Written By: Lisa Melograno

In a world where music can often feel like an endless cycle of sameness, Quiet Time emerges as a refreshing breath of bubblegrunge air. Their debut EP, “Everyone’s Having More Fun Than Me,” encapsulates the spirit of a generation grappling with isolation, nostalgia, and the absurdity of modern life. Hailing from Philadelphia, this band blends the raw, emotional edge of grunge with bubblegum pop sensibilities, creating a sound that’s both familiar and strikingly unique. Quiet Time’s inception during the COVID-19 pandemic gives their music an added layer of significance. Lead singer MaiAda Carpano and her husband, guitarist Nick Tuttle, found solace in songwriting within the confines of their basement. This intimate setting is palpable throughout the EP, where vulnerability meets creativity in a raw, unfiltered manner. The band’s name, a cheeky nod to a neighbor’s plea for quiet during their practice sessions, perfectly encapsulates the juxtaposition of their sound—joyful yet tinged with the chaos of reality.

“Shout Out, Mrs. Albertson,” the first track on Quiet Time’s debut EP, encapsulates the emotional turmoil and existential musings of a generation yearning for connection and understanding. With its blend of bubblegum pop and grunge influences, the song emerges as both a catchy anthem and a poignant exploration of self-identity. The lyrics are a compelling tapestry of vulnerability and introspection. MaiAda Carpano’s voice carries a sense of urgency and sincerity as she navigates the complexities of wanting to be loved while grappling with feelings of inadequacy. The chorus’s refrain about being the “derelict darling/of the deadbeats club” speaks volumes about feelings of alienation. The reference to Mrs. Albertson and the science teacher adds a layer of irony. In seeking to be “saved” and molded into a “good girl,” the narrator recognizes that conformity will never satisfy her deeper need for authenticity and love. “Shout Out, Mrs. Albertson” strikes a perfect balance between upbeat and introspective. The infectious melody, driven by jangly guitars and punchy drums, creates a contrast to the weight of the lyrics. Oren Roth-Eisenberg’s drumming provides a steady pulse that propels the song forward, while the dual guitar contributes to the vibrant soundscape. The production is polished yet retains a raw edge, echoing the band’s roots in the ethos of the Philadelphia music scene. The song’s emotional resonance is heightened by MaiAda’s vocal delivery. Her voice oscillates between vulnerability and defiance, capturing the essence of someone caught between longing for acceptance and the harsh realities of self-doubt.

“No Stars. Just Trash,” the second track on Quiet Time’s debut EP, “Everyone’s Having More Fun Than Me,” showcases the band’s knack for blending raw emotion with an infectious, upbeat sound. Clocking in at just under three minutes, this song packs a powerful punch, both musically and lyrically, making it a standout moment on the EP. The verses are introspective, exploring feelings of inadequacy and the desire for validation. MaiAda’s vocal delivery here is particularly poignant, capturing the frustration of feeling overlooked in a world obsessed with celebrity culture. MaiAda Carpano’s voice conveys a mix of vulnerability and defiance, reflecting the internal struggle of wanting to believe in someone despite their shortcomings. The repetition of “I’d still take them” emphasizes the longing for connection, even when it’s clear that the other person is unreliable. “No Stars. Just Trash.” is anything but slow. The track bursts with energy, driven by punchy drums and vibrant guitar riffs. Oren Roth-Eisenberg’s drumming is particularly noteworthy, providing a relentless rhythm that propels the song forward. The guitars, courtesy of Nick Tuttle and Randy LoBasso (former Origivation Editor), create a melodic interplay complimenting Tom Farnham’s bass playing that is both catchy and textured, blending the upbeat energy of pop-punk with the grunge influence that Quiet Time embodies.

