Tag Archives: Single Review

Single Review: Justine Giles – “Before It’s Too Late”

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Justine Giles sitting in car with door open

photo by Jarrett Edmund; photo courtesy of Justine Giles

Single Review of Justine Giles: “Before It’s Too Late”

Here’s an artist I first encountered thanks to following New Tec Radio on social media. Sometimes when people whose musical taste I respect share what they’re listening to (or reviewing or playing on-air), I check it out. And that’s one of the ways I discover new music. (Kind of the same way, hopefully, you’re discovering some cool new music via this blog.)

Justine Giles – "Before It's Too Late" single cover

image courtesy of Justine Giles

In this instance, I discovered this kick-ass song from Calgarian Justine Giles; it has turned out to be one of my favorite single releases semi-recently. “Before It’s Too Late,” does a great job of showcasing Justine’s broad vocal skills. The song is a mix of torchy, bluesy Americana, wide open spaces, and modern country vibes. Specifically, on the country front, the haunting vocals are a little reminiscent of that feeling you get in certain spots of Carrie Underwood’s “Before He Cheats” when you get chills and every hair on your body stands on end. Wow!

Justine Giles sitting on the gravel shoulder, leaning back against the front of a car

photo by Jarrett Edmund; photo courtesy of Justine Giles

The lyrics are intricate. The vocals ranging from smooth to gritty to forcefully powerful. And the appeal for this song is broad – singer-songwriter, country, Americana, pop. If you’re… well, human, then give this song a spin!

More Recently

Recent accolades for Justine include the well-deserved honor of being named Solo Artist of the Year at Calgary’s 2024 YYC Music Awards. She was also nominated in the “Exceptional Rising Leader” category by the 2024 Calgary White Hat Awards.

In October 2024, Justine released an EP entitled Another Chance. One of the five songs in that collection is “Before It’s Too Late.”

Single Review: The Amplifier Heads – “They Came to Rock” feat. Barrence Whitfield

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image courtesy of Knyvet

Single Review of The Amplifier Heads: “They Came to Rock” feat. Barrence Whitfield (Rum Bar Records)

One of the singles from The Amplifier Heads‘ 2024 release Songs From They Came to Rock, “They Came to Rock” is a ’50s-style boppin’ rocker, with Amplifier Heads bandleader Sal Baglio tabbing Barrence Whitfield for the fun, sometimes-booming, memorably stylistically appropriate vocals. This catchy song is a smile-inducing homage to old-style rock ‘n roll, with an otherwordly vibe fitting the song’s content.

Barrence Whitfield and The Amplifier Heads' Sal Baglio

Whitfield and Baglio; photo courtesy of Knyvet

The band released a fun video, too, with a hilariously serious, newsreel-style video lead-in. You might categorize the video under “space camp.” In any case, you should definitely give the video a view; you can find it on YouTube via this link.

The full album was released in April 2024, a few weeks after this single dropped; you can check out the entire space-themed “rock opera,” Songs From They Came to Rock, here on the album’s Bandcamp page.

Looking Ahead

You can keep track of upcoming performances from The Amplifier Heads or Sal Baglio here on the “Live” page of the band’s website.

 

Single Review: Bernie Marsden – “Invisible” feat. Jaime Kyle

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photo courtesy of BJF Media

Single Review of Bernie Marsden: “Invisible” feat. Jaime Kyle (Conquest Music)

Just about a week ago, I reviewed Jaime Kyle’s recent kickass album Wild One. Well, she also lent her voice to the single “Invisible”, released by Conquest Music as the last single from Bernie Marsden‘s final album. Of course, Bernie is most widely known as one of the original members of Whitesnake, co-writer of some of the band’s earliest hits.

image courtesy of BJF Media

“Invisible” appeared on the late 2023 double-album Working Man, a record Bernie had just completed and which was released a few months after he passed away. The details about the song’s release are detailed on the Bernie Marsden website quite completely, so click through here to read more about it; I’ll stick to reviewing the music.

From the opening guitar riff, “Invisible” identifies itself as a “turn up the volume” room-rocker. In fact, it becomes so quickly familiar that I had to review the songwriting credits just to make sure this wasn’t a cover of a song I already knew. The song has self-empowerment, anthemic qualities, with lyrics like “you’ll never change me, so don’t even try” playing right into the gritty edge of Jaime’s vocals. Meanwhile, Bernie’s playful axe riffs and slightly longer, engaging guitar runs provide the tempo and the hooks. The song rides the line between guitar rock and power pop, providing perfect fodder for rock radio, to the extent that category still exists. Not that it matters. If you dig catchy, guitar-driven, energetic rock ‘n roll, give “Invisible” a listen and add it to your playlist.

