About normanweatheredmusic

I listen to music.

London Plane is Bright Black

I don’t usually do blogs on single tracks or standalone videos. Still, I will make an exception for this NYC-based post-punk/alternative rock collective; London Plane. They have announced that they will soon unleash their ‘Bright Black’ album via the Declared Goods label – a collection of electrified tracks pulsing relentlessly.

April 20 releases the title track ‘Bright Black,’ an anti-war song and a simple, hopeful sentiment or little prayer to whoever is listening (the universe, the gods, you). Bright Black is a glimpse of brightness amongst the invasion of darkness, both internal and external, imminent and eventual. This track sets the tone for the album as a whole.

London Plane’s earlier single ‘Watch That Madman Go’ is highly relevant given current world events. A rebuke of propaganda, this targets the grand tradition of political dictatorship. The video is directed by Greg Vegas and features some of the 20th century’s most despised despots – from the Nazis to Ceaușescu.

London Plane also presents ‘Francesco (Italiano),’ a haunting goth-dance anthem that channels the original ‘Francesco’ single through a Latin prism. Equally inspired by a cloth-covered 1970s diary by an immigrant found among personal belongings discarded on a New York curb and the hospitalization of Bauhaus frontman Peter Murphy on the eve of his NYC performance. ‘Francesco’ spins the tale of Catholic Saint, stigmatist, levitator and mystic Padre Pio as a young man.

London Plane is a juggernaut of a band made up of David Mosey (guitar and vocals), Jessica Cole (vocals), Bryan Garbe (drums), Grant Parker (bass), Julian Tulip (synths) and Kristofer Widholm (guitar). Their roots trace back to 2014 backstage at a tribute show to the recently deceased Lou Reed when Psychedelic Furs’ Joe McGinty introduced David to Jessica, both of whom were performing.


Following the success of their debut album, ‘New York Howl,’ released in 2018, the band methodically worked on new material in 2019 and early 2020. ‘Bright Black,’ an album packed with hope amidst cultural, sociopolitical, and ecological devastation, screams a passionate battle cry back to the pop music spectrum. In effect, a hook-filled Avant-rock study in context and contradictions.

As of April 20, the single will be available digitally everywhere, including Apple Music and Spotify. The entire ‘Bright Black album will be released on June 17 and can already be pre-ordered via Bandcamp.

Album pre-order / pre-save https://found.ee/yM0q4

Bandcamp https://londonplane.bandcamp.com/album/bright-black

‘Francesco (Italiano)’ https://youtu.be/g0PQQvJVJLk

‘Watch That Madman Go’ https://youtu.be/ODXMrKP0Uyc

‘Francesco’ (original version) https://youtu.be/UT6Ct3jUlBw

Keep up with London Plane

Website | Bandcamp | Facebook | Instagram | Twitter | YouTube Soundcloud | Apple Music | Spotify | Booking contact | Press contact

Keep up with Declared Goods

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Amoeba Teen

Amoeba Teen. Is it Britpop? It might be. In fact, I think it would be safe to say ‘Yes’ to Britpop. New Wave? For sure. I’m talking about England’s Amoeba Teen and their self-titled album that will arrive on April 22, 2022, via Big Stir Records. I also feel that there is a healthy dose of New Wave influenced music and writing going on in Amoeba Teen.

Amoeba Teen is singer/guitarist Mark Britton. Mike Turner on guitar and vocals. On percussion, we have Carl Bayliss. Laying down some sweet bass lines is Simon Muttitt. Lead vocals are split between Britton and Turner, with both of them having excellent voices and complicating each other in harmony.

Amoeba Teen: “This album is the first one where we’ve recorded live as a four-piece, capturing the energy of the band performance Amoeba Teen are famed for.” That raw energy on the album was captured by producer Sean Lloyd at Claptrap the StudioAmoeba Teen cites Sean Lloyd as instrumental in developing the Amoeba Teen sound into new sonic territories at Claptrap Studios in Stourbridge and mastered by George Shilling (Teenage Fanclub, Primal Scream). 

Amoeba Teen avoid locking their sound into a genre, and I am totally on board with that. They sound like a band that has taken the good bits from the various bands, eras, and genres they admire, gave it a couple of good solid shakes, and recorded what came out.

What came out is their sophomore album, a follow-up to their well-received album Medium Wave, which I think had a good healthy dose of New Wave and to my ears, that wave is lapping the shores of Amoeba Teen, the album.