“No Stars. Just Trash.” is a testament to Quiet Time’s ability to craft songs that are not only catchy but also deeply reflective of the human experience. The song’s tempo and arrangement contribute to its lively feel, making it perfect for those moments when you want to scream out your frustrations but still feel a sense of joy. “No Stars. Just Trash.” serves as a perfect bridge between the playful and the profound, showcasing the band’s unique ability to convey complex emotions through their music. It’s a track that embodies the essence of bubblegrunge. “Shut Up, I’m Trying to Cry Over Here” is a striking exploration of emotional turmoil and the complexities of modern relationships. With its driving rhythm and relatable lyrics, this song captures the essence of vulnerability while maintaining an upbeat energy that keeps listeners engaged. The lyrics are a poignant reflection on the frustrations of love and the often-messy reality of emotional connections. From the outset, MaiAda Carpano’s voice conveys a mix of defiance and weariness as she confronts a relationship that is both enticing and tumultuous. “Shut Up, I’m Trying to Cry Over Here” is vibrant and energetic, striking a perfect balance between pop-punk catchiness and grunge-infused angst. The driving beat, complemented by punchy guitars and dynamic drumming creates a compelling sound that invites listeners to nod along. With its infectious sound and relatable lyrics, this track resonates with anyone who has experienced the tumultuous highs and lows of a complicated relationship.

Quiet Time successfully captures the essence of navigating love in a modern world, making “Shut Up, I’m Trying to Cry Over Here” a must-listen for fans of emotionally charged music that doesn’t shy away from the complexities of the heart. This song invites listeners to embrace their feelings, dance through the chaos, and find solace in the shared experience of longing and vulnerability. “Scheherazade” is a bold and provocative exploration of gender dynamics, power, and the complexities of victimhood. Drawing inspiration from the legendary storyteller of “One Thousand and One Nights,” the song intertwines themes of survival and deception, making a powerful statement about the narratives surrounding women in a patriarchal society. The lyrics delve into the manipulation of perception: “She set up a hoax and married a rich man/ Slayed him with her wit.” Here, the protagonist uses her intelligence in a world that often underestimates women, showcasing the theme of cunning as a survival mechanism. “Scheherazade” combines energetic instrumentation with a driving rhythm that complements its urgent themes. The arrangement features a blend of catchy melodies and grunge-inspired elements, creating a compelling sound that draws listeners in. The dynamic interplay between the musicians adds a layer of intensity that mirrors the emotional weight of the lyrics. “Scheherazade” is a track that sets the stage for Quiet Time’s ambitious debut EP. With its incisive lyrics, infectious melodies, and a potent social message, the song challenges listeners to confront uncomfortable truths about gender dynamics and societal expectations. “Scheherazade” is not just a song but a call to action for anyone willing to listen. It invites reflection on the complexities of female agency and the narratives that shape our understanding of victimhood. In a world that often silences women’s voices, Quiet Time’s bold proclamation through this track is both timely and necessary, ensuring that “Scheherazade” resonates long after the final note fades.

“Last Year at Elf Camp,” the closing track on Quiet Time’s debut EP “Everyone’s Having More Fun Than Me,” is a poignant and introspective examination of nostalgia, growth, and the struggles of navigating a world filled with uncertainty. The song captures a complex emotional landscape, blending vivid imagery with reflective lyrics that resonate deeply. As the song unfolds, themes of disillusionment and the passage of time emerge. This sentiment resonates with anyone who has grappled with the weight of the future and the fears that accompany maturity. The contrast between youthful idealism and the sobering realities of adulthood is a central theme, underscoring the struggle to maintain hope in a world that often feels broken. The chorus reflects this tension beautifully: “How do broken people save a broken world? We couldn’t even save ourselves.” It encapsulates a feeling of helplessness while yearning for agency—a relatable struggle for many in today’s chaotic landscape. “Last Year at Elf Camp” combines a driving rhythm with melodic elements that enhance its emotional depth. The instrumentation is layered and textured, allowing MaiAda Carpano’s vocals to shine. Her delivery is both heartfelt and earnest, perfectly capturing the song’s reflective tone. The arrangement builds gradually, creating a sense of urgency that mirrors the lyrical themes of change and liberation. The interplay between guitars and drums contributes to a sound that feels both organic and dynamic. The chorus bursts with energy, reflecting the enthusiastic yearning for change and connection that permeates the song. This blend of melodic hooks and rhythmic intensity makes it an engaging listen, inviting repeated plays. “Last Year at Elf Camp” is a compelling closer for “Everyone’s Having More Fun Than Me,” encapsulating Quiet Time’s ability to tackle profound themes with honesty and emotional depth. With its rich imagery, engaging instrumentation, and heartfelt lyrics, the song resonates on multiple levels, making it a powerful anthem for anyone grappling with the complexities of life, growth, and the desire for change.

