COVID has allowed many musicians to develop holiday music early, and this year boasts a bumper crop of great singles. In fact, it seems everyone had time to record “Jingle Bells” this year. But I enjoy the variety and originality of most of these Christmas tunes here. Grab them quick before they get as stale as Grandma’s fruitcake in January!
Mike Viola is back, as a hip vampire in the new video for ‘Drug Rug,’ a track off his upcoming LP Godmuffin. Directed by Caitlin Gerard, the video opens with Viola lying on a float in Mandy Moore’s pool. It gets weirder from there. Godmuffin arrives on 12/11/20.
Muck and The Mires have a less sophisticated video, but “Six O’Clock Baby” from the new LP Take Me Back To Planet Earth is a really catchy tune and the monster theme means it gets posted here today! Get the album on Amazon
The 1957 Tail-Fin Fiasco charms us with this piano melody about getting married 29 times. “Monogamy will be the death of me” he sings. I agree with that one! It’s a free downloadable treat and the bands got a cool video too!
Ward White is back with the strong Diminish, and his emotional Bowie-esque vocals carry the album to different places with progressive rock and pop overtones. “Titans” starts with a strong sci-fi theme, but “Noise On 21” is even better with its combination of memorable chorus and instrumental excellence. White’s vocals are so well nuanced, he could probably sing the phone book directory and make it sound great.
White’s dramatic storytelling (a big strength) continues on “Back to The End,” and “Flood.” The snappy “Watch The Hands” is another gem with some very inventive lyrical phrases. Long-suffering protagonists and dark humor are the focus on “Uncle Bob (Akron)” and “Cowboy,” with the latter one of the most elegant compositions I’ve heard this year. Ward is an acquired taste, but very satisfying for those looking for a unique POV and solid musicianship. Highly Recommended.
Indie singer/songwriter/multi-instrumentalist Arthur Nasson is one of those prolific “should-be-famous” artists that deserve attention. With his latest Whack Mythology, he skewers convention on the opener “Superman” about how real heroes aren’t flying in the sky. Like Todd Rundgren or Randy Newman, Nasson’s melodic senses are evident in each song, on top of the fact that he plays every instrument and sings all the vocals.
The catchiness of “Books About It” shines through the organic styled production as a standout, and the soulful “Going To Mars” and “Out To Sea” are brilliantly written ballads. At times the echoing drums overshadow a song, like on “Sky Fell Down” but it helps the atmosphere on “All Seem To Hear.” Overall a very good album and Nasson is one of the few independent artists who deserve to be heard more often.
Ward White left the cozy confines of New York City to the sunny Paperchaser Studios in Los Angeles for his latest album As Consolation. Thematically the album deals with loss and moves to new experiences. White also has one of the most distinctive high tenors I’ve heard since Kevin Godley (10cc).
There is a laid back California feel to the album as a whole, with White working in subtle sonic cues as a compelling storyteller on the opener “Here’s What Happened With Heidi.” Next, “Crater” features a catchy chorus over a galloping rhythm. This is not immediate gratification, but after repeat listens it will stick with you. White’s more melancholic work like “Dude” and “Parking Lot” are also memorable.
The instrumentation is also exceptionally good, and standouts include “Spurs,” “Weekend Porche” and “The Crows” which states “Sadness will drive you insane…” with a warbling guitar flourish. Not everything here resonates, but enough does. Check it out!
Produced by favorite Linus of Hollywood, Punch Punch Kick have spent lots of time crafting lean hooks and youthful lyrics for their debut album. And these guys do it without pre-programmed beats or autotune. Each song has that burst of joyous guitars similar to early Weezer, Bowling For Soup or Jimmy Eat World.
“Licking My Wounds” starts with the rant about our fast-paced lifestyle “Where did all the time go?” sings vocalist/guitarist Phil McDonald. “What the Kids Don’t Know” is a great critique about mass marketing to kids today; “I don’t want to raise my hand in the air/because I care.” Each song is a gem here, even “When You Hang Around” references Cheap Trick. The band’s sound is very consistent, staying with similar tempo throughout – and that’s my only beef here. They could’ve added ballad or transitional tune to prevent this from sounding like a collection of singles. Highly Recommended.
Twilley’s first album since the loss of long-time guitarist Bill Pitcock IV wasn’t easy, but he’s soldiered on for a fan base that is energized every time he takes the stage. He continues the thick production style of 2011’s Soundtrack and his nod to the fans starts off with the title track, a reference to his classic “I’m on Fire.”
“A Million Miles Wide” recalls Tom Petty’s guitar on the intro, and the brilliant “Into The Flame” proves Twilley will always be able to write a power pop gem. The slow piano chords drive “Everyone’s Crazy,” which reminds me of Jeff Lynne a bit, with its background strings. Twilley’s defiant Texas bar-room rant “Til The Jukebox Dies” is another rocker that screams “No Surrender” followed by the 12-string melody of “We Were Scared.” The songs are well constructed (though I wish Twilley’s vocals were less obscured by production fuzz) and this is a fine addition to the Twilley discography.
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Ward White is a brilliant vocalist and arranger, proven by his last LP Bob, but this time he’s surrounded himself with added talent to make The Matador extra special. Bryan Scary does keyboard and Graham Norwood adds his guitar and you’ve got something that needs to be experienced. White’s delicate tenor are equal parts Colin Blunstone, and young David Bowie as he drifts through each narrative.
The synth beat on “Sabbath” leads to a a rich atmospheric chorus, where he’s tripping out with a wild textured pyche-beat crescendo. “Alphabet Of Pain” is a light baroque pop treat about “pain that is almost guaranteed.” The 60’s lounge styled “Balloon” has an great chorus full of soaring harmonies and “Chiquita” is another richly developed gem that is most like Bowie. It takes a few detours by mid album, but really becomes a full art-pop performance on the 20 minute “The Olde Days.” If your tastes run left-of-center, this will just absorb you.