Adam Lanceley proves the phenomenal power of music with his new album, ‘Sweeter Than Honey’, which is exactly the vibe you get listening to his music. The feel-good album is his 11th studio album and he has clearly found his sound. He says, “Sweeter Than Honey marks the end of a long time spent struggling and soul searching,” and “with it, it feels like I’ve found an answer.” Music has been able to provide this artist, like it has done with so many others, a way to escape and process difficult emotions.
Having had death knock on his door at a young age from a debilitating accident that ended his athletic prowess, Lanceley fortunately made it through and turned to music to help him cope. The result? This joyful, inspirational album. The lead single, ‘I’m So Glad’ opens with the gentle strum of the guitar before being joined by Lanceley’s emotional vocals. This feel-good track combines the simple beat of the piano, the enticing strum of the guitar, and Lanceley’s assured vocals to produce an easy to listen to, upbeat song. Lanceley’s strength in overcoming both his physical and mental struggles shines through this album and creates an inspiring message for his listeners.
‘Sweeter Than Honey’ is an album that encapsulates a diverse range of genres, such as pop and blues, to create an optimistic sound. Much like his two previous albums, Lanceley has dedicated ‘Sweeter Than Honey’ to the same person. Lanceley’s joy and strength makes this listening to this album an uplifting experience. Lanceley is no stranger to success either; he has gained over 32k views on Global Talent World which is an extraordinary feat. His clear message clearly resonates with people around the globe.
With ‘Sweeter Than Honey’ being released on May 14th, now is the perfect time to embrace the inspiring message of Adam Lanceley.
Wavewulf have captured the powerful force of the seas in their new album ‘The North and The Sea’. The lead single ‘Luft’ opens with catchy synths and Nala Spark’s beautifully haunting vocals which create an almost hypnotic track. Wavewulf know exactly who they are what their sound is and the result is a cohesive, enchanting album. Each song off the album is unique and Wavewulf clearly hasn’t fallen into the trap of repetitive songs. The use of electronics to capture ideas of the ocean is a contrast that actually works really well and they’re successful in creating that imagery.
Whilst ‘Luft’ is their lead single, that does not mean that the rest of the tracks are worth skipping. Each song delivers a new experience and emotion whilst keeping Wavewulf’s innovative style going. If you’re just getting into Wavewulf, I’d recommend checking out Predator and Open the Gate (just two incredible songs off an accomplished album). It’s clear that Wavewulf has spent good time refining his artistry. The overarching theme of the sea, which was inspired by Long’s time in Iceland, is used to explore ideas of human experience. ‘The North and the Sea’ certainly does this and creates both a thought-provoking and auditory pleasing experience.
The opening track is the aptly titled ‘Open the Gate’ which introduces Wavewulf’s sound of dramatic synths. Nala Spark’s almost spoken-word vocals combined with a more ethereal harmony creates an almost other-worldly song that enchants the listener. Each song just continues to evoke a whole plethora of introspective emotions that enchant the listener. If you’re looking for unique, powerful songs it’s time to check out ‘The North and the Sea’.
Exciting artist ‘Falling Felon’ have created irresistible sounds in their brand new self-titled album. The eccentric duo capture freedom and wildness in the ten-track album and this is encapsulated in their lead single, ‘I Just Do The Falling’. The song begins with a catchy electronic beat and Lombe’s unique vocals which draw the listener in. Their use of the simple beat with the spoken word style of delivery allows the listener to be completely enveloped by their unconventional style. Apaig drew on a childhood in Zambia and these elements are used throughout the track which, alongside the influences of Berlin and Parisian music, lead to a truly independent way of producing music.
The duo are clearly suited for each other; Lombe brings her musical talents with a hypnotising voice and Le Meur’s creative vision leads to a quirky dynamic and original sounds. Their music does not stop at catchy electronic beats but also features deep emotions which are carried perfectly in Lombe’s voice. So whether you want to dance or explore your emotions, or perhaps both, Falling Felon is the way to go. They are not afraid to experiment with unconventional sounds and the mixture of influences results in an album of individuality. Each track within the album brings a whole new sensation and stylistic flair.
Falling Felon’s talent is highlighted throughout the album and certainly brings a new sound to listeners. My personal favourite is ‘Asrican Hase’ with its high tempo, addictive beats which make it impossible to sit still whilst listening. No two songs are the same yet they flow into each other so the whole album has an ambient atmosphere and it’s easy to listen to it on repeat and envelop yourself in the duo’s artistic talents.