The single “New Material World,” which was released April 8, 2022, just a bit ahead of the album, is as New Wave as a song can get. It bristles with guitar lines that would have been at home in a New Wave playlist nestled between Brinsley Schwarz and Rockpile.

“It was a deliberately self-titled album because it was a real band effort to capture the live performance and shape the subsequent arrangements and vocal harmonies,” the band Amoeba Teen explains. “It has been a labour of love over two disrupted years – trying to rehearse the songs and then being forced to wait due to COVID lockdowns.” 

The spontaneity and band chemistry evident in the new recordings extends even to the writing of the single “New Material World.” Mark Britton found inspiration for the single in the middle of a text message with Carl Bayliss, Amoeba Teens percussionist. Thinking about George Harrison’s film, Living In the Material World, and how short life is for all of us. Mark Britton was creating a new life for himself beyond his unhappy marriage. Mark used Living In the Material World as a springboard to write ‘New Material World’ in under fifteen minutes. That same night, the band got together to arrange the tune and create Amoeba Teen’s next single.” Impressive? Hell ya!

New Material World” takes inspiration from every direction of the compass. There is a passing reference to Donald Trump, “Whatever walls they build, we’ll knock them down.”

A dark nod to Hiroshima in the lines, “For this may be our last day on this earth, I love your silhouette – for all it’s worth.” Maybe a little Buffalo Springfield in there, “For What It’s Worth.”?

The rest of the album is chockfull of good music with equally good lyrics. I won’t bore you with a playlist of every song and what I hear in them. What I will do is encourage you to do is have a listen to Amoeba Teen for yourself. I don’t think you will be disappointed. From the cryptic lyrics of Monica Wake Up to the tongue-in-cheek of Putting the Kids Through College, there is something for everyone and more than enough good music to keep me going back for another helping.

The album Amoeba Teen will be released on April 22 via Big Stir Records.


2140 N. Hollywood Way #6607, Burbank CA 91505 bigstrrecords@gmail.com – rexbroome@gmail.com 


Apple Music

From Rural Tapes to Rural Alberta Advantage

My formative years were spent in rural areas, so I have a soft spot for all things rural. That includes Rural Tapes and Rural Alberta Advantage, two bands with new albums that are getting some air time in my office.

Besides the word rural, there are some similarities to these two musical entities; Rural Tapes and Rural Alberta Advantage.

The Scandinavian connection, Arne Kjelsrud Mathisen is a Norwegian multi-instrumentalist, composer and the entity behind Rural TapesNils Edenloff, the frontman in Rural Alberta Advantage, has a name that sounds Scandanavian. I didn’t dig up his family tree to find where the roots came from but it sounds like it would be at home in the Baltic.

The Rise, the new album from Rural Alberta Advantage, has six songs. Outtakes from Rural Tapes has eight tracks. The number of tracks on each album is one digit away from the lucky number seven. Coincidence? I think not! Plus, if you add the track totals, 6+8=14. 14 is 7 times two. That number seven again! There is 43 minutes of playing time when the two albums are added together, four plus three equals seven, spooky isn’t it. Enough of that nonsense.

As to the music on these newly crafted albums, Outtakes and The Rise, I will let the artists speak for themselves and then attempt to tie it all together at the end.

 Arne Kjelsrud Mathisen  “This is a collection of experiments, songs, reworks and field recordings that were recorded during the same period as Rural Tapes L.P., and which I think deserved to be released. Right now, I am recording a brand new Rural Tapes album scheduled for release this fall, and I wanted to start this process with blank sheets. That way, the release of Outtakes is a great way to “clean out the closet” before starting on the new album.”

Discussing this first installment of new music and The RAA’s return, Nils Edenloff notes, “We just go only based on heart and gut and try to let our minds get out of the way, because more often than not those just trip us up.” Cole adds, “We’re so intrigued by the idea of different perspectives and memories in these songs, and then this ultimate view of ‘Is any of it anything? The past two years have upended all that we thought to be concrete. The Rise, like this period, is a complication of what we assume to be familiar and true and unchanging. It’s the start of something new.”

The Rise is the beginning of a new era for RAA. It is the first of three separate releases. “We’re so intrigued by the idea of different perspectives and memories in these songs, and then this ultimate view of ‘Is any of it anything?'” says Amy Cole, keyboards, bass, percussion and vocals. “The harder you stare at something, the more interesting it gets,” says Paul Banwatt, who plays percussion, “even something that seems really mundane.”

