We’re on our way, slowly but surely, to the end of 2025.
Instead of starting to think about this year’s best LPs,
let’s go back to 2024 and listen to TUTV‘s 20 Best Albums
again and look back on what we wrote about each one
of them.
TUTV: The three main elements that make this album special are Jeen’s remarkable
voice, her high-quality songwriting expertise, and the heart-and-soul passion that streams throughout it. Whether Jeen rocks out, muses, or swings moods, she always holds your aural attention.
Orchestrator Robert Smith about
their supreme new opus.
TUTV: In the past 16 years Robert Smith lost his mother, father, and brother.
All these painful events led to this extraordinarily touching record. It’s one
long, emotionally layered lament that works liberating in the end.
Strong sentiments of heartache, grief, and sadness are omnipresent, but you
hear and feel frequently that Smith has accepted humankind’s inevitable destiny.
Live and die. Life and death.
Sonically, it feels like if you’re part of a funeral march that progresses in slow
motion. Almost every song starts with a long instrumental intro of waves of
mourning synths and weeping guitars, and every time when Smith‘s feverish
voice joins in, the sense of tristesse augments wondrously heavy-hearted.
5-star masterpiece!
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. Instagram – All Albums
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TUTV: Musically, tattoo artist Carter and his accomplices have left their angry punk days behind them and moved closer to classic rock on this surprising and bold longplayer.
And it’s a truly staggering result with several melodramatic power ballads that generate goosebumps, and some stoner rock ebullitions to keep balance. Carter sings his heart out with monumental vivaciousness. A vocal tour de force throughout, dealing with up and down emotions.
Lias Saoudi (voice/face/wordsmith/poet/writer): ‘Forgiveness Is Yours,’ is about life as eternal contingency… about no longer suspecting, but knowing that this shit will never get any easier… in fact, it’s about to get a whole lot worse, your body’s going to go into decay and the people you love will slowly start dropping dead around you… but somehow, you’ve smashed enough
of your expectations thus far in life, you’re sort of fine with it… you accept it.The overarching aesthetic themes at work here are torpor and further torpor still.”
TUTV: Without a shadow of a doubt their most startling, and most creative/inventive accomplishment. Sounds like FWF have written/recorded the bone-chilling soundtrack
for an entertaining Doomsday party. Enigmatic reflections, dark deliberations, distressing vibes, a John Lennon tribute and Saoudi as the foreboding messenger and sinister poet in the middle of it all. It’s the end of the world, as we know it, and it feels like Fat White Family.
Cave: “There’s no fucking around with this record. When it hits, it hits. It lifts you. It moves
you. I love that about it. I hope the album has the effect on listeners that it’s had on me. It bursts out of the speaker, and I get swept up with it.”
TUTV: Cave is the God of cloak-and-dagger balladry. Now here’s a God I can believe in. Again he shows why he’s one of the best ever crooners in the universe. And lyrically it
feels as if, after so many devastating, heart-crushing years, with the loss of two sons,
he lets sparks of light back in his life. God bless Nick Cave.
TUTV: White returns to his punk blues roots of the early days. Swipe after swipe,
blue stripe after blue stripe, kick after kick, clap after clap. A total of 13 thunder
strokes. High-wired electricity. Dope stuff.
TUTV: The charismatic Lia Metcalfe‘s singular voice, both anxious and bewitching,
is all over this new, awe-inspiring full-length. Overall the sound is even more gloomy
and spine-chilling than on their debut from 2022.
It fits Metcalfe‘s introspective reflections on her turbulent past terrifically well.
They’re embedded in arresting songs that send shivers down your spine.
But, eventually, there’s a light shining
at the end of the Mysterines tunnel.
One that illuminates their future
and your stereo.
TUTV: The star duo made an album with lots of bright pop tunes and some blues light
ones. The licks/riffs and hooks – about a thousand – haven’t that BK’s raw and rough edge as we are used to, but I don’t miss it whatsoever.
The overall sonority leans more towards power guitar pop (slow, mid-tempo and only
a couple of fast ones). I never thought that the tandem would come up after 23 (!) years with a pretty different sounding, coherent longplayer, without ignoring their blues roots that is. I played Ohio Players more than their whole catalog together. Say no more.
TUTV: The three main elements that make this album special are Jeen’s remarkable
voice, her high-quality songwriting expertise, and the heart-and-soul passion that streams throughout it. Whether Jeen rocks out, muses, or swings moods, she always holds your aural attention.
TUTV: With Interplay their shoegaze past goes into the dustbin. Ride came up here
with a multi-layered pop LP stuffed with arousing tunes, alternated with pepped-up reveries.
All songs are sublimely orchestrated and bathe in a psychedelic jacuzzi,
while vocalist Mark Gardner‘s velvet vocals match the radiant atmosphere
exquisitely. It’s a new ride, and it’s a gratifying one.
TUTV: This first Mancunian collabortion sounds as if was made about 30 years ago.
Most tunes could be leftovers from The Stone Roses‘ 2nd and final 1994 LP Second Coming, the one on which Squire played his guitar exactly the way Jimmy Page did in Led Zeppelin for years. And Liam is Liam. Arms together on his back and letting his pipes do the talking. The two heroes just did what they wanted to do, making an album together and having fun doing it.
Before I was aware of it I had played the album about 10 times in 2 days.
Mind you this is not a masterwork whatsoever, but all 10 tunes are top-entertaining
and stick faster than I can say “I want the Stone Roses support Oasis on their reunion tour”?
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. Liam Gallagher – John Squire
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TUTV: The Other Side is a concept record about a “mysterious couple” having
adventures in an otherworldly America. The by-now 76-year-old Burnett translates
their journey in lovey-dovey lullabies, heartfelt musings, and amourus ballads.
This is the perfect record for daydreaming and relaxation. Soft, mellow, and tender.
His slightly hoarse Americana voice enchants and entices all through this sepia-colored album. Pure romanticism. Pure songsmith.
Artist: JUJU (Italy)
Brainchild of Sicilian multi-instrumentalist
and producer Gioele Valenti. Album: Apocalypse Is God’s Spoiler
Photo by Turn Up The Volume
TUTV: Valenti is a jam champ and a groove master creating electrifying, trance-like vibrations that transfer you to the dark side of your mind where you can freely
fantasize and explore your own psyche.
Circling Krautrock-like psychedelia is all over the place. Choir chants and spacey percussion cause a tribal atmosphere à la The Brian Jonestown Massacre and The Dandy Warhols. Mind-bending and dream-triggering. As always.
TUTV: After the turmoil, chaos and drugs addictions (especially Doherty) of the early
years, the side-projects, solo records and getting clean and healthy the Libs are back, again. They’re not the boys in the band of yesteryear, they’re now grown-up men who
enjoy a stable life and still are obsessed by making music.
