Tag Archives: Single Review

Single Review: Baby and the Nobodies – “Bombs Away”

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Baby and the Nobodies

photo courtesy of Head First Entertainment

Single Review of Baby and the Nobodies: “Bombs Away”

Seattle pop-punk rockers Baby and the Nobodies strike me as being a little closer to the punk side (and farther from the pop side) of pop-punk on “Bombs Away.” Yes, the song is infectiously catchy, but it also has some of the old-school punk rawness that’s absent from the poppier music that is more commonly identified with this fun, catchy genre. Of course, the nice thing about falling in that in-between space is that a hooky song like “Bombs Away” can appeal to both classic punk rockers and pop-punkers alike.

Baby and the Nobodies – "Bombs Away" cover art

image courtesy of Head First Entertainment

“Bombs Away,” in style and delivery, sounds a bit like something Blog favorite Amanda White might record. It starts with a raw guitar rock hook, quickly moving into a drumbeat-driven rhythmic thumping, with lyrics delivered as if semi-snarkily with a lot of that old-school punk attitude. Guitar rock fans will also appreciate that the first lyrics is a quick “Yow!” Or maybe that’s just me. Regardless, it’s a great entry for the vox.

The way the song powers forward, it’s almost surprising to see it clock in at just more than four minutes, through there’s a nifty guitar solo, and due to the heavily thumping rhythm section, the song’s tempo isn’t actually as fast as it feels.

There’s something catchy about “Bombs Away” that’ll grab you on the first listen, and by the third or fourth you’ll be fully hooked. And once you’re hooked, if you’re new to Baby and the Nobodies, like I am, there’s a back catalog you can explore while you enjoy “Bombs Away” and await the band’s next release.

Single Reviews: Lovina Falls – “Tragedy” and “Ellery Way”

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Lovina Falls

photo by Joan Hathaway; photo courtesy of Knyvet

Single Reviews of Lovina Falls: “Tragedy” and “Ellery Way”

Lovina Falls is dubbed in its promo material as art-rock. I can’t argue with that. The band’s overall sound, at least on this pair of singles, has that a bit of that floating ’80s new wave musical vibe – for some reason, I think of ABC a little. But I almost don’t want to mention them for fear of scaring off the most likely batch of fans because Lovina Falls’ music comes from a denser, heavier, more modern rock perspective and, aside from the floatiness, has a completely different sound.

Lovina Falls – "Tragedy" cover art

artwork by Valerie Forgione; image courtesy of Knyvet

Lovina Falls is the current project from ex-Mistle Thrush-er Valerie Forgione (vocals, multiple instruments and sounds). Forgione’s band on “Tragedy” is comprised of Todd Demma (drums), Scott Patalano (guitar), and David Minehan (guitar and bass), while on “Ellery Way” she is joined by Brenden Cobb (guitar), Matthew Klain (bass), and Todd Demma (drums), with David Minehan co-producing. These exceptional musical collaborations produce a rich, powerful sound.

“Tragedy” kicks off with that floating aura I referred to in the first paragraph but with a heavy beat and a buzzy soundbed before building into a decent-tempo thumping rock song. It’s not ’til nearly the song’s midpoint that its raw energy starts to take the lead, but after that it just seems to build. Talk about drawing a listener in! You’ve gotta believe this would be just as effective in a live performance. I can almost envision “Tragedy” being performed in a setting like the early ’90s Rat in Kenmore Square, though despite the electric, uniquely edgy energy, there are some sounds in “Tragedy” that are a bit too modern to have quite fit in that era.

Lovina Falls – "Ellery Way" cover art

image credit: Spencer Frost; image courtesy of Knyvet

“Ellery Way,” on the other hand, haunts from the beginning. You know somethin’ just ain’t right while listening to this song, but the music is too hypnotic to be able to focus on the lyrics enough to really follow them. And that’s probably a good thing, allowing you to avoid focusing on them unless you really want to. Musically, an electronic buzz combines with a steady rhythm and Forgione’s powerful, emotively edgy-yet-smooth vocal delivery to create an all-encompassing, atmospheric alt-rock-ish musical mural. And yes, you’ll find yourself singing along with “Ellery Way is just as different by day when I walk with you.”

These singles were follow-ups to Lovina Falls’ 2023 debut album Calculating the Angle of Our Descent. And, though I’ve not delved into that album, the two songs I’ve reviewed here are enough to convince me that a Lovina Falls live set is likely to be an enrapturing, fully immersive event. As hard as the music is to describe, it’s likely to appeal to fans of any flavor of rock music from straight-up rock to alt-rock to electronic rock, especially if you’re drawn to great songs.

