ve not yet heard it, you really should to give it a listen!
More Detail
Clark’s cover of “Just a Story From America” was released by Murphyland Records back on March 16th, 2023, on Elliott Murphy’s 74th birthday. You can read about the release here on Murphy’s website, and you can click through to this short “preview” video showing Murphy enjoying Clark’s version of the song.
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