The chemistry among the band members shines through every note. Their collaborative effort is evident, with each member contributing to the band’s distinct sound. Tom Farnham’s bass playing and Oren Roth-Eisenberg’s drumming are both energetic and nuanced, providing the perfect backdrop for the melodic explorations of the guitars. Nick and Randy’s guitar work complements MaiAda’s vocals beautifully, creating a rich tapestry of sound that is both intricate and accessible. “Everyone’s Having More Fun Than Me” is not just an EP; it’s a reflection of a moment in time. Quiet Time captures the essence of a generation navigating uncertainty and isolation while yearning for connection and joy. The band’s ability to blend introspection and catchy melodies makes this debut a must-listen for fans of both grunge and pop. For anyone looking to find solace in music or simply a good time, “Everyone’s Having More Fun Than Me” is an EP that deserves a spot in your playlist.

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Written by : Eric Sperrazza

The mid-sixties gave the world mind-bending psychedelic rock, a style of music meant best to be enjoyed on some variation of a vision quest, utilizing new experimental recording techniques, sound effects, and elongated rhythmic solos. Later, John Lydon (the once and future Johnny Rotten of the Sex Pistols.) would take experimental sounds, synthesizing chords, and various styles to the next level with his band, Public Image Ltd. Pil, as it is affectionately referred to, would be credited for ushering in the industrial rock revolution of the 90’s, giving us legendary acts such as Nine Inch Nails, KMFDM, and Stabbing Westward. But what if you took the immersive journey that was psychedelic rock and you combined it with a dark industrial sound…all while sending it down a dark alley after last call? You would have the two-man group known as Mind Control System.

In 2020, friends Kev McGuire (vocals, guitar, electronics, samples, saxophone)  and Dave Robinson (synths, drums, guitar, bass, backing vocals, samples) would join forces in Manchester to form Mind Control System. Both with history playing with bands going back to the 80’s, they finally would begin recording what would become their collective debut album, Black Acid. With four tracks to speak of, there is close to a 40-minute journey you embark on through a labyrinth of sound, consumed in an ambience of anxiety. From the opening track, “Pulse,” you are lifted off on a speed-laden roller coaster ride that takes you deep into the foggy annals of your own thoughts, convincing you that you are hearing what bad decisions sound like. At times it is darkly curious and other times it feels violently sexual. And yet, before it’s all said and done, you are gently placed back to where you started and oddly feeling complete.

If you like audible psychedelic experiences, you need to hear this album. If you like Progressive Rock, you need to hear this album. If you like German industrial, you need to hear this album. Most of all, if you are tired of the same cookie-cutter bullshit the algorithms and Top 40 stations are trying to force-feed you, you owe it to yourself to hear this album.

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Let’s go back to Starbucks circa 2003.  The intoxicating smell of the coffee, the amazing music that filled the air. Those days left a forever imprint on so many of us and left us with a gateway for open minds and hearts towards world music..  As much as I still love to listen to my Putumayo collections, it is also a sometimes valuable experience to listen to music with an Afro-Cuban vibe with an opportunity to understand what the song is about.   I mention this because what you are about to read highlights the work of a global treasure known by many here in Philly as Ryan Tennis.

Over more than a decade Ryan has been traveling the world playing his music.  He started to frequent Colombia with such regularity that he built a community there in addition to the community he has in Philadelphia.  Ryan became a cofounder of a well loved music festival called Sancocho Fest which works to benefit a music school in Columbia for children called the Casa del Sol Community Project. In addition to this magical festival (which I have not been to but would LOVE to attend); Ryan is so deep in the Columbian culture that he has developed inclusive music retreats to Columbia.  He calls this the SancochTrip.  He has two back to back retreats coming up this February.  With all of this said, do not be fooled by Ryan’s luscious golden locks.  Over the years Ryan has grown into a pillar for bridging the Afro Cuban music with the folky communities in Philly and beyond. 