 

Single Review: Preston Lydotes – “Wrong”

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Single Review of Preston Lydotes: “Wrong”

Preston Lydotes – "Wrong" cover art

image courtesy of Preston Lydotes

Boston-based singer-songwriter Preston Lydotes delivers a powerful and tuneful message in “Wrong.”

The song, a mea culpa for mistakes made, starts softly, confessionally, with simple acoustic guitar plucking and a vulnerable vocal that seems to crack a lot more than it really does – there’s really only one spot that goes beyond just a hint. That’s the sign of a talented vocalist.

As the song continues, the power builds along with the richness of the soundbed and the volume and fullness of the vocals, producing a solid emotional lump in the listener’s throat by the midpoint of the song.

Preston Lydotes

photo courtesy of Preston Lydotes

In total, this is an exceptional single, despite its relatively simple instrumentation – or perhaps because of it. If you don’t get emotional while listening to “Wrong,” you’re at least somewhat heartless. And yet, whether or not you enjoy getting all emotional, you’ll agree “Wrong” is a must-hear.

Before and After

“Wrong,” released this past fall, was the first release following Lydotes’ 2023 EP Is There Anyone? More recently, per his bandcamp page, the singer-songwriter has dropped “The Fallout” (December 2024), “The Critic in Me” (January 2025), and “5 to 9” (April 2025). Just a quick listen to some of those records, and you’ll realize Lydotes covers a lot of musical ground, often much more energetically than on the very emotional “Wrong.” I’ve seen him dubbed a folk/pop-rock singer-songwriter. I’d advise considering that to be inclusive of folk, pop, and rock rather than a specific sound mixing the genres. This dude’s got range!

Single Reviews: Lucas Horne – “Secret” and “When Did the Sun”

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Lucas Horne

photo courtesy of Groot PR

Single Reviews of Lucas Horne: “Secret” and “When Did the Sun”

“Secret” and “When Did the Sun,” the first two singles released in advance of Lucas Horne‘s 2024 album Seventeen, showcase an impressive range for big-sound pop-rock vocalist Horne.

“Secret” begins tunefully, with a straight-up pop storytelling delivery that continues through the verses. The bridge and the chorus, though, with the “hey, oh! oh! oh!” background vocal, ratchet up the energy level. Most people would likely just bop their head to the higher-energy beat and/or sing along, but I could see more energetic fans potentially pogoing to it at a live gig. Regardless, this is a very cool song that’ll get stuck in your head and live alongside much more famous pop anthems.

Lucas Horne

photo courtesy of Groot PR

On “When Did the Sun,” meanwhile, Horne slows things down a bit, displaying versatility. Equally pop-worthy, but this time a painfully heartfelt ballad. It’s smooth, emotional, and easy to listen to, atop a warm, rich soundbed, with nifty soft-pop/rock guitarwork from time to time, particularly in the closing fade-out.

Pop/rock and slower pop, both with enough of a rock edge to reach a broad audience but not so much as to scare aware more pure pop fans… Lucas has the range and the talent. And if you’ve not yet heard of him, these two songs are a great introduction.

More Recently

Since the release of Seventeen, the album that featured both “Secret” and “When Did the Sun,” Lucas has dropped several more singles, which you can find on his Spotify page. There are more than enough for another EP, so for those of you who like your music in multi-song bundles… well, I don’t know if there are plans to do that, but you can always bundle them yourself.

Single Review: D.C. Anderson – “No Kings Live Here”

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D.C. Anderson – "No Kings Live Here" cover art

image courtesy of D.C. Anderson

Single Review of D.C. Anderson: “No Kings Live Here”

This timely single, D.C. Anderson‘s “No Kings Live Here,” was released on April 4, the day before the “Hands Off” protests occurred in 1,000 cities across the U.S. It would have made an ideal song for the events, if those in attendance knew about it. But it can serve as a reminder and a rallying cry for those who attended.

I’ve seen social media posts, like this one, asking where all the protest songs are. Well, this is one. D.C. notes that “No Kings Live Here” was inspired by the t-shirt U.S. Representative Maxwell Alejandro Frost wore at this year’s U.S. State of the Union address.

On this song, Gantt Kushner mans the guitar, while D.C. sings. D.C.’s delivery, as is his style, is very theatrical. You’d almost wonder if, in addition to being a singer-songwriter, maybe he’s also a highly-regarded stage and screen actor or something. “No Kings Live Here” is delivered enthusiastically, in such a way that it seems as if D.C. is leading a singalong. And that, my friends, is what makes it a good protest song.