They became notable, experienced musicians who left their hedonistic lifestyle behind themselves for several years now. Not one dull moment, not one dull song on the eastern esplanade.
TUTV: The Irishmen have become first-class songwriters (which they already proved on previous LP Skinty Fia– – still my favourite one). Frontman Grian Chatten‘s lyrics show (again) his observative view on this modern-day, confused world and how it affects
his inner-self.
This is not their masterpiece yet to my ears, but it’s only a matter of
time that they will come up with a longplayer that will blow us all away.
Turn Up The Volume: Old skool punk ‘n’ roll? Absolutely. Any good? You betcha! Amyl and her loud buddies made another roasting riff-manic-monster of a hell fucking
hell yeah record. Pogo madness is back. Sturm un drang from start to finish. HOLY MOLY!
Band:THE SMILE
Sort of supergroup featuring 2 radioheads, Thom
Yorke and Jonny Greenwood and drummer Tom Skinner.
Album: Cutouts.
Their 3rd LP in just 2 years
(Radiohead 8 in 31 years).
TUTV: By far their best to my ears. On the previous 2 ones they tried too hard
to not sound like Radiohead (which they did frequently anyway) and did it with
too many redundant orchestrations, too many unnecessary layers and a bit of
arty farty structures here and there.
Mind you these are good LPs but on this one they keep it far more simple resulting
in 10 very compelling pieces of mesmerizing music. Trippy fast ones alternate with slow
musing ones and throughout the arrangements are subtle, direct and most entertaining with Thom Yorke sounding, yes, at ease, not forcing his compassionate voice/vocals. Bingo.
TUTV: Nostalgia is the keyword all over this fully devoted record. As we already know
for a long time Hawley is a romantic at heart who’s in love with his city Sheffield since
he was a child. It’s more than just his hometown.
It’s the place where he experienced all things good and bad, happy and sad. It leads
to yearning renumerations, fanciful daydreams and wistful meditations. With his soft-heartened voice and late-night stories, the late great Roy Orbison comes to mind on
several occasions.
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. Instagram – All Albums
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Artists:DEAD ANYWAY British duo combining the dark lyricism of Kate Arnold
against the music and soundscapes of Marc Symonds. Album: Tough, Listen
TUYV: Slow/mid-tempo/fast trip-hop tunes are wrapped in layers of
distortion and feedback, creating an eerie and at times sinister ambiance.
Massive Attack, Tricky, Arab Strap and Mike Skinner’s The Streets
and Laurie Anderson‘s latest opus Amelia come to mind.
DA resonates as EBM for people who come alive when the darkness sets in, far away
from our 24/7 suffocating life and the world’s destructive nature as we experience now, again.
Kate Arnold‘s spoken word stories evolve on waves of chilling synth soundscapes that actually ease one’s confused mind (mine, for sure) and transfer you to your space of imaginativeness. Trance massage it is. You’ll feel alive anyway.
“The singular mixture of classic punk/hardcore and electronic styles result in 12 frantic tracks of postmodern pop for the genreless future. Painted with a broad pallet of only the most extreme hues of emotion, each track is marked by a distinctive danceable mania.”
TUTV: Let your head kicked in with schizophrenic disco sledgehammers for illegal raves in batcaves where dropouts, misfits, loners, eccentrics, bohos, and other related outsiders gather to move in mysterious ways, far away from the normal world.
TUTV: It’s vintage Shellac/Steve Albini with its wayward song structures, its
capricious and minimalistic approach, its broken riffs, edgy hooks, sinewy
drumming, Albini‘s firm vocals and the raw and rough post-punk dynamics.
Absolutely weird to listen to, knowing
that the noise wizard is here no more.
He passed away on May 7, following a heart attack.
Only 10 days before the album release. Sad loss.
TUTV said: “With tensely emotive singles Man Of The Hour and Brambles, tattoo artist Carter seemed to let his angry punk days behind him and move towards classic rock.
This album confirms that surprising, bold move.
And it’s a truly staggering record, filled with several melodramatic power ballads that generate goosebumps and some stoner rock ebullitions. Carter sings his heart out with monumental vivaciousness. A vocal tour de force throughout, dealing with mixed love emotions. Dark Rainbow will impact your ears for a very long time.”
Lias Saoudi, voice/face/wordsmith/poet/writer, about the LP: ‘Forgiveness Is Yours,’ is about life as eternal contingency… about no longer suspecting, but knowing that this shit will never get any easier… in fact, it’s about to get a whole lot worse, your body’s going to go into decay and the people you love will slowly start dropping dead around you…but somehow, you’ve smashed enough of your expectations thus far in life, you’re sort of fine with it…you accept it.The overarching aesthetic themes at work here are torpor and further torpor still.”
TUTV: Without a shadow of a doubt their best, most startling, and most inventive accomplishment. Sounds like FWF have written/recorded the bone-chilling soundtrack
for Doomsday. Poignant vibes, ominous reflections, dark ballads, and frontman Lias Saoudi as the foreboding messenger and sinister poet. It’s the end of the world, as we know it, and it feels like Fat White Family.
TUTV said: The star duo made an album with lots of bright pop tunes and some light
blues ones. The licks/riffs and hooks, about a thousand of course, haven’t that BK’s raw
and rough edge as we are used to.
The overall sonority leans more towards power guitar pop (slow, mid-tempo and only
a couple of fast ones). I never thought that the tandem would come up after 23 years (yes, twenty-three years!) with a different sounding, coherent longplayer, without ignoring their blues roots that is. Ohio Players will be the album that I’ll play more than their whole catalogue together.
TUTV said: It sounds as if the two rock stars made this record about 30 years ago when Oasis and The Stone Roses had both a glorious debut LP out. It sounds as if the 10 songs here, didn’t make those masterpiece albums, because they’re somehow lazy tunes. That’s what my ears told me at first. Two famous Manchester lads had some time to kill.
But I’ve played it countless times by now. All tracks are infectious and electrifying. Liam & John didn’t look back in anger and may be adored for this easy-peasy, but oh-so-effective psych-rock-blues longplayer. Touchdown.
TUTV said: The charismatic Lia Metcalfe‘s singular voice, both anxious and soul-stirring,
is all over this awe-inspiring new record. So instrumental for the band’s sound that resonates more poignant, gloomier and spine-chilling than on their debut.
It fits Metcalfe‘s introspective reflections on her turbulent past terrifically well,
with haunting and goosebumps-causing songs that have an imposing impact.
There’s always a light shining at the end of the Mysterines tunnel.
The 4 scousers are ready up for a triumphant future.
TUTV said: The three main elements that make this album special are Jeen’s remarkable
voice, her high-quality songwriting expertise, and the heart-and-soul passion that streams throughout the record. Whether Jeen rocks out, muses, or swings moods, she always holds your aural attention.
