I am absolutely floored, how much comfort and warmth this song has. The song is from Ivy’s Album “Eden” and heavily references an innocent, open vulnerability in a relationship, close to the purity that Adam and Eve (and for a short while, Lilith) had back in the Garden.
Her style in this song is beautiful, laid-back old school rap, add to that her lovely singing and a gorgeous stripped-down production and this is a song to start the day, to take a break from things, to soothe your soul.
Whether it’s that late 80s early 90s indie guitar or that banger of a chorus, Anna Calvi’s new single is absolutely mesmerizing. It’s such a statement piece, a true, pure single that takes bits and pieces of older pop but reframes them in ways that place this song steadily in the year 2018. This is alternative post punk rolled up in the pathos of Frankie goes to Hollywood. And that video – well, I am not into sexy videos but this is one heck of a sexy video.
I recommend the whole album (“Hunter”) by the way, because it’s basically this song but different. Everything on this album is super intense, retrograde 80s and brilliant. It is a bop.
Guys, after a thousand years without any blog-related mail, I got TWO requests by musicians to review their stuff. One of them is Max Koffler, a Berlin based musician who also does soundtracks and released his most recent album “Games” in 2017.
Now, I don’t know what to make of the album because it’s a little too eclectic for me. Since I am a super mega hyper fan of concept albums and threads woven throughout musical themes, track lists and lyrics, I am always a little put off by albums that switch it up too much. It’s not a bad album and if you like a good mixtape, it certainly delivers but for me, it was just one, two genres too many on one record.
BUT! There’s quite a few songs that would be absolutely amazing as starting points for an EP or album. “The Fire is yours”, for example, is a beautiful, truly beautiful singer/songwriter song with a sinister feeling to it, Max Koffler singing seemingly somewhere in the dark, echoing through the song like a memory you can’t get rid of. The subtle use of synth magic towards the end and a gorgeous last third act of the song hint towards greatness. Give me an album in that vein and with that sound and I will sing hymns about it.
One of the reasons why this song really works for me is the fact that it makes me want to see how it translates onto the stage.
That video, though. That’s like the Weird Al-version of a video.
Like many of my generation I first came into contact with this song due to its use in “No Diggity” by Blackstreet back in 1996. But the original is not just a nice sample, it’s an example of how great songwriting can really connect people. Wither’s memories of his grandmother Luna in church and his grandmother soothing, teaching and protecting despite her age and ailings are absolutely wonderful.
The mourning of her passing in the last lines nearly goes by unnoticed because the memories of her are so strong that she still seems to be there.
I really adore songs that are true and vulnerable and full of love. “Grandma’s Hands” is a song that connects because it’s about family and most of us can relate having a family member (or a friend) who always seemed to be there and help and soothe and spoil.
And yes, I do remember my grandma’s hands and how they always smelled of dove hand cream and how they moved when she sat on her couch knitting, like little birds, waving a nest or how they so delicately held her cup of tea as if she was dancing with the porcelain.
I neither own or drive a car but I still have a Spotify-playlist called “Roadtrip Melancholy” which verges on cheese but only so and can be summarized by “music that is like Roy Orbison’s ‘I drove all night’”.
So, when I heard the first driving beats from Chastity Brown’s song “Wake up” (from her album “Silhouette of Siren’s” and her voice sang the line “don’t you ever miss me, when you’re gone”, I knew it fit that playlist like a glove.
The song is a weird mixture of 90s songwriting with a little alternative mixed in there but also a heap of country (especially in the chorus). There’s so much space with the instrumentation and I guess that’s part of what I wanted for the playlist: music that creates wide spaces, that has a sense of distance, of winding roads, ever changing scenery and a weird yearning towards something, anything. It’s a perfect song.
(also, that ring is gorgeous)
Brown’s music is beautiful, her voice has little texture, the kind that turns everything a little bit more alternative. But there’s a great warmth in there as well, so her songs (like “Drive Slow”) really sooth your soul even if they’re sad.
Lucius released a sort of compilation called “NUDES” with new versions of old, newish and unknown songs and it’s a lovely collection and a better solution than a random Best Of with maybe two new songs and a remix.
One of the highlights is the acoustic version of “Tempest” which is a work of art in itself but really moved me live because of the use of the background vocals that add a tenderness to the song (which is actually a somewhat sad love song). Back on their debut “Wildewoman” it was already a little sad but the energetic, slightly retro production created more of a dissonance between lyrics and music and let you forget how vulnerable and aching the song really is.
The new version, however, is full on sad and lovely and will break your heart. It’s also close to the beautiful live experience that this band offers (seriously, if you have the chance, see them live, from their outfits to their impeccable harmonies to the great band and their amazing showmanship).
There’s a certain sort of song that I get super obsessed about and it’s usually a weird nod to the 50s compositions, a slight American small town prom-vibe that I can’t resist.
Now, JD McPherson is a master of fresh sounding 50s R’n’R and I initially didn’t even recognize him because there’s something about the way he uses his voice on his 2017 album “Undivided Heart & Soul”. “On the lips” is so tender and sensual, it makes me feel all tingly inside (*flutters her eyes).
The album itself is classic JD McPherson but with a few new sounds sprinkled in there. It’s fun! In a way, his albums always sound like a really fresh fruit, just juicy and a little bit tart and really rejuvenating. Since I just crawled out of a really bad case of the flu, it’s the kind of music that feels like I someday won’t feel like a shriveled up worm anymore.
But that song! It’s beautiful! And it’s melancholy, so that’s why I was drawn to it in the first place. I love that JD is not full on point and that the one note in the chorus actually slips a little. It adds to the vulnerability of the forlorn lover and has a live feeling that works well with this kind of music anyway.
I like the soft-spoken JD. I am less convinced of the retro-shittiness of the music video but hey, you can’t have everything.