While being the shortest month of the year at 28 days (29 every four), February still provides enough early-in-the-year opportunities to check out interesting new music releases. Heading down unfamiliar paths can often lead to surprisingly pleasant discoveries. At the same time, following recommendations from tried-and-true sources continue to deliver positive results. Taking all of that into consideration, a careful (and rewarding) listen inspires the thoughts and analysis below.
If there’s one thing this site can consistently count on, it’s an enticing pitch from frequently reviewed Burbank, California label Big Stir Records. This time we’re introduced to Michigan indie pop band The Legal Matters and their latest single “It Doesn’t Matter.” Presented as the third and final preview single from upcoming album LOST AT SEA, these Midwest USA power poppers chose their name from a mutual love of The Who (and that classic song we know so well). Digging in to this current single provides focus on what the combined creativity of band members Keith Klingensmith, Andy Reed and Chris Richards have to offer.
Chugging guitar introduces the track, accompanied by mid-tempo 4-on-the-floor bass and drums. A descending keyboard line surfs in offering melody just before vocals commence. “In an instant the other arrives, I’m falling” are mysterious introductory lines, served up with ethereal touch similar to promo referenced beloved band Split Enz. However it’s their namesake inspired The Who that is channeled on the big windmill churned bold guitar chords and “Ahhhh” vocal hook that immediately follows. That slightly warbly carnival-organ downward-melody and steady rhythm section returns in support of another verse.
As does the 16 count emphatic power chords which lead into the tracks main chorus. “It doesn’t matter what I say or what I do – but then again it’s got a lot to do with you” is how this hooky sing-along goes. A tasty in-tandem synth and guitar lick solo emerges, supported by catchy slap-clap percussion. Followed by one more cycle of ascending Who-bash 16’s into that ear-worm chorus. Displaying total dedication to complete song craft, the intro and big chords lead it all out to it’s conclusion.
Listen to this perfect slice of power pop here:
Ahead of the full February 27 release on Vinyl, CD and Streaming, you can check out this quick album preview here:
DaveCromwellWrites most recent Year End Best Of Feature contains two previous Big Stir Records reviews.
* * * * *
In the early 1990’s a band both my future wife and I were very much into were the glammy power-pop quartet Enuff Z’Nuff. They were all over MTV at the time and we went to see them live at one of the mid-sized, big stage clubs in New York City where we lived. It was an amazing show and future Mrs (Mimi) had a crush on a number of the band members. I was impressed that the two front guys (Donnie and Chip) wore baseball jersey’s with the NY Mets being one of them. I thought that was cool of them as I knew they were from Chicago and probably Cubs fans.
They did some local radio around that time as well and I remember one night when Mimi and I called in to a station and got to talk to the guys. Jump forward to 2026 and the notification that principal songwriter and frontman Donnie Vie has released a new single “Plain Jane,” on limited-edition 7-inch vinyl and streaming digital platforms is exciting news. The release also comes with a b-side cover of John Lennon’s “Instant Karma” delivered with Donnie’s own personal touches. A thorough review commences below.
“Plain Jane” opens with it’s primary riff, feeling like an homage to The Beatles “Day Tripper.” Not all that surprising as Donnie has always had an element of The Fab Four running through his music. “Rise and face the new day, little girl” are the opening lines, immediately followed by that sinewy riff which is already evolving with extended variations. Pivoting right away to a secondary bridge-hook (essential for any catchy, well-under 3 minute song) lyrics “those other guys, not looking your way – I look in your eyes and everything is O-kay, Oh yeah” satisfies on multiple levels. First the obvious positive sentiment, but also the double-time Badfinger/Rasberries/Beatles cadence is instantly relatable. When the chorus hits, a warm swathe of cascading harmony vocals surround Donnie’s lead vocal. Even the back half of that shifts to another Beatle-like hook where his voice goes higher on “baby I could lose myself for a while, with that sparkle in your eyes.”