The cliché is accurate here, ‘no fillers, all killers’. 10 intoxicating, 10 solid gold songs.
This first-rate longplayer should get at least the same attention as Sheryl Crow‘s
new one.
TUTV said: With Interplay the shoegaze past goes into the dustbin as the present Ride are fabulous. They come up with some terrifically arousing tunes, alternated with pepped-up reveries.
All songs are sublimely orchestrated and bathe in a psychedelic jacuzzi, while vocalist Mark Gardner‘s velvet vocals match the sonic atmosphere exquisitely. Ride have mixed emotions about today’s restless times, me too, but not about this record. Lots of five-star stuff.
TUTV said: It’s vintage Shellac/Steve Albini with its wayward song structures, its
capricious and minimalistic resonance, its broken riffs, edgy hooks, sinewy drumming, Albini‘s firm vocals and the raw and rough post-punk dynamics at play. Absolutely weird
to listen to it, with the incredible knowledge that Albini is here no more.
He passed away on May 7, following a heart attack.
Only 10 days before the album release.
Sad, really sad.
The album closes with the ominous track I Don’t Fear Hell, including these lines “I don’t fear hell. Their baseball team is undefeated. If there’s a heaven, I hope they’re
having fun. ‘Cause if there’s a hell, I’m gonna know everyone.” Sounds quite bizarre and macabre at this very moment. Maybe, just maybe, Albini is happy, wherever he might
be. Rest in peace.
TUTV said: Monoscopes made an ideal record for the midnight hours, to relax
and escape from the daily rat race and lose yourself in your thoughts of choice.
Heavy-hearted lullaby pearls such as ‘The Electric Muse (I Wanna Know Why?)’, Hey Atlas and The Things You Want To Hide should be hits in a normal world. Imagine the moody musings of Evan Dando (The Lemonheads) interwoven with the shadowy electricity of NYC’s celebs Interpol.
And when they turn up the temperature and the amps, now and then, like on top-tier tracks ‘It’s A Shame About You’ and ‘Quite Life‘ you feel the mixed emotions coming through your speakers making their way to your heart and to your soul. Top!
TUTV: As a solo artist, he recorded/released several LPs. As a producer, he worked
with Los Lobos, Elvis Costello, Brandi Carlile, and Robert Plant & Alison Krauss and so many
more. He toured with Bob Dylan and other famous friends and he won a bunch of Grammys.
The Other Side is a concept record about a “mysterious couple” having adventures
in an otherworldly America. The by-now 76-year-old Burnett translate their mixed
emotions experiences in lovey-dovey lullabies, heartfelt musings, and nostalgic
ballads.
This is the perfect record for daydreaming and relaxation. Soft, mellow, and tender.
His slightly hoarse Americana voice enchants and entices all through this sepia-colored album. 12 bittersweet serenades for the midnight hours, away from our hyperbenthic reality. Pure compassionate romanticism. Pure songsmith.
This was the first single of their best album to date Islands In The Sky. A terrifically juiced-up power-pop chant triggering your limbs to get up and move. And when the under the spell of joy choir joins Bonnie Bloomgarden on the elated chorus you just know that this stunning tune is a winner.
We are living in a simulated world
And we are simulated girls!
The sassy spirit of fiery Riot grrls, the primal screams of X-Ray Spex‘s late genial vox Poly Styrene, the unbridled DIY mentality of The Slits. It’s all here to get in the macho faces of all macho males. Lads Lads Lads is a loud and clear clamorous uppercut. Trash and slash punk turmoil. Holy fucking smoke!
(Photo by Turn Up The Volume – Brugge, Belgium 2023)
“The lyrics were related to whatever we were talking shit about that day.
Dirt-cheap ’baccy and annoying, invasive TikToks. It’s hard to recall.”
Riverstone is an excessive electro-industrial sledgehammer doing your head,
your ears and your mind in. Bang-bang-bang-bang. Deafening drones, psychotic
guitars, and schizophrenic vocals, it’s all here to have an electric brain-frying
chair experience.
All-round Canadian singer/songwriter nailed it with this efferscent swirling knockout.
This is the kind of 24-Carat gold banger that makes your day, that boosts your worried state of mind, that puts a big smile on your face, that works faster than any stimulant and most of all, that gets you on your feet, triggers your best rotating dance moves and make you embrace life. Reality is not all doom and gloom, as many (mostly politicians) want us to believe to push their own power-greedy agenda. To hell with them.
These vigorous Brits hit big time with this flamboyant ripsnorter.
It’s full tilt ahead from the get-go. No brakes, no breaks, and
creeping under your skin faster than you can say this is super-duper.
A whirlwind of scorching guitars, pounding drumming, a revolving bass line
somewhere in the middle, go-getting vocals and a dynamite chorus combine
for a badass belter. 2023 was the year for 32 Tens.
This contagious cracker celebrates forer Italian football star Roberto Baggio
Kane:“I was eight years old when I first saw Baggio on TV, it was during the
1994 World Cup. I was taken back by his presence, his look and his talent. It was
the first time I’d seen a man look so different and unique. Seeing Baggio led me to
e obsessed with that Italian football team for many years later.
Baggio is one of those typical Kane tunes. Immediately recognisable with its
uplifting 60s/70s beat and blissful melody. But it’s a glorious guitar fragment
and accompanying harmonious, backing vocals that lift the song to a five-star
pop level.
This new supergroup features Shaun Ryder & Bez (Happy Mondays/Black Grape),
Andy Bell (Ride/Oasis) and drummer Zak Starkey, yes Ringo’s son, who actually came up with this project’s idea and describes it as “a fantastic psychedelic groove from a band of misfits, outsiders and innovators.”
First single Gorilla Guerilla is a mind-boggling techno-rock stomper
to start and end all (il)legal raves with and fill dancefloors around the
globe with. This seasoned collective is a mean groove machine.
The duo launched their 12th LP, called UK Grim last March.
This rattling piece is my absolute favorite.
It’s Sleaford Mods by – very good – numbers. The mods still spit and sneer
against Tories‘ merciless pressure and devastating regime. And they still do
it with rappin’ vibrations.
The waterfall wordsmith from Hull (UK) released her tip-top debut EP Chaos Of Time
and followed it with this booming corker. Glittery, glammy and trashy (like the video).
Sing happy birthday to 6-year-old princess Jodie midway. Don’t worry afterward you
can continue to pogo around the table.
10. ‘Dicks In Tanks’ by MORLOCKS (Gothenborg, Sweden)
2023 photo by Krichan Wihlbor
This Swedish turbo founded by mastermind J.Strauss had
a new flabbergasting album out, named Praise The Iconoclast,
this year.
Single Dicks In Tanks features vocal efforts from Sascha Konietzko of KMFDM,
dark ambient electro queen Karin My and black metal maestro Heljarmadr
of Grá/Dark Funeral.