Getting back to the release of Ryan’s new EP each song feels like Ryan has captured the feeling of this sort of music akin to an authentic vibe of a love child born from Putumayo and  Paul Simon’s album Graceland. Ryan’s latest release is called Dando Papaya and it is a three song EP that was released to support his most recent European tour which happened in late summer.  The songs are stand alone and steller.The songs are called Children of Verona, Morena, and the Valley.   Throughout years and his commitment to music, this EP boasts collaborations with some of the most prestigious players.  Ryan’s collaborators on Dando Papaya  are Grammy Winning and Latin Grammy-nominated artists.  The EP features El Caribefunk, Nidia Gongora, Hugo Cadelario and Bakithi Kumalo (who happens to be the bass player from Paul Simon’s Graceland).

There is no surprise that Ryan’s impact continues to grow with his musical endeavors. We wish we could high-five Ryan and his collaborators on the EP Dando Papaya for using music as the bridge to bring together diverse cultures.  We will continue to keep our eyes and ears open for the projects that Ryan Tennis puts his heart and soul into, because they are entirely worthy of our attention. May you and I be blessed enough to attend a SancochTrip and have more and more opportunities to watch Ryan build global bridges of connection with his music. Until then, here is a link to a music video of Children of Verona from the new EP Dando Papaya.  So fun.  Congratulations Ryan Tennis and all who collaborated to make this beautiful EP available for all of us to hear.

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Written By Barbara Gettes / Photos by Lisa Schaffer

One of my favorite things is finding an artist who does not scream to get your attention. If you are familiar with Philadelphia native Hezekiah Jones, you also know the power of a whisper. With a long-awaited release of some new music in the after-time post-pandemic present apocalypse;  I am positive that I am not the only one breathing a sigh of relief to get some new songs from Hezekiah Jones.  The low-fi approach to his recording has become seminal in understanding their signature sound. If you close your eyes you can imagine sitting around a bonfire with friends, or in the intimacy of a living room where everyone is also singing along in the sweetest of harmonies.  Hezekiah Jones seems to encapsulate this feeling.  Of togetherness. 

Word has caught on about the Jones family and fans now will pack a venue to experience Hezekiah Jones live. An experience to seek as you can still see, hear, and meet the bonfire friends dancing their asses off or whispering the harmonies that run nearly two decades deep.  Alas.  This is not about the Hezekiah Jones live show experience.  It is about the new release.  The new EP boasts two new songs for the devoted lovers of Hezekiah Jones.  One song titled “Having a Time Machine Isn’t a Good Enough Reason to Time Travel”. The other song is titled “Like a Rock in a Tub”.   Though it sounds like there are subtle whispers of so many voices,  I am suspicious that on “Having a Time Machine Isn’t a Good Enough Reason to Travel” the vocals are comprised of Kiley Ryan and Raphael Curtrufello.   The voices we hear could exist in our heads just as much as on the floor in a living room concert.

Next song up is called “Like a Rock in a Tub” and it boasts another signature vibe of Sir Raphael Curtrufello, AKA Hezekiah Jones. A creepy waltz.  The last I heard a new creepy waltz from Hezekiah Jones was pre-Wednesday times and so Wednesday Adams if you are listening, I strongly encourage you to find your way to the recordings of Hezekiah Jones.  Find your way to one of his live shows and I reckon Hezekiah Jones would be thrilled to have you and your cello as the newest Jones member. I’ll call it now; Wednesday Jones. You won’t regret it. Season 2 is in the works.  Let’s help the music supervisor on Wednesday see this, okay?