Donnie’s rendition of the John Lennon classic “Instant Karma” stays true to the original, emphasizing rock chords piano, solid thump with periodic explosive fills drumming and sincere vocal delivery. He nails Lennon’s voice perfectly on the first line of verses, while stretching out into his own melodic gravel on secondary lines like “how in the world you’re gonna see – laughing at fools like me. Well who on the earth do you think you are? A Superstar? Well, right you are!” When that chorus hits where “we all shine on – like the moon and the stars and the sun,” Donnie’s background vocals come on smoother, richer and fuller. A surprising electric bass-note solo (of sorts) emerges unexpectedly, adding one more personal touch to this classic song. The end out is a joyous celebration of voices that ultimately dwindles out to distant hand-claps.
The multitude of promotional emails that winds up in a music reviewer’s inbox on a daily basis can often be overwhelming. However, attempts to at least give a listen to most everything out of concern that one might miss something captivating (the old “fomo”) many times yields positive results. Such is the case of a young recording artist going by the name of lucky break. A quick look and listen immediately triggered the urge to find out more about this 24 year old singer-songwriter. Name-checking artists like Alvvays, Hole and The Breeders as her own musical inspiration only intensified the desire to delve further. With a debut album “made it!” scheduled to arrived in May, a new video for the song “City Lights” is out now and reviewed below.
With brightly strummed acoustic guitars leading the way, the video starts with images of San Francisco and her self-proclaimed “love song to that city and the literary culture there.” Celebrating the beat poets and in particular Lawrence Ferlinghetti, (whose street sign she proudly poses next to) quick cut images move rapidly towards her opening vocal lines. “You said maybe love is fiction, an obsession an addiction, in a life plagued by insignificance” is impressive both in literary ambition and the ability to embed those words into musical vocal phrasing. Equally appealing are her youthful good looks, wandering around the streets of that city in bright yellow leather jacket, cap and sunglasses with her long braided blonde hair.
The chorus hits sweetly with double harmony vocals that feature a deep resonant voice complimented by a higher register delivery. “But if your feeling right – I got a ticket to the Friday night reading. We could shake off our spikes – roll our bodies down the city lights – and stop ourselves from momentarily bleeding.” There’s hope for this new generation when you see them immersing themselves in a culture that is not present day, but rather on historical pioneers that came before them. Apparently this artist spent long hours reading the works of these beat poets at that influential bookstore.
Her lyrics continue to show depth with lines like “but you move about your sadness like a dog chasing a rabbit, so much running and nothing to eat.” The subtle (but noticeable) electric guitar on the end of each chorus line shows more thought in the songwriting and recording process than simply “a girl with an acoustic guitar.” Again, like all great 2 and a ½ minute songs, a lovely change section emerges with the lines “oh what did I do to deserve this silly little life like the one I have here” and “these simple little sorrows that always keep me near.” As powerful and gorgeous is this vocal rendition, the images of her smiling along in the video seems sincere.
On a personal note, that she is also wearing a Jesus and Mary Chain shirt in a number of the alternative cut images (while having nothing to do with the actual subject matters) is one more indication we are on to something special here.
Another presenter of interesting new music periodically winding up in this writers mailbox comes from Robert Vickers and his Proxy Media. A recent notification about a new album on the way from storied creators The Monochrome Set was most definitely welcome news. With an over five decade career still unfolding, their latest release “Lotus Bridge” comes out on Tapete Records. That label has been the band's home for the last twelve years and six studio albums. Thoughts and analysis on all ten new songs follows below.
Opening with the albums title track, “Lotus Bridge” offers an invitation to “come and join us” via big high register harmony chorus. In fact, band lead vocalist, songwriter and overall mastermind Bid uses female backing vocalist Alice Healey for maximum effect both here and throughout the entire recording. This song bounces along with Bid’s storytelling accompanied by acoustic guitar, electric piano touches and quick snare drumming. Lyrics are dense with stream-of-conscious imagery where “leaves are floating,” and then “skipping – to the other place,” successfully putting to words what one often sees and feels in a dream. Returning to the big opening “come and join us” vocal harmony brings to mind the great prog-rock band Yes, with it’s similar style major-to-minor chord changes and paired bold voices. It’s sophisticated folk-rock with moments of busy drumming (very un-folk like) and a twee, playful ending.