Morlocks‘ cynical take on war is sharp-cutting like a first-class Swiss knife
“Salute every hard on, a call to arms / this is my klaxon / sound the alarms”.
It all starts with warning war sirens and marching soldiers chants.
90 seconds later, it’s all hens on deck when this industrial rock missile
erupts with a blitzkrieg fierceness.
Think Rammstein and NIN having a fight with riot guns.
11. ‘An Individual Soul’ by PRINCESS UGLY (Portland, US)
This blitz duo – J. Christopher-Rome (lyrics/vocals) and Christopher Moncrieffe (music/instruments) mix post-punk, early 80’s goth, shoegaze, and new wave
into their own brand of sound.
An Individual Soul is a multi-layered serpent of a track.
After a short shock intro, psychobilly guitars take over and riff
and roll all the way through, surrounded by glowing synths waves.
Add Christopher-Rome’s creepy whispering and you’ll feel transported
somewhere into a twilight zone where Goths party. Princess Ugly’s ominous
mind mystifies and the enigmatic she-devil in the video is a misleading
magnet.
These Dutch-American misfits have their roots firmly planted in both the regional
and international counterculture. They produce a raw, dirty groove influenced by
punk, provo and punk icons. Their poetry is packed with social criticism.
Huevos Rancheros, from their new longplayer Good Busy is a song about
seeing life clearly through all the haze and confidently strolling through the
daze.
It’s a tremendously sticky and melodic tune that mesmerises from the kick-off.
Stimulated by a sparkling and melancholic guitar riff à la Kurt Vile, a footstompin’
beat and word-smith Joshua Baumgarten‘s expressive storytelling it becomes an
electrifying humdinger, after a couple of spins.
The singular psych-folk-pop-rock wanderers released, this year,
one of their best albums ever withSea Of Mirrors
Wild Bird is The Coral at its relaxing best. A characteristic psych-pop gem
that pleased my ears on repeat since it came out. Breezy and heartwarming,
causing an I-feel-so-much-better-now thrill in the end.
Paul McCartney, George Harrison, and Ringo Starr worked in 1979 on the demo
of this previously unreleased John Lennon beauty, but didn’t finish it at the time.
Now, using advanced technology and a curatorial touch, McCartney
and Starr have completed what they started with George, and turned
it into a fully orchestrated nugget of a love song
This young outfit from Newport, Wales drew TUTV’s
attention in an eye/earblink with Nice To Say Hello.
It’s only their 3rd single, but this young team sounds as if they’ve been
around for years. Nice To Say Hello is a top-pop thrill. Irresistibly catchy
and captivatingly melodic. Layers of glimmering guitars with an endearing
resonance, that brings, yes, Noel Gallagher’s strumming play of his solo
work to mind.
The charming vocals and the infectious chorus
make the sonic picture complete. Fabulous feat.
Chic Choc are three musically seasoned Amazons from NYC using drum machines,
synthesizers, guitars, voice and a variety of sound filters and pedals to make
their point.
Freedom is their crystal clear debut single that criticizes, 200% rightly so, the fact that women still have to fight for so many fundamental rights. It’s bloody 2023 and so much female injustice is still a reality.
Sonically it’s a striking EBM earworm to fill dance floors with. Brisk beats, cool chorus, sensuous vocals and a protesting choir, combine for a spirited piece. Bang-on.
18. ‘You’re So Cool’ by KAT KOAN (Berlin, Germany)
This Berlin-based songstress released her arresting debut full-length LUSTPRINZIP last year. This year, she recorded/shared three rad singles.
You’re So Cool (me?) is one of them. A sexy dance stomper with an instant impact on your hip movements. And, as usual, Koan‘s sultry voice tickles your imagination and makes you light some candlelights, and seduces you to do some shadow-dancing.
The Vanity Project is a London-based queer freak pop duo featuring Flora Jackson and Rob Paterson. The project is a multi-instrumented, multi-genre fever dream fusing new-wave, modern art-pop and PC Music influences with dashes of jangle pop, Latin alternative and drum and bass, dazzling hooks, and wryly humoured dystopian lyrics. All accompanied by eccentric visuals.
‘Eureka!’ was one of the standout singles on their debut album, named We Never Should Have Come Here, that landed last September.
Combine the madcap vibrancy of Sparks‘ early days and some glamourous Queen bombast and you’ll scream out loud Eureka!. These misfits produce
eccentric pop pleasure, sonically and lyrically, without mainstream
restrictions.
They sound kooky and look kooky, but make no mistake, this tantalizing
tandem know perfectly well how to fabricate and construct entertaining
music.
One of my all-time fav bands, on record and on stage, returned, finally,
this year with their acclaimed LP God Games and this arousing bluesy piece
is one of the highlights.
21. ‘Dead Moon Rising’ by CACTUS FLOWERS (Houston, Texas)
Cactus Flowers is a psych-rock outfit from Houston, Texas fronted by Jessica A.M., whose mother photographed bands for Rolling Stone during the magazine’s counter-culture heyday.
With Dead Moon Rising we get a mid-tempo garage blues-rock corker fuelled
by echoing, rollicking riffs, steady drum hits and arresting Jessica A.M. vocals.
This raw cracker resonates like glorious legends The Cramps in slo-mo with a
mean machine vibe, rock-and-psycho-billy swagger and hefty dynamics. From bad moon rising to dead moon rising.
(Photo by Turn Up the Volume – Lokerse Feesten, Belgium – 2022)
The British guitar pop idols will make their fans happy with their new, sixth
full-length, baptized Pick-Up Full Of Pink Carnations out on 12 January 2024.
This is one of the 4 singles they dropped so far. It’s The Vaccines alright.
Sickly sticky guitar euphoria. Totally crazy.
With this year’s three-part rock operaAtum chief
pumpkin Billy Corgan released one of his sonic dreams.
And with Spellbinding the band delivered a robust rocker infused with radiant synths, exploding now and then into a feverish haymaker on the flaming chorus and ending
with a dreamy fade out.
2LIBRAS is a Seattle-based Cyberpunk duo that create dark, synthy beats infused with melodic guitars and vocal harmony since 2018. Their music infuses genres of industrial, dark electro, synthwave/synthpop and rock.
Heart On was one of the singles of their notable debut album World’s End.
It just was the best 2023 Valentine tune. An intoxicating mid-tempo groover. Both spicy and funky, lustful and provocative with hypnotizing vocals. Its slow-mo synth-bass beat crawls under your skin, and progresses steadily towards your restlessly pounding motor while your mind tries to figure out what is going on. Amorous communication isn’t easy, let your heart do the talking. It’s made for it.