Single Review: Kill Shelter – “She’s in Parties”

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photo courtesy of HYPR Communications

Single Review of Kill Shelter: “She’s in Parties”

Kill Shelter is UK artist, DJ, and producer Pete Burns. The song “She’s in Parties” was originally recorded when Kill Shelter was asked by Unknown Pleasures Records to record a Bauhaus song to appear on the Honoris III compilation, which was released in 2022. Pete Burns (vocals, guitars, synths, programming) was joined on the recording by Alan “Lord Hagos” Haggarty (bass) and Lynsey Burns (backing vocals). More recently – early last year – Kill Shelter released a “She’s in Parties” as a single with a music video featuring model DJ MAUS.

image courtesy of HYPR Communications

I was, of course, not a goth kid, so I was unfamiliar with the original. I also tend to enjoy modern updates of songs, even longtime favorites – at least, when they’re juiced up rather than blandified (I’m looking at you with that comment, pop music). Well, Kill Shelter adds a lot of character and energy to this cover. The staticky, thumping distortion that rhythmically served as the beat was energetic and catchy. Pete’s vocals played it straight, with a very matter-of-fact delivery augmented by reverbing echoes. This just feels like one of those club tunes you get up to dance to, then realize the beat isn’t really made for dancing, but the song’s so cool you just stand there swaying, enjoying the three or four minutes.

photo courtesy of HYPR Communications

If you’re a longtime blog reader, the band I’ve reviewed that most reminds me of this recording would be The Sweetest Condition, but only insomuch as I might book them at the same event because TSC’s music was largely danceable industrial music, whereas Kill Shelter’s cover of “She’s in Parties” is an echoing, beat-driven, post-goth experience. I’m thinking this updated rendition of “She’s in Parties” would find footing with an exceptionally large swath of music fans. At the very least, I guarantee it’s worth a listen, so please, dear readers, go give it one.

 

Single Review: Joe Kidd & Sheila Burke – “Last Time I Looked”

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image courtesy of Joe Kidd & Sheila Burke

Single Review of Joe Kidd & Sheila Burke: “Last Time I Looked”

Here at the blog, we last reviewed Joe Kidd & Shiela Burke a few years ago. Well, contributor Eric Harabadian reviewed them… six years ago! For this duo, that’s been too long. Since Eric wrote that review, this will be my first attempt to capture the uniquely pleasant, enjoyable, identifiable vibe of one of Joe and Sheila’s recordings.

Joe & Sheila’s e-mail message accompanying the release of this single said: “Imagine yourself in an Alien Future: You are a survivor of climate catastrophe, nuclear holocaust, famine, plague, apocalyptic social upheaval. You are telling stories to the young ones, remembering the world as it was in the not too distant past.” That certainly describes the subject matter well. Lyrics include phrases like “Last time I looked, we could all breathe clean air” and “Last time I looked, no reason to beware.”

Sonically, “Last Time I Looked” is top-tier singer-songwriter fare. Folky, but with some guitar choices that hint at a broader appeal, marking it as a song that could be more easily appreciated and enjoyed by a crossover audience. Joe’s raspy voice and Sheila’s crisp, rich, tuneful singing blend exceptionally well. There’s a bit of a ’60s/’70s flavor in the song, harkening back to an era when the best folk-based songs could break through to a mainstream radio audience. Personally, I also like the fact that it seems like a song you could sing along with – most of the lines begin with the words “last time I looked,” after all – but it’d take a lot of listens before you could even hope to begin to sing along to all the words that follow that recurring phrase. Just about every line is different. So you just listen and enjoy. Just one more of the many cool things about this tune.