These two albums are far from mundane; they are a breath of fresh air as we throw open our doors and welcome spring into our homes after a long winter. The songs take us from the melancholy of Late September Snow by Rural Alberta Advantage to the equally melancholic piano on the starkly beautiful Melody For Sinking Ships by Rural Tapes.

I found it fascinating how these two recordings worked their way through my being and left me smiling at the result, a warm place on a cold Good Friday. Check them out 

Rural Tapes: 

Press inquiries: josefin@smugglermusic.com

Smuggler Music

Götgatan 27, 116 21 Stockholm



Apple Music


Rural Alberta Advantage:



Apple Music


Manager: Dara Kartz

Go Kartz Management Inc.


Another Self by Sara-Danielle

“The thrill of productivity

Like a drug inside of me

I can feel the rush flowing in my veins

It keeps me going”

This profound insight comes from Sara-Danielle‘s sophomore recording, “Another Self.” Sara-Danielle keeps everything balanced and working together. She never does too much or too little. Between delicate precision and vivid emotionality, Sara-Danielle glides comfortably along with the thoughts that come to her mind and materialize through the words she utters, making them highly relatable. 

Highly relatable is a bit of an understatement. I love the thrill of listening to new music. I can feel the rush flowing like a drug as I listen. The rush is amazing and with keen insight, Sara-Danielle opens up that rush of always wanting more.”. Others have explored this refrain, but Sara-Danielle puts a new spin on the concept of “wanting everything now,” to quote Arcade Fire, fellow Montrealers.

In the song Lost Myself, I got stuck on this refrain.

“I was too busy trying

Trying to be like somebody else”

I feel there are a lot of us trying to be somebody else. I was trying to live like somebody else instead of getting comfortable in my own skin. I confess I have walked this road, and it leads nowhere good. Be who you are; if your friends don’t like it, they probably aren’t friends.

I like what Sara-Danielle created on this EP. The lyrics and music complement each other and are greater than the sum of their parts. It doesn’t matter how good the lyrics are if they can’t be delivered appropriately. Fortunately for us, Sara-Danielle serves up the lyrics on a silver platter. Her voice is smooth and has ethereal qualities at times, and she conveys the stories in a manner that takes me into the parallel universe where they dwell. And once there, I become a part of the songs, carried along by her engaging and delightful voice. Through the medium of music, Sara-Danielle can both embrace and soothe.

Sara-Danielle has performed as an opening act for artists such as Pomme, Marie-Pierre Arthur, Clay & Friends and Heartstreets. As well as concerts presented by Festival Diapason, POP Montreal, Osheaga, the Fashion & Design Festival, and Sofar Sounds Montreal. Another Self, Sara-Danielle’s sophomore EP, Another Self, is due out on April 1st, 2022, via Simone Records.

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Long Black Veil

I’ve heard many songs over the years that have made me stop and question what the song lyrics are saying. Is it a double entendre? A double meaning? Could it be two interpretations, with one that is perhaps a bit risque? Maybe the song contains some ambiguity that shades the lyrics in different understandings? It could be simply me hearing something that the author never intended the song to say.

I listened to four albums by Johnny Cash over the last weekend, and one song caught my attention. That song was “Long Black Veil,” a 1959 country ballad written by Danny Dill and Marijohn Wilkin and initially recorded by Lefty Frizzell. Since then, dozens of cover versions have existed by some very prominent artists, a testament to the quality of the original songs writing. I include this version from The Band whom I enjoy.

The song starts with a murder that occurred on a cold dark night, and the few witnesses agreed that the slayer looked a lot like him. The judge gives the accused the chance to avoid death if he had a good alibi. Although he had proof and a credible person to back it up, he never said a word. Why didn’t he say anything? Because he was doing some horizontal dancing with his best friend’s wife. The song then shifts to the lyrics that give us the song title, “She walks these hills in a long black veil.” The story then turns back to the gallows, the narrator tells us that his best friend’s wife sheds not a tear as he is hung for a murder he did not commit, and she is the only one who knows the truth. But she walks the hills alone on stormy nights when she should probably be at home with her husband if they are still an item.