All-round Canadian singer/songwriter JEEN who operates as a, pretty productive, solo artist, has also written for many recording artists such as ‘Great Big Sea’, ‘Serena Ryder’,
‘Res’, ‘Hawksley Workman’, ‘Brendan Canning’, ‘FUWA FUWA’, Martin ‘Doc’ McKinney and more. She was a member of ‘Cookie Duster‘ with ‘Brendan Canning‘ of ‘Broken Social Scene‘.
So far she released 4 longplayers and number 5,
titled Gold Control lands next year, in February.
Ahead of it we get the 3rd single, following two blistering
rock knockouts, Just Shadows and Make Me Mad.
Third piece HOLD MY HEAD UP HIGHER is an equally fervent corker, but more
of a quiet/Loud, soft/explosive affair. A turbulent roller coaster with Jeen‘s remarkable voice as the song’s star again, burning with ardency on the towering chorus. As usual,
she gives it her all, straight from the heart and the soul.
Scoring 3 goals in a row in a football game is called a hat-trick.
From now on, scoring 3 rad singles in a row is called a hat-trick too. Jeen just did that.
The song is co-written by and features musician Ian Blurton
To celebrate the late genial, eccentric-looking, allround musician Leon Russell,
a 10-track tribute album came out last week, titled A Song For Leon.
Boston’s noise icons Pixies also feature on the LP with their blustering version
of Russell‘s 1971 classic boogie woogie cracker Crystal Closet Queen, which Black Francis and Co turned into a classic boogie woogie punk cracker.
Dick in Tanks will feature on the band’s forthcoming
album Praise The Iconoclast, out 6 October via Metropolis Records
It all starts with warning war sirens, marching soldiers chants.
90 seconds later, it’s all hens on deck when this industrial rock
missile erupts with a blitzkrieg fierceness.
Think Rammstein and NIN having a fight with riot guns. Menacing growls and howls suggest imminent danger and when the clamorous chorus crashes in, it’s time to
go to the battlefield. Midway, all need a breather in order to put fuel in the tank and continue the supersonic attacks will all burners on. War can be fun, in case Morlocks
lead the troops.
This queer art-pop duo launch their debut longplayer named Never Should Have Come Here, next week, on September 29.
Eureka! is the third shared piece from the album.
It combines the madcap vibrancy of Sparks‘ early days and some flipped-out Queen bombast. The Vanity Project produce eccentric pop pleasure, sonically
and lyrically, without mainstream restrictions.
They sound kooky and look kooky, but make no mistake, this tantalizing tandem
know perfectly well how to fabricate and construct high-freak-quality entertainment.
XTR HUMAN is the solo project of German artist Johannes Stabel.
So far he recorded/released 3 albums. Check them out here.
Now he has a new single out, titled I Want More. An EBM brainbreaker that makes
your head spin uncontrollably. An electronic gloom and doom hammer blow to smash
capitalist pigs with.
The accompanying video, directed by German filmmaker Matthias Landenberger, is an eye-catching spectacle.
Last week this young, most exciting Indonesian trio unleashed their ablaze debut album, baptized Spunky! More about it in an upcoming interview with Turn Up The Volume.
Angeeta Sentana (vocalist/songwriter): “Being diagnosed with any mental disorder is
not a nice thing to have. I’m still in the process of accepting it as a ‘normal’ part of my life,
but there are times when I would feel super down about it.”
Better Than Life races and rushes for 90 seconds with all engines on. Its razzle-dazzle tempo makes you dizzy, while angry guitars and scary screams in the back have the
force to kick evil demons into oblivion.
Canadian rockin’ songstress Jeen‘s sassy single will feature on her new,
5th full length, titled Gold Control, coming our way in February 2024.
Making Me Mad is a mid-tempo burst going up and down, swinging your mood from left to right and back, while you ask yourself if the mind-crushing demons will still haunt you in the end. Human nature stuff, as we know it. I swear I can hear the young out-of-her-head Courtney Love in the back.
Glam and glitter legends DURAN DURAN have no intention whatsoever to retire.
They canned album number 16, baptized DANCE MACABRE and they will share it
with the world on 27 October.
Danse Macabre is a funky/groovy earworm that combines Goth, psych-o-tic darkwave,
and some hip-rap-hop fragments. Ace. This year’s Halloween will be different, Duran Duran are different, it will be a horror-tastic party.
It’s been 7 years since iconic blues-rock duo THE KILLS – Alison Mosshart
and Jamie Hince – had their last longplayer out with the first-rate Ash & Ice.
Until a couple of weeks ago when the charismatic tandem announced
the launch of their 6th LP. It’s titled GOD GAMES and comes our
way on 27 October.
The tantalizing tandem already shared three cuts from the longplayer.
These manic motherrockers are all about raw and rough, rip-roaring racket as they let your stereo experience once again with this mend-bending riff monster. Think Metallica covering Guns N’ Roses. Thundering drums, crazed wah-wah guitars, hell-raising vocals, and a slam-bang, scream-along chorus. All ingredients you need to get up, stand up and fight for your right to be a hedonist.
The moniker of Irish musician Paul Dillon
featured here on TUTV several times before.
He just revealed his new turbulent 4-track EP Sword.
Stream/buy it here.
My favorite piece is Down.
The lyrics paint a vivid picture of the emotional turmoil that arises when personal safety and self-worth are threatened, reminding us that until we confront these issues, the cycle of suffering will persist. However, with the power of self-reflection and a realisation of life’s value, one can choose to break free from the cycle and reclaim their self-esteem and identity.
Down is an ardent bona fide punk-rock ripper going
full steam forward with all sonic cylinders on.
As I read firstly that the song’s theme was about fighting mental illness
I could relate before I heard it, as I struggled with bipolar problems myself for
years. It’s a drag that messes up your life in a hard-to-explain way. Always good
to hear emboldening music that arouses hope for everybody out there who experienced/experience those burdensome feelings.
Ewan Macfarlane‘s mighty voice is the star on this wholehearted Springsteen-esque
rocker. Americana ardency the Scottish way delivered with dedication, fervor and arousing electricity and when the loud and clear chorus hits your speakers it feels as if he wants to eliminate the fear with sonic assertiveness and confidence. Superb stuff.
This Britsh alt.country/Paisley Underground-inspired collective
released their self-titled debut album last month. Stream it here.
The band’s roots are in the same North London rockabilly/country-noir
scene that gave us the likes of Gretschen Hofner, Gallon Drunk and The Flaming Stars.
The standout album opener Don’t Do That is a riff-rotating roller
dominated by high-voltage guitar electricity with feverish vocals.
Lossline is a Manchester-based singer/songwriter tandem who, as they state themselves, love to write sad songs. So far they filled two affecting albums with sad beauties. Check them out here.
To be honest I’m a sucker for heartfelt lullabies/ballads. And that’s a musical mood territory Lossline excell in, which they prove once more with Date Night. Although, sonically here they combine tranquil lullaby intimacy – mesmerising piano play and near-whispering vocals – with fully orchestrated passion, winning your heart over second by second.