 

Single Review: The String Revolution feat. Tommy Emmanuel – “Folsom Prison Blues”

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photo by Mark Marynovic; photo courtesy of Leighton Media

Single Review of The String Revolution feat. Tommy Emmanuel: “Folsom Prison Blues”

We all know this song, made famous by Johnny Cash. It’s a song that almost shouldn’t be covered. And yet it was, winningly. Grammy winningly, in fact. This instrumental cover by The String Revolution, joined by guitar luminary Tommy Emmanuel, won the 2024 Grammy for Best Arrangement, Instrumental or A Cappella. The arrangement earned a Grammy for The String Revolution trio of Markus Illko, Janet Robin and Rober Luis, plus Tommy Emmanuel and John Carter Cash.

image courtesy of Leighton Media

This version of “Folsom Prison Blues” utilizes multiple guitarists intricately well, as I suppose as you’d expect from a band of guitarists. There’s a nifty little lead-in – a lead-in that turns a bit ominous for a stretch before transitioning to the classic song’s easily-recognizable opening notes. A blending of picking, thumping, and tempo carry the song predictably for a while, but there’s plenty of creative originality front, middle, and back of the song (including a mid-song return of that ominous sequence) while still staying wholly true to the “Folsom Prison Blues” we know and love.

photo by Maarten de Boer at iheartmaarten; photo courtesy of Leighton Media

In all, this song, as performed by this award-winning trio (or, I suppose foursome, with Tommy Emmanuel on board) is an energetic guitar-pickin’ package. It’ll be a neat addition to the music collections of Johnny Cash fans… or those who enjoy intricate guitarwork or excellent musicianship. It’d be hard not to enjoy this piece; and it’s obvious why this is a Grammy-winning arrangement. But don’t take my word for it – check it out for yourself.

 

Single Review: Deaf Rat – “Say Your Lies”

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photo by Georgios Grigoriadis; photo courtesy of BJF Media

Single Review of Deaf Rat: “Say Your Lies” (AFM Records)

Sweden’s Deaf Rat are vocalist Frankie Rich and guitarists Pat Kramer and Max Lander. “Say Your Lies” is the band’s most recent single.

image courtesy of BJF Media

Upon first glance at the main lyric, you might think this is simply an updated, more tuneful, more verbose “Shout at the Devil,” and in a roundabout way it isn’t entirely not that, but Deaf Rat’s “Say Your Lies” has a touch more harmonies, tunefulness, and soaring power. And, of course, it’s catchy. You’ll find yourself singing along to “Say your lies before the devil,” but don’t sleep on the guitar hook, which is pretty cool, too. You can hear the classic hard rock influences in the song, elements from guitar-based, anthemic hard rock’s ’70s, ’80s, and ’90s heyday, replete with a pulsing rhythm sure to induce moderate-tempo headbanging and/or air guitar swaying – seriously, there’s some awesome guitar solo shredwork that’s perfect for air guitaring. But Deaf Rat avoids going full-on retro; the band’s style and crisp but heavy production tap into the soaring power of modern melodic hard rock, kind of like AFM Records labelmates Lansdowne but with a more old-school melodic vocal style.

“Say Your Lies” is accompanied by a cool animated lyric video that’s definitely worth checking out.

photo by Georgios Grigoriadis; photo courtesy of BJF Media

A Little Farther Back

In mid-2023, Deaf Rat released its prior single, “Schizophrenic Part of Me.” Melodic hard rock, full of power and wall of sound. Harmonies. Every bit as catchy as “Say Your Lies.” It’s been a while since the last full album from these guys. It’s been since 2019, when Deaf Rat released Ban the Light, and as kickass as the group’s sound was on that disc, judging from the pair of singles the band has released in the past year, Deaf Rat has leveled up. I’m psyched for a full-length album from these kick-ass rockers… soon, I hope?

 

 

Single Review: Wyn & the White Light – “Can the World Change”

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photo by Marion Earley; photo courtesy of Wyn Doran

Single Review of Wyn & the White Light: “Can the World Change”

Wyn & the White Light are 2023 New England Music Awards Female Performer of the Year nominee Wyn Doran and, presumably, the White Light: Lucia Jean (bass/vocals) and Heidi Tierney (drums/vocals). The day after Christmas, this trio dropped “Can the World Change,” a song about Wyn’s near-death experience in her twenties, an event that landed her in the hospital for a week and a half, starting the day after Christmas. (There you have the inspired connection to the December 26th release date.)

cover art by Wyn Doran and Lucia Jean; image courtesy of Wyn Doran

“Can the World Change” is a soaring, haunting, whirling cauldron of pop-rock energy. If done with just an acoustic guitar, it could be a haunting folk song, but the extra instrumentation turns the song into a cyclonic listening experience. The lyrics are minimalist but incisive, guided by a Ben Folds “six line” songwriting challenge, and exceptionally effective. This isn’t a song to sing along to. This isn’t a song to dance along to. It is a song to be felt and experienced. And with that as the goal, Wyn & the White Light have achieved it exceptionally well.