OK, now, let’s break this down. A guy is on trial for a murder that he did not commit because he was shagging his best friend’s wife at the time. He does not tell the judge, thus becoming the hero for not saying anything and protecting their dirty little secret. And she doesn’t say a word to defend him, hells belles, she doesn’t even shed a tear. How much more cold and heartless can a woman get. And what became of her marriage? I would be curious if my wife took walks in the cemetery in the middle of a stormy night; not suspicious at all, is it. Perhaps, he isn’t part of the story. Maybe she continued her cheating ways, and he dumped her, and she has run out of boyfriends, and in her old age, she haunts the tombstone of one man that she had discarded, and it haunts her.

From the narrator’s point of view, he was a hero for protecting her from the slings and arrows of adultery. I find this problematic because heroes don’t go around humping their best friends’ wives. The woman who visits his grave is a victim, like the guy at the necktie party. She is not a heroine. She humped her husband’s best friend and saved herself by sending him to his death, and she didn’t even shed a tear at the gallows—heartless floozy.

In conclusion, this is not a story of a man unjustly hung for a crime he did not quit, and it is not a song about a woman holding her tongue to protect her marriage. It is a song about a man and a woman committing adultery behind her husband’s back. There are no heroes or heroines in this song. There is only cheating, lying, death, and secrets buried at the top of boot hill, where the guilt and memories of the past are buried and visited by a woman in a long black veil.

Long Black Veil 0102

Ten years ago, on a cold dark night
There was someone killed ‘neath the town hall light
There were few at the scene, but they all agreed
That the slayer who ran looked a lot like me

The judge said, “Son, what is your alibi?
If you were somewhere else, then you won’t have to die.”
I spoke not a word though it meant my life,
For I had been in the arms of my best friend’s wife

She walks these hills in a long black veil
She visits my grave when the night winds wail
Nobody knows, nobody sees
Nobody knows but me

The scaffold is high, and eternity nears
She stood in the crowd and shed not a tear
But sometimes, at night, when the cold wind mourns
In a long black veil, she cries over my bones

She walks these hills in a long black veil
She visits my grave when the night winds wail
Nobody knows, nobody sees
Nobody knows but me, nobody knows but me, nobody knows but me.

Archbishop Beardmouth At The ChemOlympics

Now and then, a recording in my inbox or my favourite record store stops me in my tracks and elicits a “What the #&@%” from me. That happened to me on April Fools Day this year. At first, I thought the promotions people were pulling an April Fools prank at my expense. Not so. It was the real deal.

The first thing that gave me pause was the title of this recording, Archbishop Beardmouth At The ChemOlympics. That has to be a prank with a mouthful like that. Not so. That is the name of the EP and its lead track.

The second thing that pulled me up short and caused me to question the legitimacy of this recording was the name of track three, Picadors with Auntie Joan. Track four, Ballytransnational with Da and Esther. Track five, There Goes Waterface with Mrs. Hegarty. Come on. This EP can’t be the real deal. It must be playing me the fool.

Nope, nope and note some more. Those are the actual track names, and the release is the newest EP from one of my favourite new bands, Telefis. Archbishop Beardmouth At The ChemOlympics will be the sixth blog about Telefis and their music that I have posted since November of 2021, so they must be doing something special to garner that much praise from this grumpy old fart.

If you have been counting along with me, you may have noticed that I didn’t mention track two. Archbishop Beardmouth (Thomas Leer Version) is the longest track on this EP and arguably a fan favourite with its dance/trance beats. It takes the most excellent track of this EP and ramps it up to 11 on the volume knob.

There is one more thing to this EP that caused me to investigate further what the #&@% is going on: the cover photo of this EP. See below.

There is still a one-upmanship thing around Telefis; in my opinion, the only thing better than this EP is the full album ‘a hAon‘, released by Dimple Discs on March 4, 2022. At this point in the blog, I will hand the keyboard over to Telefis and let them expand on Archbishop Beardmouth At The ChemOlympics. I should also mention that Telefis is a collaboration between Garret ‘Jacknife’ Lee, Cathal Coughlan and Thomas Leer. It is Thomas Leer that put the beats in Archbishop Beardmouth (Thomas Leer Version. I imagine you figured that out on your own.

