Recently, I’ve had the chance to spend time with the recent singles from UK artist Matt Adey. Matt first came to the attention of the general public when a track was picked up by DJ Armin Van Buuren and included on a compilation, remixed by Simon Patterson. The new tracks don’t go down a dance path – instead, they hue close to the singer / songwriter genre, as filtered through a Britpop sensibility. Production is being overseen by Chris Potter – known for his work with The Verve and Richard Ashcroft. These songs are simply stunning and whet the listener’s appetite for more. Matt and his team have a unique roll out strategy for the album – a track at a time until the album in full is available down the road (expected in 2020). So, this write up is based on the singles released thus far. And based on those tracks, Matt Adey is a name to watch in the music realm.
Broken Wing has an uplifting introduction with subtle, New Wave synth. Vocally, Matt starts off crooning, which allows the chorus to soar when he gives full throated delivery. Lyrically, the song talks about not being dragged down and moving forward. “You are not your broken wing” is a memorable chorus with a hook that’ll have you singing along. In a Different World has an Echo & the Bunnymen vibe that I found quite alluring. Again, Matt is speaking to matters of the heart in a truly inspiring way. The production allows each instrument space and the way the vocals are layered makes an impact. Fantastic stuff. “Goodbye / Goodbye my love…”. You guessed it; you’ll be singing that refrain after a few spins. Love Is Not a Game carries on with the high quality of offerings, an alternative pop hit in a perfect world. Dare I say, The Beatles came to mind during the la la la lead up to the chorus. Killer tune. I’m not 100% sure if The Girl I Should Have Loved is going to be on Love and Deeper Cuts, but it was a song I kept returning to as I listened to everything I could get my hands on by Matt Adey. It is a slower song than the others with some inspired piano playing. A ballad to offset the other tunes. The last minute or so of the song has impassioned singing, soaring strings, and lyrics seeped in despair.
You can follow Matt Adey here. The tracks are all out now, streaming on all the major services. I’m looking forward to the forthcoming full length based on the strength of these song. Highly recommended.
Verdict: Singles Going Steady
For Fans of: Echo & the Bunnymen, The Church, The Psychedelic Furs, Tears for Fears
In another life, I would find myself in various US cities all across the country for short intervals. One of the pleasures I took with that was picking out the music appropriate for the locale. And so, in the summer of 2005, I found myself driving around Chicago, IL blasting Come On Feel the Illinoise by Sufjan Stevens. For a geek like me, this was absolutely thrilling. The final album in his States albums, it spoke to me on a visceral level. In fact, I’ve long gravitated towards the acoustic based albums by Sufjan Stevens while admiring / not loving his more experimental albums. In fact, 2015’s Carrie and Lowell was easily my favorite release of his – acoustic, personal, masterful. How would he ever follow that album up?
Discounting his collaboration albums, 2020’s The Ascension is the 1st true full-length solo follow up. And it does a neat trick – it rewrites the rules a bit. It sounds NOTHING like his acoustic based albums. But it doesn’t really sound like his experimental albums either. We have an album that shares a remarkable amount of characteristics with Kanye West’s 808 & Heartbreak. Say what you will about Kanye, but that album is a masterpiece in my opinion. And here we have Sufjan Stevens employing his own electronic soundscapes, imbued with a sadness that is disarming. This is an album length anthem for 2020. I would dub it “downbeat anti-gospel music”. And it is (almost) perfection.
Moving from Washington State back to Pennsylvania after almost 2 decades was a transition that was jarring in many ways. Add in the stress of moving cross country during the worst pandemic in 100 years, you can imagine that I turned to music for solace. One of the finest records that has been on repeat has been Angel Eyes by A.M. Mills (disclosure: I played trombone with band founder Drew Mills throughout middle school). The album gave me a sense of nostalgia – sounds that wouldn’t sound out of place on a David Lynch soundtrack as filtered through a Philadelphia sensibility. Basically, where I was in life when this album came out. Uncanny.
Paul Den Heyer deserves to be more widely known. He made his first splash with Fishmonkeyman in the 90’s – who’s If I’ve Told You Once was a memorable Britpop hit in the early 90’s. From there he’s played with and produced many memorable bands – two of them very dear to my heart. I’m talking about the summer drenched tunes of Sunstack Jones and John Lever’s project The Red-Sided Garter Snakes – whose two albums showcased several artists influenced and inspired by John and his work with The Chameleons and The Sun and the Moon. It was a last influx of creativity before John passed away and it left me wondering what would come next from these artists, chief among them Paul Den Heyer. I didn’t have to wait long, as Paul’s been in touch with me letting me know about his solo work and sharing snippets over the “world wide web”. And now that it is here, how does it stack up? Does it live up to everything I had hoped?
Silver Screams are a punk band hailing from Boston, MA that offer up no frills, 70’s style punk rock. Their latest offering is a 3 song EP that clocks in at about 6 1/2 minutes. It hits hard, fast, and leaves the listener wanting for more. The band is comprised of Niff on guitar & vox, Earthdog on bass, and Pete on drums. At least two of those names may be stage names. The sound of the EP is raw – this could have been recorded anytime within the last 40 years or so. And I absolutely fucking love that – this is a masterful EP. Alive In The Afterlife kicks things off in high gear. Sung / shout vocals with an incessant guitar riff that leads into a classic punk rock chorus. Stitches Up has a killer intro bass line that is quickly overwhelmed by the full band instrumentation. It doesn’t quite quite have the pop appeal of the opener, but it is a worthy cut. Understand is a Government Issue cover and ends things on a high note. D.C. punk by way of Boston suits Silver Screams just fine. Overall, this is a short EP that is worthy of your time and attention. You can pick it up here and check out their updates on The Social Network.
Verdict: Punk Classic
For Fans of: The Clash, Sex Pistols, Buzzcocks, Warsaw, The Jam