Probably the best-ever Lossline piece. It should have been – no, I’m not joking – a bonus track on The National‘s new bewitching album First Two Pages Of Frankenstein. I’m sure you get the vibe at work here by now.
Morphine Ridges is a new liaison, based in Berlin, led by Andreas Miranda (Lucy Kruger
and the Lost Boys, Third Sound, Ex Camera) blends dark country riffs with lap steel
guitar sliding through the cracks of shadowy vocals.
Route 36 is a gloomy ballad for the twilight hours, when reality and fantasy
get together and your dusky thoughts float somewhere in the middle. It’s a murky
mind-wanderer, with vulnerable vocals and melancholic guitar lines, triggering
darksome images on your head’s inner screen.
But unexpectedly, near the end, you’re awakened from your hallucinatory
state of mind with a wall-of-flabbergasting-electrical disturbance leaving you
behind, totally puzzled. What a bone-chilling debut this is.
For all lovers out there who realize that their relationship is over the LP’s opener Saccharine could serve as a comforting, mid-tempo synth-pop vibration that breathes hope for another future. After a smooth, Eastern-like-guitar-resonating intro a trippy bass riff and rhythmic drum touches take care of the song’s steady (heart)beat while Abdelbarry‘s crystal voice sounds sorrowful and reflective.
Somewhere in the middle, a heart-warming saxophone comes on (think of soul
diva Sade’s hits) and gives the song a matching melancholic feel that endears.
Opening musing Excommunicated an introspective ‘I don’t belong here‘ reverie.
Think Nick Drake and Elliott Smith. Intimate and heavy-hearted accentuated
by his moody acoustic guitar play.
It’s a shadowy contemplation for quiet
moments when melancholia hits you.
Artist: JEEN Who: All-round Canadian singer/songwriter who has written for many recording
artists such as ‘Great Big Sea’, ‘Serena Ryder’, ‘Res’, ‘Hawksley Workman’, ‘Brendan Canning’, ‘FUWA FUWA’, Martin ‘Doc’ McKinney and more. She was a member of ‘Cookie Duster‘ with ‘Brendan Canning‘ of ‘Broken Social Scene‘.So far she released 4 albums and the 5th is waiting in the pipeline.
New single: MAKING ME MAD
The 2nd single the new, 5th, longplayer, named Gold Control, coming our way in February 2024.
Jeen: “This one is pretty straightforward, there’s been so much bad shit on the news, and no matter how we try to cope with it, sometimes it grinds us down and simply makes us mad.”
TUTV: Do you feel angry, mad, aggressive? Jeen wrote a song about it that certainly will help you to shake off those bloodcurdling sentiments without smashing your computer or smartphone or any device that vomits bad news, because it sounds like if Jeen already did that.
Making Me Mad is a mid-tempo burst going up and down, swinging your mood from left to right and back, while you ask yourself if the mind-crushing demons will still haunt you in the end. Human nature stuff, as we know it. One more thing. I swear I can hear the young out-of-her-head Courtney Love in the back.
Artist: JEEN Who: All-round Canadian singer/songwriter who has written for many recording
artists such as ‘Great Big Sea’, ‘Serena Ryder’, ‘Res’, ‘Hawksley Workman’, ‘Brendan Canning’, ‘FUWA FUWA’, Martin ‘Doc’ McKinney and more. She was a member of ‘Cookie Duster‘ with ‘Brendan Canning‘ of ‘Broken Social Scene‘.
New single: JUST SHADOWS
A piece from another album, called Gold Control,
arriving later in the year.
Jeen: “I wrote “Just Shadows” just thinking how the darker parts of everything can snuff
out some of the best people’s light. It’s about trying to get out from under it so we don’t
just become casualties of our shittiest days.”
TUTV: This is the kind of 24-Carat gold bangers that makes your day, that boosts your worried state of mind, that puts a big smile on your face, that works faster than any stimulant and most of all, that gets you on your feet, triggers your best rotating dance moves and make you embrace life. Reality is not all doom and gloom, as many (mostly politicians) want us to believe to push their own power-greedy agenda.
Just Shadows is a cast iron, drumming energy-stroke detonating with firm puissance when the chorus hits your ears and Jeen‘s towering voice spices all things up with flamboyant flair. The vitalizing impact of this effervescent summer anthem is heartening. Don’t miss it, play it, love it.
1. ‘Twitchin’ in The Kitchen’ byWARMDUSCHER (London)
This punky-funky disco corker is the perfect pick-me-up tune for all the wacky
weirdos who are always in the kitchen at parties waiting for free drinks and waiting
for Warmduscher to come in and kick their lazy asses. Big stroke, big chorus, big fun!
The Scottish dance-funk-punk trio YOUNG FATHERS launch
their 5th LP called HEAVY HEAVY on 3 February.
Ahead of hit came this ridiculously sticky stunner I SAW.
A master blaster that makes your blood stream faster
through your veins. The addition of a choir in the back
works on the spot.
This London post-punk team unleashed their 2nd scorching album Beware Believers, last April. One of TUTV’s best full-lengths of 2022.
Slowly Separate is a schizo sonic serpent generating a mind-blowing backwash
while chainsaw guitars turn up the decibels to an illegal peak, and vox-in-the-middle James Fox rages and blazes through his teeth.
The by now legendary passion rockers from Cincinnati, Ohio with mastermind Greg Dulli leading the troops. Their new 10th LP How Do You Burn? was voted Best Album Of 2022 on Turn Up The Volume.
I’ll Make You See God was the lead single. A sturdy steamroller, a red-hot-heated juggernaut, an unstoppable cannonball going everywhere fast. Manic blitzkrieg
guitars, ruthless drum/bass attacks, Greg Dulli‘s rush of blood vocality, and a brutal
finish. Flabbergasting.
Dulli: “That’s one of the hardest rock songs we’ve ever done.
It was written and performed on sheer adrenalin.”
This frenetic Brit force hit big time with their dazzling
debut album The Great Regression last March.
Single I Am Kate Moss is a cast-iron brainbreaker. It’s a poignant, biting, and
anxious uppercut. I’m pretty sure Moss would love this hit-and-run drone when
it would hit her ears. She is, after all, the Femme Punk Fatale of fashion.
The Prophet progresses like a vicious viper sliding to its prey until a horrific explosion strikes you in the face. Next is a titanic bass riff that keeps the roller coaster turning with scary speed. This flabbergasting monster is part of their 2nd notable longplayer Trust No Leaders.
About: “As a story or metaphor, we are all ‘Frankenstein’s monster’ – made up of
other people’s opinions and parts that don’t belong to us. That we were born
perfect but people, in their own conditioning, come along and can make us feel
undesirable/inadequate/the monster. But we can choose to be real instead.”