Seriously… listening to this music is a breath of fresh new air mixed with the comfort of your very favorite old blanket. One last bit to be noted about Hezekiah Jones is that the impact he has had on countless people with almost a rabbinical character is tremendous. A silent, non-judgmental, mainstay on the Philadelphia music scene for two decades.  I am confident your ears will devour the new Hezekiah Jones songs that were released today. Gratitude to Hezekiah Jones and family for releasing new songs, this week of November 6, 2023, and brightening our souls on these dark days.  We look forward to future releases, as always. 

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Written by Liv Foltiny Photos provided by Girlie Action Media

As of this week (and to the tune of “One Week”), it’s been eight weeks since I looked at them, took their photos, and wrote about seeing them, three weeks since I agreed to give their new album a listen and critique.

Silliness aside, after photographing and reviewing the Barenaked Ladies’ show at The Met back in July, I decided I’d give reviewing their newest album, In Flight, a shot, considering how their live performance was fun, witty, and good-hearted to say the least. However, because I had never listened to any of their albums from beginning to end (until now), I didn’t honestly know what to expect.

With my laptop open and the volume up, I pressed play and was greeted by the first track, “Lovin’ Life,” a cheerful and upbeat song in which the band describes how being alive is a wonderful thing, even though life has plenty of bad moments, not just good ones. The song nicely fits into the kind of playlist you’d create to combat a shitty day. Following suit, “One Night,” the second track, carries a positive concept by encouraging people to live in the moment and indicating how taking risks is necessary sometimes. Simply put, both of these songs have the ability to put a smile on your face and, for lack of better words, exude joy.

Between this song, “What Do We Need?”, “Just Wait”, and “Waning Moon”, the band covers various topics ranging from the changes that come with getting older to wanting to be there for their loved ones and how they continue to experience life lessons. Between this song, “What Do We Need?,”  “Just Wait,” and “Waning Moon,” the band covers various topics ranging from the changes that come with getting older to wanting to be there for their loved. ones and how they continue to experience life lessons. Out of these four songs (and possibly the entire album), “What Do We Need?” was, without a doubt, the one with the hardest-hitting line: “I love it more than anything, but please make it end.” This statement follows Ed Robertson singing about how the band members leave their families to go on tour with one another and continue to grow older as the years pass. Given the order of the lines, I wasn’t sure (and still am not sure) whether the “please make it end” was directed toward one, both, or neither of these sentiments. In the case of the latter of these options, I wonder if the plea refers to the heartache that can come with having to decide whether to tour and, if so, the blunt recognition that they’ll be away from loved ones for a while.

Although a majority of the tracks following “Just Wait” (with the exception of “Wake Up”) don’t appeal to me personally, they are still put together well and continue to carry a self-reflective voice. They also have lyrics that plenty of us can relate to. Yes, I’m looking at you, “Too Old” because “I’m too old for this shit” is a comment that, regardless of its tone when spoken (i.e., joking or serious), is something that can resonate with a lot of us in some way. Lines like this, as well as the beautifully painful ones (like that line in “What Do We Need?” I referenced before), are things that make In Flight stand out and indisputably make it human.

In Flight is available now! You can check it out on your favorite streaming device or buy it directly from the band’s online store.

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According to Google, the definition of Toxic Positivity is “the pressure to only display positive emotions, suppressing any negative emotions, feelings, reactions or experiences. ” That term has become a social norm in our society today; it’s absolutely sickening. Humans have been conditioned to ignore the truth of our feelings and pretend everything is okay to keep the status quo. So it is no surprise that The Used and John Feldman teamed together once again to produce an album and claimed to have fallen into it Toxic Positivity. 

With Feldman and The Used in the same studio together again, the only certain thing is that the Magic will be made. Feldman has produced a handful of their albums, ranging from their self-debut album The Used in 2001 to their most recent release in 2020 called Heartwork. He is the Peanut butter to the band’s jelly and has been for over the last 23 years. They have worked hand in hand and produced hits like “The Bird and the Worm,” “I Caught Fire,” “Take it Away,” and many more. The Synergy between them is like no other I have ever encountered. Feldman is an essential keystone in the success and career of The Used, and how they create is so fluid and utterly Sympatico.