Listen to this charming track here:
Follow-up cut “Diaphanous” adds just the right touch of orchestral strings to the mix without overpowering it’s live-in-the-studio charm of clearly stated vocals, acoustic guitar, electric piano and energetic drumming established previously. “A ghost came forth and took my hand and made me walk with her silently” Bid sings, emphasizing this translucent moment. Additional musical passages emerge, where “spirits are wandering” even while “people are squandering.”
“The Abominations Of Hubert” continues this lucid dream with vibrant narrative character development. “Up in the attic there are seven cages and in each of them dwells a bad dream that he has,” is how it begins. While acoustic guitar continues to give off a folk music feel, the accompanying band adds punch and color at essential moments. An unanticipated electric guitar solo emerges midway through, further confirming this musical (and not just poetry) adventure.
“Jenny Greenlocks” is quicker, with quick cut turns from the band, lead by it’s drummer. “Jenny cries – from the deep – don’t let me – fall asleep – and sing me a new song,” is how the enchanting chorus goes. This time an instrumental solo is delivered by the keyboardist, with prominent bass guitar standing out. “Arcadia” serves up a brief one minute and twenty seconds instrumental meditation of resonant female vocals and acoustic guitars. An upbeat chugging rhythm that feels like going down railroad tracks provides the musical foundation for “Athanatoi.” “We don’t need nobody” is the catchy vocal hook sung in male-female harmony tandem. Referencing the Greek and Persian “immortals,” lyrics tell about how “they fall, and they float, and they dance and enjoy all alone, and they sing.” Once again a delightful musical passage is presented with synthy keyboards giving it all a prog-rock (prog-folk?) feel.
“Leander” emerges out of light jazzy percussion and treble toned keyboards. “Eyes wide open – and staring – at what – I don’t know,” is the initial vocal hook. Further in, additional questions are asked, “Do you ever sleep? I don’t know. Do you ever dream? No, no no.” Another train-on-the-tracks shuffling percussion rhythm ushers in “Map Of The Night Sky.” Employing the now-familiar blend of rich sonic textures via organ, acoustic and bass guitars, one more whimsical story unfolds. Where this “map – draws itself around my naked feet” and allows one to “skip across the night, I will follow your outline.”
“Polaris Aa” is another quick-strummed acoustic guitar and bright keyboard note enhanced composition. “Meet me in the graveyard, it’s the safest place I know” are the amusing opening lines.
Focusing on the North Star as a critical navigational tool, repeated chorus lines “bright it calls for you” exhibits it’s essential purpose. Chiming bells at the tracks end adds a delicate closing touch.
Final entry “Our Sweet Souls” appears to thematically address the songwriters self-described “opportunity” to “leave behind” the present “civilization” and “accept an unknown future.” Contrasting opposing lines of those left behind stating that “we will stay, we were born for yesterday – do not weep for history, we will keep it company” are answered by a bold chorus of “farewell – farewell as we told.”
The full album is set for release on the 13th of March with a UK tour to follow.
Dave Cromwell has been writing about music since the dawn of the internet age. In addition to the steady flow of features here on this site, he has been a regular contributor to The Deli Magazine (both Print and Web) since 2010. With numerous Print Issue cover features and weekly contributions on the Deli website, scores of artists have received the Cromwell point of view. Along with ongoing contributions to this site and The Deli Magazine, Dave has written for Dingus, My Social List, The Waster, Spin and Rolling Stone magazines.
2 comments:
Mike Cubillos wrote: This is a great review of Donnie Vie’s new record! Thank you!!!
As can be seen by my intro paragraph on Donnie, I was there for the early days of Enuff Z Nuff, and thrilled to experience this new record! 😎
Post a Comment