Lyrically, the song is a little word-dense, and its storytelling style – really more of a combination of teaching and fact-proclaiming in addition to storytelling – is along the lines of Schoolhouse Rock. Remember the one about how a bill becomes a law? OK, maybe it doesn’t sound like that. But “No Kings Live Here” would still make an entertainingly educational soundtrack for a Schoolhouse Rock cartoon.

Lyrics in the song include “The man who would be king has put democracy on pause. The man who would be king thinks he’s above our U.S. laws” and various versions of the chorus such as “No kings live here. No tyranny, no fear. No kings live here. The Constitution’s clear.” And “No kings live here. We do not serve him whim. No kings live here. We will not bow to him!”

But hey, check it out for yourself. You can watch the lyric video here on Vimeo if you want to learn the song. It’s also handy if you want to sing along while listening. If you’ve been searching for a modern-day protest song, this might just be what you’re looking for.

Single Review: BJ Sam – “Marry Me”

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BJ Sam

photo courtesy of BJ Sam

Single Review of BJ Sam: “Marry Me”

On his single “Marry Me,” officially a 2024 release, Nigerian-born recording artist BJ Sam is accompanied by Greek guitarist Nikolas Gialtrinos, German-born saxophonist Biggi Vinkeloe, Norwegian drummer Helge Hanssen, and Swedish musicians Magnus Rosen and Mikael Erlandsson. Truly an international ensemble. The music video for the song, which you’ll find here on YouTube, is mostly beach resort themed, though cameos by some of the performing musicians are clearly filmed in remote locations. It’s all nicely blended.

BJ Sam – "Marry Me" cover art

image courtesy of BJ Sam

Musically, “Marry Me” features a rhythmic beat and frequently-repeated main lyric that offer a rather hypnotic vibe. I see the song self-labeled in at least one spot as “afrobeat,” and that seems appropriate. My first thought when hearing “Marry Me” was that it has an island vibe, but the style is distinctly different; I admit my stylistic perception may be influenced by the beach that appears in the music video. The most important question is whether or not you’ll enjoy the song, and I bet you will; this single is, simply put, a fun slower-tempo romp. BJ Sam’s vocals are varied with a smooth, comfortable tone that’s easy to listen to while still having enough of an edge to slice through the music bed.

If you like pleasant, rhythmic music, you’ll dig “Marry Me.” And while I’ve seen it referenced as a wedding song, it seems more like a wedding proposal song; however, with its fun beat, it will certainly also be an enjoyable wedding reception song. I’m glad this pleasant romp found its way into my inbox, even though I’m long past needing a song for either a proposal or a wedding.

Single Reviews: Simon Scardanelli – “Young & Curious” and “Here We Go Again”

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Simon Scardanelli strumming an acoustic guitar

photo courtesy of Simon Scardanelli

Single Reviews of Simon Scardanelli – “Young & Curious” and “Here We Go Again”

Simon Scardanelli released these two singles recently, not too far apart chronologically, but a bit moreso stylistically. They’re the fourth and fifth singles released so far, if I’ve counted correctly, from the upcoming album Underneath the Singing Tree. Given the diversity before just these two songs, I suspect we can look forward to a very varied collection.

Simon Scardanelli – "Young & Curious" cover art

image courtesy of Simon Scardanelli

“Young & Curious” is actually an exceptionally stereotypical Simon Scardanelli tune, its lead-in, tempo, and mood very much in line with many of Simon’s other best songs, so it’s sure to become a favorite among fans (like me). It treads along smoothly; Simon’s vocals are deep and serious, though not too heavy, occasionally hitting a well-placed high note. It’s a song about past connections, gone but not necessarily lost, at least not when viewed through the lens of memories. Also, a nifty horn part kicks things off at the very beginning and wafts in and out throughout, more reminiscent than haunting. I’m never certain enough to name a specific horn when I hear it, except this time. In the song notes, Simon says the song begins with “a trumpet lost in the ’70s.” So (I say confidently), it’s a trumpet; much like the emotions explored in the song, lost but not forgotten.

Simon Scardanelli – "Here We Go Again" cover art

image courtesy of Simon Scardanelli

“Here We Go Again” opens quite differently, with a very light strum. The song is a richly (though sparsely) instrumented musing about poor decisions made (repeatedly) when the lights are low. Presumably late at night, but I suppose not necessarily. The song clearly isn’t a complaint. More, rather, a bemused acceptance – “here we go again.”