On the theme of the song Cathal Coughlan offers this vignette….” Archbishop Beardmouth visits the ChemOlympics, in his full Byzantine-Slavic magnificence, the giant torso-curtain of hair announcing him. He is very gratified by what he sees. Gone are the mandatory drugs tests and geopolitical skirmishes of yore, and instead has come immaculate, chemically-enhanced performance. There’s only the occasional moment when the live camera feed has to be cut in order to enable the re-reading of the script and perhaps the replacement of a competitor. At these times, His Eminence loses interest in the spectacle and becomes aware of the obsequious ravings of a young man seated below him, who points at a laptop screen full of animated bodies – devised, the young man says, by a special form of artificial intelligence. The youth tries to interest the prelate in buying into the “cryptocurrency,” which will fund the growth of this technology, which is named “COPD-coin.” The young man explains that he named it this way because it represents a shock to the international order. His Eminence appears irked by this and begins to grill the young man, “You wish to destabilize your own Motherland in this way? And you dare to approach the Lord God’s representative with this treason?” “No, no, Eminence,” the young man remonstrates, “It shall be prevented from trading in the Motherland. Only in the sinful and subhuman parts of the world will it be allowed to operate. Because those people are stupid and decadent.” The Archbishop raises an eyebrow and leans forward. “Well then, how much money do you need to raise from this scheme?” Later, at the big reception for the dignitaries, there are home movie screenings. On the screen, we see vintage images of Ireland’s famed one-time Orthodox Jansenist Papal ruler, Archbishop John Charles McQuaid (sometimes depicted in the company of his earthly proxy, Éamon de Valera). He parades through a life of saintly self-love (since unfairly besmirched by individuals unfit to have breathed the same air as His Lordship) – from long-con shrine, to concrete basilica, to institution of pious incarceration. It could be said that we shall not see his like again – but let’s give it a go. Viva crypto!”

Bandcamp https://telefis.bandcamp.com/album/archbishop-beardmouth-at-the-chemolympics- ep

 Spotify https://open.spotify.com/album/1BRBM5JdtOwJSA6uqXFHxG

‘Archbishop Beardmouth At The ChemOlympics’

https://youtu.be/DpNVvFS9hTk ‘Archbishop Beardmouth At The ChemOlympics (Thomas Leer Remix)’ https://youtu.be/Gu6ZeN-oqEg

 ‘a hAon’ LP order (CD and Vinyl) https://ffm.to/telefisahaon

 ‘a hAon’ LP order (download) https://orcd.co/telefisahaon

 U.S. album order http://ffm.to/telefisusa 

Keep up with Telefís

http://telefis.ie/index.html https://www.facebook.com/telefis1961 https://telefis.bandcamp.comhttps://twitter.com/telefis1961
https://www.instagram.com/telefis https://www.youtube.com/channel/UCBQvW6eYx1JL6wY9XBEelfQ https://open.spotify.com/artist/2Kgr6OaELetXaWdKDTpyEr https://music.apple.com/ie/artist/telef%C3%ADs/1569593407

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Perfect Order

I have Scandinavian DNA. Well, at least some of my DNA is from Scandinavia, 47% according to Ancestry.ca. The northern Sami Lands of Finland and Sweden are my heritage, but I don’t speak a word of their languages. However, I am fascinated by their use of ÅÄ, and Ö. These three letters are in addition to the same 26 letters in the English language that I use every day.

My maternal grandfather was Otto Järf, and there are those funny tiny dots over the letter a which becomes ä. My maternal grandmother was from the Pääjärvi family, lots of dots going on there. They were both from the Korpilombolo, Norrbotten area in Sweden.

All of this brings me around in a circuitous way to the word KÅRP. The name of a Swedish band with a dot over the letter A or Å. I have been listening to KÅRP plenty since they released the single It Looks Bad in 2021 on an EP titled Kris. Kris is the Swedish word for crisis. It Looks Bad was the first song ushering in a trio of EPs that explore three stages of the apocalypse: Chaos, Silence, and New World Order.

Kårp started working on their apocalyptic-themed EP trilogy before Covid was a thing. Kris handled subjects like climate change, capitalism and right-wing extremists. The second EP is a reflection on what happens right after a downfall.

“The idea with Perfect Order was to reflect the feeling of what happens right after a downfall. We call it the silence and the absence of all fixed values. The carpet is being torn away under our feet in a place of total nihilism—a time when there is no history or future.

The topic of an apocalypse is somewhat dark just by the very nature of what it represents. music that carries Perfect Order to our ears is, pardon the interruption, in perfect order. Kårp gives us hope that we can get through the dark times. “The idea with Perfect Order was to reflect the feeling of what happens right after a downfall. We call it the silence and the absence of all fixed values. The carpet is being torn away under our feet in a place of total nihilism—a moment in time where there is no history or future. The EP is called Perfect Order because every now and then, we believe that there is a short moment of perfection. We’ve been hoping it could be a nice place to be in, at least for about 15 minutes. There is nothing to do there except to possibly beat a rhythm on a dirty trash can and hope that people start dancing.”