This is without a shadow the best debut single of 2022.
A towering tune going low, high and back. A sickly sticky pop gem wrapped in
a big-boisterous wall-of-sound. And up front, Sianna Lafferty‘s phenomenal voice
causes goosebumps when she reaches for the sky on the chorus. The ardency of Porridge Radio comes to mind.
“I am not what you want me to be
Uncle Sam won’t even point at me
Even the eyes of the Virgin Mary wall
hanging won’t even stare at me.”
Kill Me Again, one of three pieces shared so far, is an infectious groove
propelled by a pounding synth/bass riff, spiced with Coxon on saxophone
and mesmerizing (duet) vocals. Splendid stuff. Bring on the LP.
This power pop sensation impressed big time with their self-titled debut album. The outstanding dingle Chaise Longue – catchy, funny and witty caused choirs of thousands of sing-along people at festivals this past summer as I experienced myself, not at Glastonbury (below), but in Belgium at Hear!Hear! fest.
After releasing her sterling debut LP last year, songstress Ilayda Cicek and her band
came back this year for a series of riveting concerts (I saw 5 of them) and this sublime single. Her passion, her vivaciousness and vocal fervency push this electrifying pearl
way up to the stars.
Where We Sleep is the alter ego of Beth Rettig,
former front force of electro-rock band Blindness
On this boiling groover Rethig rants non-stop with anger and frustration.
A nasty bass riff is the backbone here, while layers of menacing guitar
electricity augment this ripper’s rowdy roll.
A crystal clear statement, a menacing projectile.
“They Don’t Want The Truth / They Just Want The Power”
12. ‘Nothing Good Comes Easy’ by DEAD LEVEE (Canada)
What a wowzer! This uplifting motherrocker boosts your state of mind with
fired-up dynamism from the get-go. Rapid-fire rawk and roll riffs switch on
a fervent feel of euphoria. It did it in the past, it does it in the present and
it will do it in the future.
Despite all the BS we have to endure (pandemic, Ukraine, natural disasters,
and other threats) it’s never too late to get back on track and why not start
with 4 and a half minutes of heart-warming guitar-fueled boogie-woogie
that triggers hope and assurance.
Stoogefather IGGY POP still wants to be your dog.
He has his new – 19th – LP, named Every Loser
lands out next week, on 6 January.
Lead-single was the perfect harbinger. A motherfucker of a punk bomb
featuring an all-star band including Watt, Guns N’ Roses‘ Duff McKagan
and Red Hot Chili Peppers‘ Chad Smith.
I’m in a frenzy
Fucking prick
I’m in a frenzy
Goddamn dick
It’s been two years since these Scottish hound dogs made
my speakers tremble with their furious Johnny single.
But on their steamy comeback stomper they still have the same barnstorming groove and move drive. Something Good is a nasty rip-roaring-riff jackhammer,
annex agitated vocals, rotating in your head in an ear-blink. Think NYC’s darlings Interpol playing The Fall. Something good? Way better, something ace!
Geordie Greep (vocalist, guitar): “Almost everything I write is from a true thing, something
I experienced and exaggerated and wrote down. I don’t believe in Hell, but all that old world folly is great for songs, I’ve always loved movies and anything else with a depiction of Hell.”
A screwy zig-zagging haymaker it is.
From their head-spinning 3rd LP Hellfire.
“A paean to taking your foot off the gas and letting things slide, or a warning of the perils of procrastination, perhaps? It’s hard to tell whether ‘Mañana’ is meant to serve as a confessional regarding Domestic’s own perceived lack of willpower, or a celebration of idleness. It could be either of these things; and that’s one of its many joys.”.
A sirens intro, David Bowie‘s saxophone, and steel drums straight from Trinidad. Sounds like an exotic swing and shake ditty is coming up. No folks, it’s a lazy rap-sody you can play the morning after a booze marathon to get up and sober up, slowly.
Soul voice Clare Gillet takes care of the chirpy chorus.
These Welshmen released their new excellent album Druids and Bards
displaying mastermind Scott Marsden high-quality songwriting.
This impassioned hard-luck story is my fav cut. It grows slowly but surely into a soul-stirring and mesmerising heartbreaker with an epic finale. Glowing guitars, a steady drumbeat, and mixed-emotions vocals all come together for a poignant performance.
‘Love Is Cruel / The Hurt Within’. You can feel it.
This wholly charismatic and fast up-and-coming darkwave duo mixes Gothic Depeche Mode beats, with sonic Human League echoes, bass-synth-riffs à la German legends D.A.F. and spice it all up with spooky vocals. And it looks like 2023 will even be bigger than 2022.
After their eponymous bonkers debut EP (2020) followed by some staggering singles,
the high-decibels tandem nail it with another sucker punch. Leader is a funk-punk riff ripsnorter that kicks forth and back before a freakish guitar outbreak slashes and
trashes its way to the end.
Watch out for the pigman,
he looks like a meme in disguise.
“It’s a warning, an unflinching assessment of the vastness and insignificance of this
life, is precisely counterbalanced by their lesson, which models the resilience that this understanding demands. ‘Demolition Row’ is persistent, concise, and alarmingly physical.”
This blustery belter is vintage Metz. Full blast ahead. The track
featured on a split 7” with London-based group Adult Life.
From Dylan’s Desolation Row
to Metz’s Demolition Row…
Once I learned that this startling belter is about the horrible exploitation of human
beings by ferocious money sharks this jagged jackhammer blew my mind even harder than I heard it the first time before knowing about the band’s inspiration for this slam.
Expect rabid guitars, doom-and-gloom vocals, and frantic
twists and turns until the chaotic finale. Post-punk at
its razorblade best.
Jeen: “It’s about letting yourself drift in the flow of everything and hanging on as hard as you can to what makes the shitty parts more tolerable…I was thinking of that Hunter S. Thompson quote, “buy the ticket, take the ride.” It was written in April 2021, which was a rough part of last year for me. I needed to write something that reminded me to tread lightly, to forget about the heaviness of everything.
After only one spin, my ears told me that Chemical Emotion is an bewitching pop doozy. Jeen‘s emotive voice bewitches right away, the mid-tempo cadence emphasizes the meditative reflection perfectly, the compelling chorus brings Alanis Morissette to mind, and overall the orchestral sonority and the layered harmonies lead to a thrilling triumph.
Oscar Mic wrote this song after witnessing the horrific violence of
psycho Putin’s illegal invasion of Ukraine on the news. All proceeds of
the song weent to Save The Children’s Ukraine Appeal.
We Are Ukrainian is a vivid hp-rap-pop anthem featuring steel drums
and timpani balancing somewhere between Roots Manuva and Mr. Scruff.