If you know anything about The Used, you know they like to push boundaries and speak their truth no matter how harsh it may come out or whom it may piss off. The band has used their career to express their most vulnerable moments and intimate Traumas they have been through and transmute them into a work of artistry. It reminds the rest of the world and their fans that nobody is alone. Toxic Positivity is no exception to this formula that the boys have used for the last 23 years with how they write music. This album showcases Frontman Bert Mccracken‘s “most sincere words he has ever written,” focusing on mental health and well-being over the last few years. On the coattails of the pandemic, Toxic Positivity claims to act as an outlet for The Used and express all of the struggles that have internally been going on for the last three years, which is a direct result of living in this weird hell that has become a life in a Pandemonium era. 

This album keeps the integrity of everything that makes a Used album great. It plays as if someone took a bite of the sound from each album, remixed it, and decided to call it Toxic Positivity. The 11-track album pulls you in immediately; the first track, “Worst I’ve Ever Been,” kicks off with the old sounds of heavy drums and guitar. Bert even returned to his roots of screaming for a portion of this song. My two favorite songs off this album are “Pinky Swear” and “Top of the World,” which couldn’t be more opposite. If you’re looking for that OG sound from The Used, look no further; the song is filled with heavy riffs, drums, and tons of screaming. Part of the chorus is “Save me, I need to know what it feels like before I fade away, “it almost sounds like it could belong on their second album, Maybe Memories, with how it all flows together. The second song that was a pleasant surprise for me was “Top of the World,” As an avid listener; I was initially unsure. It starts with their signature drum sound and transitions into a light pop esq. I don’t know if it was the lyrics or just how catchy the hook is, but I can’t stop playing the song. Toxic Positivity is an album that directly explains the aftershock of Covid-19 and what they went through. In this deeply personal album, The Used shines a beacon of light with their raw gut-punching lyrics that you are, in fact, not alone in this vast universe. I highly suggest you take it for a spin.

The Used

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Written by Nick Hopton

So here I sit at 2:08 am on a Thursday; well, it’s Friday now, but not really. 

I’ve had more than a few drinks this evening, vodka and tonics, mainly as they tend to do the trick. But as I did, a thought came across my mind, oh so close to the midnight hour. 

That holy jolt of the realization that the masters of metal’s new album had just dropped. The new era of a band that has built and influenced so much of the last 30 years of music. Are they back? Can they still be that band that everyone now, unfortunately, remembers because of an episode of Stranger Things!? Are they in their greatest hits, a purgatory era that Journey and KISS are stuck in, or do they have something left in the tank? 

Oh yes. 

Oh yes, they fucking did. 

72 Seasons?

This is Metallica’s Magnum Opus.

Metallica. 

Fucking. Metallica.

Title tracks have to rip your head off, and 72 Seasons leaves nothing left to be desired. That unmistakable chainsaw of a guitar riff screams, “We’re fucking here.” And from this point on, it’s no-holds-barred. Light the fuse, buckle up, and let’s go. “Shadows Follow” does not let up. The song takes us up a notch. Honestly, how can you get much heavier than this riff? It hits you in the head like a hammer, and you will bang your head like a hammer. A fucking killer surprise as a mean track before the MVP of this album…

“Screaming Suicide” is a new classic. This song’s foundation and overall build rivals the previous efforts of “One” and “Fade to Black,” but in a “Kill Em All” manner. It’s pure, angry, pissed-off rock and roll. Something this band has needed for years, and they found it on this track. If this is their last legendary album, this is their bookend. “Sleepwalk My Life Away” rips in with a filthy bass line…the rest of the band is just sitting behind…but then, HOLY SHIT, the second coming of the “Enter Sandman” riff takes your head off. One of those perfectly built hard-hitting rock tracks like “Sad But True” or “Fuel.” It’s just got that goddamn grit about it. 

Leading into “You Must Burn,” I figured we’d keep the speed up, but they threw me for a loop. This is the old-school flow flip that is so often forgotten. Bang your head until your neck hurts, and then keep going.