So, I can guarantee there’ll be two new favorite songs on the upcoming album – these two – for those who dig Simon’s vibe. And that’s not a negative statement against the first three singles. I specifically only listened to these most recent two singles to be able to churn out my review more quickly… and to leave more “new discoveries” for myself when the whole album lands in my playlist. You, of course, don’t have to wait. You can find all of Simon’s releases on his bandcamp page. There’s even a YouTube video for the title track of the upcoming album. But aside from the little snippet I heard while grabbing that link for you, I’m gonna wait and be surprised when the full album hits my inbox.

Last-Minute, April 6th Addendum

A little new news just as I’m about to post this review. Per this Facebook video released just a few hours ago, the full-length album has an official release date of June 9th, but it is available starting today exclusively at Simon’s website or when attending one of his concerts. I look forward to hearing and reviewing the full-length disc.

Single Review: Essenger – “Silence” (feat. The Midnight)

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Essenger

photo courtesy of BJF Media

Single Review of Essenger: “Silence” feat. The Midnight (FiXT)

EDM/rock fusion artist Essenger tackles synthwave, with the help of synthwave duo The Midnight (songwriter Tyler Lyle and producer Tim McEwan), on the 2024 single “Silence.”

Essenger – "Silence" (feat. The Midnight) cover photo

image courtesy of BJF Media

“Silence” is a pop-friendly, engaging, synth-driven track. The soundbed is lush with a rhythmic beat, supporting vocals that soar when the instrumentation is sparse while hewing to the rhythm without losing their emotion when aligning with the beat. Indeed, whenever the music slows down, the reengagement of the rhythm is like an energetic catharsis. In all, “Silence” is a fun listening experience.

Says Essenger of the single, “‘Silence’ was an unfinished track off After Dark that Tim and Tyler from The Midnight helped me finish and release as a bonus track for the album’s 4 year anniversary.” One listen, and you’ll be glad the collaboration happened.

More Recently

You’ll find a few slightly more recent releases on Essenger’s bandcamp page – a couple remixes of “Sanctum Eternal,” a collaboration with Skybreak entitled “Mothman,” and the nifty, energetic Spanish-language single “Aniquilación.”

Single Review: Shade – “Break Out”

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Shade band photo

photo by Dominic Walsh; photo courtesy of BJF Media

Single Review of Shade: “Break Out” (Golden Robot Records)

Earworm alert! Shade is a Manchester-based fivesome comprised of, at the time “Break Out” was released, Luke Anthony Owens (guitar, lead vocals), Adam Taylor Clare (bass, backing vocals), Oliver Clare (drums, backing vocals), Ben Mcdonough (lead guitar), and Mac Anthony McCartney (keyboards, backing vocals).

Shade – "Break Out" cover art

image courtesy of BJF Media

With a raw, thumping, rock-driven sound supporting Owens’ crisply powerful vocals, Shade delivers a catchy, hard rockin’ “power pop” number with “Break Out.” You’ll find yourself singing along with the “break in, break out” chorus and/or the support vocals of “do whatchoo wanna, do whatchoo wanna” air-guitaring a bit during the nifty guitar solo bridge just past the song’s midway point, and/or air-drumming along with the prominent rhythm that drives “Break Out” forward. The song clocks in at a swift 2:37, but the tempo makes it seem to go by even faster.

More Recently

The band has released two additional singles since “Break Out.” At least, there are two more recent releases on the Shade Spotify page. Also, this review of the band’s August 2024 release “Supercars” discusses the line-up change that turned the band into a foursome.

Single Review: Charming Arson – “Saving Chelsea”

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Charming Arson

photo courtesy of Charming Arson via Knyvet

Single Review of Charming Arson: “Saving Chelsea”

Boston-based Charming Arson is Stefano Bellezza (lead guitar, backing vocals), Dave Cameron (lead vocals, rhythm guitar), Dave Gould (percussion, backing vocals), and Aaron Clark (bass guitar, backing vocals).

Charming Arson – "Saving Chelsea" cover art

image courtesy of Knyvet

The band delivers a fun, memorable alt-rock (technically, I suppose alt-power-pop) track with “Saving Chelsea.” It kicks off with raw, distorted axe riffs before the initial vocals match the guitar’s intensity. However, finesse soon follows, leading pleasantly to the muddy, flavorful alt-rock chorus, replete with some stylistically appropriately strained harmonies. The grainy, fast-paced guitarwork in the transitions and late-song bridge to nowhere – a cool way to end the song, a bridge-esque guitar run that just leads to the end of the track. In all, just a tightly-written song that’s a fun repeat listen, in part because it manages to capture the feel of a live gig in a well-produced radio-ready package. Well done, dudes!

More Recently

You can find “Saving Chelsea,” along with five other songs (none of which I’ve listened to yet) on Charming Arson’s Another Kind of Vision EP.