So there we have it, a song of hope. En sång av hopp, I managed to get another letter in with the cute little dot over it. Bra musik reser sig ur apokalypsen och lämnar oss med hopp om en bättre värld framåt.

Follow KÅRP on social media FacebookInstagramTwitterYouTube) and find the band’s music on BandcampSoundCloudSpotify and Apple Music.

KÅRP present their music through the Swedish indie label Smuggler.

The Wheel by Black Rose Burning

I have wanted to write something about the band Black Rose Burning and their recent music and video releases. Please note the word “wanted,” I wanted to write about the music I had the pleasure of hearing. I like their new album, The Wheel and their new video featuring the single release, The Wheel. Anyhow, I have wanted to write this for over a week now but I couldn’t stop listening to the album long enough to hear my own voice. Better late than never.

Let’s launch this blog with the album, The Wheel; there are a lot of wheels going on here. The album’s name is The Wheel. The newest single is, you guessed it, The Wheel. The video in support of the single is also The Wheel. It feels like I am driving a Polaris Slingshot, sleek, angular lines, fast, stands out in a crowd and is easy to like. Although Black Rose Burning does have some fun with its music, it is not a Relient Robin. It just occurred to me that rockets don’t have wheels, just playing with my head.

From the first note of the opening track, An Anthem for the Strange, I was hooked. The opening consists of pulsing syncopation that ushers in the synths and the rest of the instruments. Maybe not so much ushers, perhaps more like a black hole that sucks you into is gapping maw. That momentum never slacks off.

Black Rose Burning makes music very well. They also know how to write intelligent lyrics. I particularly like these words from the opening track, An Anthem for the Strange.

“This for the stranger who hides among the darkness

This is for the strange, who hide within their silence.”

I have to confess that my interest in this recording is biased. I am a science fiction fan. Geoge Grant, who formed Black Rose Burning in 2018, is also into sci-fi. In George’s words, “I write about outer space a lot. On both records. I find it inspirational. It’s vastness. It’s the place I’d most like to go. Maybe the place I’d most like to escape to might be a better definition.”

“This is the third video for the Black Rose Burning Sci-Fi space series ‘Under Twin Suns‘, which documents the journey of “The Traveler” from earth to his homeworld. The song encouraged the spaghetti western feel of this video, which is a space age homage to films like ‘High Plains Drifter‘ and ‘The Good The Bad And The Ugly‘. I’m a big fan of that genre of films as well, and I’ve always wanted to pay tribute with a video of my own,” says George Grant.

The video supporting the album’s namesake, The Wheel, is also a bit of fun that stays in the context of the cheesy spaghetti western. George Grant tells us, “This is the third video for the Black Rose Burning Sci-Fi space series ‘Under Twin Suns‘, which documents the journey of “The Traveler” from earth to his homeworld. The song encouraged the spaghetti western feel of this video, which is a space age homage to films like ‘High Plains Drifter’ and ‘The Good The Bad And The Ugly’. I’m a big fan of that genre of films as well, and I’ve always wanted to pay tribute with a video of my own,” says George Grant.

While The Wheel video may be a bit of fun, the music on the album is more down to earth while still working within the framework of a sci-fi story. George Grant is the leading man on this album. Wearing the hats of instrumentalist, producer, and engineer, George Grant has created a stellar recording. The Wheel was recorded and mixed by George Grant at PVRCo in Putnam Valley, NY and The Wolf’s Den Manhattan. Jason Corbett mastered The Wheel at Jacknife Sound Vancouver. Jason spearheads the band ACTORS who come through my neck of the woods tomorrow. So much good music and so little time to hear it all.

Back to Black Rose Burning and their release “The Wheel.” While the video has a playful feel of classic sci-fi campiness, the album is down-to-earth good listening material. There is a consistent feel to the album from start to finish. The Wheel shoots through 12 galaxy’s through a 50 minute time portal. Sit back and enjoy the trip.