“Lux AEterna,” which happened to be the first taste we had of this album a few weeks ago, was the precursor to everything we’ve had thus far. Angry, heavy, fucking metal. The shit that they made their name on. “Crown of Barbed Wire” follows a similar build to “You Must Burn” in a somehow new but recycled view of the style. Somewhat of part 2, but never really sits to be a staple of the album. One of the few missed hits, if you can even call it that.

“Chasing Light,” the first 20 seconds, I thought, “dammit… it’s a cop-out song.” Wait until that riff kicks in, and it’s a complete restart. Metallica has always been the king of hiding a ripper in an intro, and they did it again here. Oh, and wait until the bridge, the change will kick you in the chin. Another track that I’m completely blown away with. “If Darkness Had A Son” feels like a journey through time with them. Showing all the styles they’re capable of showcasing on any given recording. Another old school headbanger that will ignite memories of tracks past.

“Too Far Gone” doesn’t change much of what we’ve heard. Does it kick ass? Absolutely. Is it more or less what we’ve heard from the previous nine tracks? Yes. That said, it’s by no means a bad song. Hell, it might end up being a single because of the style. It’s got this contagious pop feel about it. I’m sensing a trend here, as “Room of Mirrors” hits just as hard as any track before it. The song would be a #2 on any other album, but not this one. It is a perfect final chapter for this epic.

Oh, wait? There’s one more. “Inamorata” is the slowly burnt crust on top of the 5-star dish that Metallica has made with this album. A long, drawn-out musical number that brings out the song-building qualities of the band in a beautiful way. 

It’s hard to be the king. It’s even harder to stay the king. Metallica, once again, has proved that they are the kings of metal. And it will take one hell of an effort to take their throne. 

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The illusion that all good art has an age limit is a staple in our society. It seems an artist’s age can become branded to them like their own personal Scarlet Letter. The lie that we no longer have an artistic point of view can snuff out the fire in so many artists but truly a death nail if you are a woman in the music industry, but like any glass ceiling all it takes is one brick and the person with one hell of an arm to smash that son of a. That brick here is “Rapture” and the artist taking aim at said glass ceiling: Emily Breeze.

Emily Breeze is from Bristol UK, her writing is a brutally honest take on life and Rapture is really a coming of age story, well more a coming of middle age story to be honest. Breeze was given every trick and tip from the music industry types to try and hide her age, “as if it was a dirty secret like an STD or a disgraced royal, so I decided to do the exact opposite” Breeze said. This is the lyrical landscape that Rapture dances in. From Ordinary Life thru Confessions Of An Ageing Party Girl, Breeze tells real stories about the real life and struggles of an “ageing” artist. If we are being honest it is a story we too often ignore in our musical landscape, almost to say your point of view is pointless if the bouncer isn’t triple checking your id at the door.

Teaming with producer Stew Jackson (Massive Attack) Breeze with an all star band, Rob Norbury (lead guitar), Andy Sutor (drums), George Caveney (bass) and Helen Stanley (keys/synths), really paints a sonic landscape that both gives the nostalgic hairs on the back of one’s neck the NYC club vibe that echoed from the Limelight thru CBGBs and the overhead playlist of your local grocery store that gets you bopping to self checkout. The true power of these tracks is honesty and the beauty of flamboyant failure. “The party’s over baby, but I’m never going home. Wrap my arms around a stranger nothing glitters when you’re gone” from the single “Confessions Of An Ageing Party Girl” is both glorious battle cry and heartbreaking reality. Does “the party” truly pass us by or can we truly redefine what that party is?

If I am being honest this album might be the perfect portrait of Gen X today, a patchwork of incredible influences from Patti Smith to LCD Soundsystem are woven through very real stories that are sometimes fun, sometimes painful, sometimes pretty and sometimes the reality that is the make up smeared walk of shame. Once again proving that Gen X is not like the generations before and they will not just roll over and let their art die, but they will be honest about it and they will admit that honesty is never always pretty but it is always real. This is the beautiful landscape that is Emily Breeze’s Rapture, on Sugar Shack Records, paints in and what a painting it is. Rapture is available now on all streaming platforms.