“Fleeing people running scared, so tell me Where’s the justice? Our leaders say they care,
tell me can you trust this? Urban warfare, your home’s done and dusted, Aiming at the
public, they wouldn’t? They just did,”
All-round Canadian singer/songwriter JEEN not only canned/released 6 albums in 7 years in her own right but she writes – then and now – for other artists too, such as ‘Great Big Sea’, ‘Serena Ryder’, ‘Res’, ‘Hawksley Workman’, ‘Brendan Canning’, ‘FUWA FUWA’, Martin ‘Doc’ McKinney and more. That’s what I call a centipede songsmith.
She operates in a broad spectrum of pop, rock, folk, and all related music genres she likes. Lyrically a lot of her songs reflect personal experiences and issues. Don’t expect a lot of musings about the birds and the bees.
Last September Jeen’s new full-length, baptized Tracer came out. An arresting, sparkling, and at times turbulent and flamboyant work. Listen to it below and fall in love, as I did.
As usual Turn Up The Volume starts an interview with a piece of music. I picked one of my
favorite highlights, the LP’s opener Chemical Emotion, a magical mixed emotions gem.
Hello Jeen,
welcome and thanks
for doing this Q & A.
How and when did your music career start, Jeen?
“I was 13 when I got my first guitar/wrote my first song and that was the beginning
of the end I guess. I quit high school and moved out of my parents in gr. 10 to pursue music full-time. It was hard a lot of the time at the start, being only 16/17 yrs. And
on my own in this industry. In retrospect, I guess I kind of fed myself to the wolves.
I had to busk to pay my rent and that’s how I met my first manager when I was
singing n the street. He was a well-connected guy at the time so I was swept up
by the wealth/success, he had but ultimately it ended badly because I signed away
my publishing rights to them, all before the age of like 22 (I did manage to sue
them and get my publishing rights back over a decade later).
Anyway, not an easy start in some ways but I learned a lot too.”
You also write for other artists. If you do so, do you have the artist’s
music in your mind or is it a JEEN song for somebody else to perform?
“Maybe depends on the circumstances a bit but if I’m writing for someone else’s album I just want them to be happy with it because in the end it will be theirs, not mine, so I follow their lead. If it’s another artist’s work it’s my job to help create something they resonate with, something that gets them excited, and if/when that happens it makes me happy too.
Different scenario but I’ve also co-written for someone’s side project where there were multiple writers and I was asked to share some of the lead singing… so that process had more of a personal touch where I would contribute with my own nuances in mind.
Approaches vary though, like I had an old song I had written in my teens but never put out or released or anything and a vocal trio decided to record a version and include it in their live show. In that situation, it was a song I had fully written alone but just not a song I could connect with or use myself as an artist.”
Which track would you pick to introduce your music
to people who do not know your work?
“Hard to pick just one but the first that comes into my head is maybe the song Jungle
or Shallow or Buena Vista? Because they sort of walk the middle line of the spectrum.
However, those recordings have my older more lo-fi self-production, which I don’t necessarily prefer but still, they have the right roots. in terms of the more recent LPs
I would say Chemical Emotion and Anything You Want would be good intros to my stuff too.”
You made/recorded/released 6 longplayers in 7 years. So I suppose you never
had a songwriter’s block and how can you even find time to work for others?
“Well, I haven’t been doing a lot of co-writing for others lately so my time has been my own at least. I’ve gotten myself into a loop now where I’m basically low grade uncomfortable when I’m not writing like a vague sense of distress starts setting in if too much time passes.
I don’t particularly struggle with writer’s block but there are plenty of times I have to stop writing for the day (or days) because I am sucking. I also write a lot of songs that never see the light of day because they aren’t good enough and loads of ideas that I start and never finished for the same reason. So, no long-term writing blocks necessarily but I have my issues.”
The new album TRACER came out two weeks ago. Is there
a big picture to it or do the songs stand on their own?
“I think they stand on their own but are def chapters from the same book. putting out albums back to back has made the writing process for each LP pretty condensed. the songs for Tracer were all written in a pretty small phase of time so although I see them as pictures or snapshots of a larger scene they are each very much their own little island as well.”
The album’s cover is a bit blurry and you look at us
with one scary eye. Is there a story behind the image?
“Haha, because shit is serious, Jean-Luc. I’m not fucking around lol joking. I was just
falling in love with those old seventies photos where they would overlay 2 images/double exposure stuff. I would like to explore that style more in the future, where it gets super dreamy and hazed out but this was my first attempt.
The word Tracer was meant to reference the trails you see behind movement when
you take drugs like acid/LSD or even just when you’re a kid writing words in the air with a sparkler/fire cracker. Something that is there but not there, so I was hoping to get a bit of that feel too. The flowers on this album cover are also the same flowers in the Little Idea video.”
One of the singles is the glorious LP’s opener CHEMICAL EMOTION.
What’s the song about? Any connection with the fox in the video?
“I was going through some stuff when I wrote this album and this song was
me trying to convince myself to just let it go a bit or at least make some peace
with the chaos or something.
It’s a song about the people/places/things that keep you going and get you excited about being alive because shit can be really hard sometimes and without those charms and good triggers what are we left with. Also had that Hunter S. Thompson quote in my head at the time: “Buy the ticket, take the ride”. I love that line.”
LITTLE IDEA, another single, is a magnific and moody ballad.
Was that the idea when you wrote it?
“I was unsure of this one at times in the album process because I thought it was too soft and different from my usual stuff. The melody came easy, like I’d always known it almost but as convenient as that sounds it also cornered me because every time I’d try and make an adjustment or even change the lyrics it would threaten to fall apart. It was a little more fragile than the others I guess you could say.
I was initially worried about including it on the Tracer LP at all in fear it might be too far off the rest of the album but Ian and Steph (co-producer/guitarist + drummer) convinced me otherwise, thankfully.
Did you listen to records of other artists to inspire
you in the writing process for the album?
“Weirdly I don’t really listen to music right now or for the last 10, 15 years even.
I know that’s lame of me but yeah, I’d have to say there were no direct influences
in that way for Tracer.”
Suppose TRACER was the soundtrack of a movie.
Which one or what genre would it be, Jeen?
“Any cartoon/animated movie would be cool.”
We’re nearing the end of 2022. What’s the best
track and album you heard so far, Jeen?
“See question #9, I’m so clueless on this stuff. Although I will say my band
mate/co-producer Ian put out a sweet record with his band, Ian Blurton’s
Future Now this year, called Second Skin and it’s excellent.
Three things you really want to happen
in 2023, musically and/or privately?
I hope I get to make/release another album.
Would love to start a side project, co-writing/share vocals.
And it would be great to see working musicians get more of what
is deserved in terms of a fair/functioning/sustainable ecosystem in
this industry or music is doomed.
Thank you for this interview, Jeen.
May the road rise with you.