‘The Wheel’ https://youtu.be/ScsvrYbGwgg
Bandcamp https://blackroseburning.bandcamp.com/album/the-wheel
Spotify https://open.spotify.com/album/5rgo6CEVqJyQzEbRUlSPYc
Apple Music https://music.apple.com/us/album/the-wheel/1597809360

Keep up with Black Rose Burning
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St. Arnaud

Way back on February 2 of this year, it honestly feels like an eternity ago, I did a blog on the single, Catching Flies, from the band St. Arnaud and enthusiastically endorsed it. I have been listening to it again for the umpteenth time since February 2 came and went. Catching Flies did not buzz off.

On March 23, my son Joel and I are in the Starlite Room waiting for St. Arnaud to take the stage. We were the first non-staff/musicians to enter this old building. It used to be a cute cathedral. https://www.youtube.com/watch?v=nyy_yiZ-3DY The Starlite Room was originally a “citadel” (church or place of worship) for the Salvation Army, constructed in 1925. If these walls could talk, I am sure there is a song waiting to be sung.

We parked ourselves in our favourite corner of the balcony, and I noticed Ian St. Arnaud was sitting just behind us talking to someone. I boldly asked him if he could sign my CD, and he blurted out, “Where Did You Get This?” He didn’t shout, but he was sure excited. This was the first time he had seen the CD, Love And The Front Lawn, which would not be released until April 29! He signed it “Copy # 1” with his signature.

The opener, Wyatt C. Louis, is an emerging artist with a couple of good songs. I feel that with time and experience, Wyatt will be an artist to keep on the radar. Check him out on YouTube: https://www.youtube.com/watch?v=QsLeoGHBeds

Ian takes the stage with a crackerjack band, and I feel that the band generates more energy live than they due on an album. And that is saying a lot because I think the album is damn good. The band looked like they genuinely enjoyed being up there and playing music after the long Covid hibernation. They bantered with the crowd and interacted with each throughout the show and during their little jam sessions.

It isn’t often that a band has a single horn player, Whitney is the only other one that I can think of, and that is a funny coincidence because we bought their CD at a show in the Starlite Room before it was officially released. Two bands with a horn player and I have their music in hand before hitting the store shelves.

My first taste of St. Arnaud’s music was when they opened for Lucy Rose at the Temple on July 17, 2019. They impressed me, and I was eager to hear them again post-Covid. They did not disappoint. Ian St. Arnaud is front and center with a sweet vintage Harmony guitar that makes some beautiful noise.

I was remiss in not getting all the band members’ names and their signatures on the CD, live and learn Norman. I assume the drummer is Will Holowaychuk from the band’s formative years. He holds the beats so smooth that I almost forgot that he is playing.

There is a slick Telecaster player, the trumpet man and a bassist. Five musicians that I hope to see again. I was going to add that I hope to hear them again, but that would be silly because I am listening to them on Apple Music while I type this, and no, I will not be listening to the CD; it is retired to the vault, and I will get a player copy when St. Arnaud the album Love and The Front Lawn is released via Mystic Sons.

All photos are courtesy of Joel Weatherly https://jweatherly.ca

The Call

Let The Day Begin, from 1989, is a strong album from start to finish that showcases the group finding their groove and working it to perfection. For me, a standout track is the title track that went to number one as a single release. The album generally had good reviews, me included. It isn’t an overproduced record due to the band wanting a rough around the edges feel in an attempt to have some of their live energy captured in a studio.

Into the Woods, 1987 vintage, has more than one standout track. In The River gives me goosebumps every time I hear it. I can’t put the finger on what it is about this song that elicits a strong reaction, but I know that I like hearing the music repeatedly. Memory was a neat coincidence this time around the turntable. I was scanning family photos as part of my genealogy preservation project, and the song Memory came on.

In my memory
I can still see that face
In my memory
I can still hear the voice
I remember talking with you
The stories I could tell
In my memory
I remember you still

Perfect timing for word association. Good memories that I could both see and hear, a good coincidence.

The album Reconciled from 1986 has one of my favourite album covers. I felt this album delved into their faith more than some other albums. While not strictly a Christian band, they certainly did not hide their faith, and it shows up on Reconciled. Reconciled also has some of the best bass lines from their catalogue. Michael Been, the lead writer and singer of the band, was also the bass player, and he seems to have risen higher in the mix on this album.

I also listened to their self-titled album, The Call, and Modern Romans and Scene Beyond Dreams. They are the first three albums from The Call, and while still good, I didn’t take any notes while listening to these three albums. I feel they were building blocks that culminated in their later work, which I sincerely appreciate. I also have the album Red Moon, but it is on CD, and I am focusing on vinyl.