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SMYL

By Noelle Simeon Photos by Sarah Cass

SYML, Finnish for the word simple, has been releasing music since 2016. With a folk-rock base, in the alternative genre, SYML has created a new record that doesn’t feel overly crowded or muddled by too many musicians in the studio. “The Day My Father Died” has 15 tracks, and packs as much of a punch as SYML’s usual quiet, piano-laden, self-described sad songs, making it worth the listen.

This new album approaches loss and grief, but unlike his 2021 EP “Dim”. It is not grappling with the fear and raw grief of losing a parent, but finding beauty in accepting the loss and life afterwards. Brian Fennell, the artist behind SYML, explains “Losing my dad felt like running out of air. I still feel it in my gut. But this record is not about losing him, it’s about what happens after we have lost.” 

Fennell’s Christian upbringing and influence has weaved throughout SYML’s previous work, perhaps most apparent with his “Sacred Spaces” album, where he toured churches throughout the world. “The Day My Father Died” delves into those beliefs deeper, and shows us what Fennell holds most sacred: love in its multitude of forms.

In “Howling”, SMYL cries out with a full choir in tow, “My blood and my body/ will sing out your praises”, worshiping his lover. “You & I’s” lyrics speak directly on finding religion in your lover with not needing heaven but finding peace in their love. The 90’s Christianity trend of teenaged youth groups is criticized in “Tragic Magic”. 

“Lost Myself” features singer Guy Garvey, with both singing on the complexities of losing yourself after a loss.  Fennell’s high falsetto through the chorus is lovingly balanced with Garvey’s deeper tones.

The title track, “The Day My Father Died”, speaks of Fennell’s father’s lessons, similar to a calling of commandments, and how they helped with life and being able to carry on. “Corduroy” carries a sweetness, almost putting memories of childhood and growing up on a romanticized pedestal. Reminiscent of the 70’s folk legends, with its acoustic guitar picking, “Sweet Home” lyrically speaks of his childhood home like his own sanctuary, “said in silence like a prayer/ if these walls could breathe the air/ they would sing the song of love”.

Devout fans looking for SYML’s usual sound can be found in songs “Feel Your Pain” and “Caving In,” which, of course, are two of my favorites. Having lost my own father in October of 2021, trying to comfort those around you (“Feel Your Pain”), and having someone shut you out (“Caving In”), all while navigating your own grief journey, are viscerally felt.

SMYL

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Written By Noelle Simeon

Poolblood’s debut album, Mole, is a record that reminds me why I love writing about music: it is gentle and careful and open. It is both self-affirming and self-deprecating. To be honest, it reminded me of the part of myself that lingers from my teen/young adulthood, when things seemed so uncertain.

Poolblood’s sound could be described as an indie-rock dream sequence, with the occasional horns, percussion and piano accompaniments, and adds an almost jazzy tenderness not often found these days. It captures loneliness and longing in a way that makes one even more grateful for rain after a drought.

The artist behind the moniker, Maryam Said, breathes delicate lyrics that speak of self-awareness while navigating depression, grief and letting go of the past. The song “Wfy” has a balanced contradiction that can be sometimes found in love, singing, “I reek of the subway / I’m drenched in your warmth / I’ve never had a halo / longing to be loved.”

Not knowing what the future holds but finding solace in being alone, “<3” and “My Little Room” grasp onto hope. “Voyager” and “Null” seem to seek out meaning within painful memories and relationships, while “Sorry” captures regret in multiple forms. “Shabby” and “Twinkie” seem like a continued conversation of wanting themself to change for good, but unsure how. “Beam” is an almost instrumental distortion, letting go of built-up rage between loss and regret.

From Said’s first whispered “Whoops” at the start of “<3”, Mole feels like a happy accident, as if we have stumbled upon a musical diary and these intimate tracks were meant for the artist’s heart and ears only. Lucky for us, Mole is out now for all of us to relish.

Photography Credit: Jibril Yassin and Laura-Lynn Petrick

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