More Recently

As is so often the case, with my extensive review backlog right now, even though I received an advance copy of this single, I’m reviewing “Can the World Change” nearly three months after its release date, and Wyn & the White Light have released more music since then. “Statue” (featuring Josh Knowles, whose impressive talent I wrote about in my coverage of the “Behind the Songs 2” event a few years ago) dropped in late February. And on March 19, Wyn & the White Light released their first album, Luck, featuring “Can the World Change,” “Statue,” and eight more tracks.

Looking Ahead

You can catch Wyn & the White Light live on April 13th at The Overlook in Lowell, MA.

Single Review: Cascando – “Jimmy Boy”

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photo courtesy of Cobra Promotions

Single Review of Cascando: “Jimmy Boy”

Cascando is a Limerick, Ireland-based roots rock band. “Jimmy Boy” was the first single from Cascando’s EP In Absence of Trees. It was recorded in September 2023, just a couple months before its release.

The song opens with a catchy, twangy guitar hook, driving forward with a foreboding tone and rough harmonies. There’s a flute solo about a minute in that just adds to the song’s unique vibe. The rhythm is steady throughout, carrying an energy from beginning to end that is certain to keep nightclub audiences engaged. A hard ending with an organ chord, too, works well while adding another unique flavor to this musical recipe. “Jimmy Boy” has kind of an alt-rock vibe but with some unique instrumentation that shifts its categorization toward the roots rock category. Alt-roots, perhaps? I suppose you’d need to sample more of Cascando’s offerings to get a sense.

photo courtesy of Cobra Promotions

I would expect “Jimmy Boy” to be a crowd favorite at live gigs, and even just to hear a live performance of this original (since I’ve yet not delved deeper into Cascando’s catalog) would be enough to convince me to turn out for one of the band’s live performances.

Now, I don’t see mention of any upcoming gigs at the band’s linktree, but you might want to watch Cascando’s Instagram page for future show announcements.

Single Review: Harlem Lake – “Carry On”

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cover artwork: Illustration by Douwe Dijkstra, design by Janne Timmer; image courtesy of Big D Radio Promotons

Single Review of Harlem Lake: “Carry On”

Harlem Lake is a powerful Dutch blues/blues-rock outfit, winners of the 10th European Blues Challenge in 2022. The band features the powerhouse vocals of Janne Timmer and the musicianship of Dave Warmerdam (organ, Rhodes [keyboard], backing vocals), Sonny Ray Van den Berg (guitar), Benjamin Torbijn (drums), and Kjelt Ostendorf (bass, backing vocals).

“Carry On” is my first exposure to Harlem Lake’s music, and this song really packs a punch. It has a psychedelic ’70s guitar style, soulful blues vocals that are sensual and/or booming as required in the moment, a bit of a Beatles’ “Come Together”-ish vibe (I keep expecting to hear the lyric “juju eyeball”) except much louder and harder rockin’, and a huge, pounding, rhythmic beat that circles back onto itself, sequentially building in power, exploding into the lyrics, more powerful each time, “Carry on, baby. Carry on, and be a bad, bad boy.” Following the big musical outburst just past the song’s mid-point, “Carry On” devolves (or, perhaps, progresses) into an orgasmic organ and guitar-fueled jam. The song softens one more time, making room for just one more verse, before ending with one final explosive instrumental jam.

The Beatles reference notwithstanding, Harlem Lake’s “Carry On” is akin to the kind of powerful, pulsing blues-rock you’d expect from the likes of George Thorogood, perhaps with a bit of Janis Joplin thrown in for psychedelic good measure. Beginning to end, “Carry On” is a powerhouse song, one that concludes far sooner than you might expect at just 3:09, especially since it seems like such fertile ground for big instrumental solos and jamming – something I’d hope happens live in concert, at least sometimes – but that’s plenty of time to leave you, the listener, exhausted yet ready for just one more ride, if you don’t mind.

Harlem Lake bills itself as Americana blues rock, but “Carry On” is just a whole lotta rock, a fair amount of blues, and not so much Americana. I look forward to digging deeper into the band’s catalog to get a better sense of its full musical range.

Looking Ahead

Harlem Lake has a packed schedule of concert dates this spring and summer, according to the “Shows” page of the band’s website. On Saturday, March 16th, the band will be performing in Purmerend, Netherlands. After that the band’s website shows several more concerts in France, Germany, Switzerland, the Netherlands, and Norway, running from now through summer, with a few fall shows booked, as well. You can find additional details at the band’s website. Of course, be sure to check back periodically as more shows are added.