The second album is always an exciting challenge. It’s the moment to show that your music goes behind a proof of concept and that lightning can indeed strike the same place twice. For Anna Westin, Folk-pop singer-songwriter, this very challenge lies ahead with her forthcoming LP ‘LEV’ nearing the horizon. We got chatting to the woman herself to find out more…
STM: When was the last time you discovered an artist through word of mouth?
That is generally how I hear about people. I think the latest was Sibylle Baier, from my vocal coach Hughie Gavin.
STM: How useful is the tool of ‘word of mouth’ when an artist is just starting their career?
I think it is hugely helpful, because it is already riding off of a foundation of trust, which brings credibility to what the person is saying. If you know someone, and you trust their musical taste, then you’re probably more likely to check out what they are backing because of who they are and what they have liked before. It isn’t just random advertising. It’s building out of a network of relationship.
STM: What were your first ‘tools of promotion’ when you first started in music?
Friends, word of mouth. A haphazard instagram campaign.
STM: What made you choose the path of music?
Because I love it – because it makes sense of experience, and I can’t ’not’ do it. It’s just been natural to how I communicate with life.
STM: What do you think the industry would look like without streaming platforms like Spotify?
I think it could be a good thing – slowing things down, making people more conscious of choosing to look for music, savouring a specific album rather than rushing through playlists. And there’s the issues of payment for artists. I wonder what it would look like, whether it would return to more physical -based experiences where word of mouth and actual copies of records become the point of contact with the world, or gigging is seen as the entry point in. I need to think about that a bit more, as it sounds quite refreshing! But Spotify has also enabled me to have access to lots of voices that I probably wouldn’t have had, so there’s that…
STM: How excited are you to take the new material out on the road?
Very. It feels like a long time coming.
STM: If you had to describe the new record to someone who could not hear using only images which images would you show them?
A heart, I think, as the album means heart in Hebrew. But it is more of a whole sense of being human, the integrated connections of emotion and soul and thought and how they all connect to love, to loss. So maybe I would also show them sea, which is where I wrote most of the songs, and an eye, because I have been thinking about the saying of having a ’good eye’ which is connected to seeing the world with love.
STM: How did the songwriting process for LEV begin?
I think it started with the first song, a few years back. At first it was just a collection of songs. It was only later that the more recent songs brought it into a whole concept for an album. So, probably sitting in my new flat in margate, wondering whether I should have moved to a town I didn’t know by the sea, excited about the possibility of what was next, mourning an old love. I remember distinctly – the flat, with one sofa, before the furniture was bought – the cold blast of sea air, the sense of anticipation, and making sense of a few dreams that I kept having. That’s where Bright Burning Mess started, and where the album emerged essentially. And Margate, and then New Brunswick Canada, became the cradle contexts for it – the folk scene in Margate was hugely influential in going back to what songwriting looks like as storytelling.
Then when the songs were written, my producers Imogen and Ellie helped make sense of the structure as a whole, filled in bits that were missing, coaxed the songs out further.
I would describe the Adam Lanceley as an irresistible fusion of melodic Eagles songs with a vocal delivery akin to Bob Dylan. Lanceley’s latest release, “Welcome to the Next Century”, is a fantastic collection of 11 songs that infuse everything excellent about country, guitar-driven music.
The album opener ‘Summer of Love’ is a gentle acoustic-driven track with an addictively catchy pop melody that you are sure to be humming along to once you get the chance to hear it. The album takes a much more mellow direction with the third track, ‘Asking for Shelter’, a powerful ballad with an alluring piano riff alongside Lanceley’s scintillating vocals. My personal favourite track on the album is ‘A World in Blossom’, a brilliantly bristly guitar riff reminiscent of Nirvana in their ‘In Utero’ days.
“The new tracks that are on this album have all been recorded since my last EP came out and all were written and recorded during lockdown. Doing this then helped me to escape some of the stress of the situation and almost take myself away to a sunnier, more care-free place. It was always intended that they would be released when the world seemed ‘brighter’ and on a more personal level, it felt like a turning pointwhere things suddenly seemed easier”. – Adam Lanceley
However, Lanceley was not born with exceptional musical talent and suffered many severe setbacks before embracing his destiny to become a supremely talented musician. At age 10, Lanceley’s life changed forever when a car accident left him with devastating injuries that demolished his dreams of becoming a sportsman. He sustained severe brain injuries during this accident and has struggled with his mental health ever since. However, this excruciating experience allowed Lanceley to escape through music and found refuge in crafting songs. His love and passion for music are evident throughout ‘Welcome to the Next Century’ and have a lasting impact on anyone who gives it a listen.
The 16th of June has forever been immortalised as ‘Bloomsday’, the date on which the entirety of James Joyce’s masterpiece ‘Ulyesses’ takes place. However, there is now another reason why there is great significance associated with the 16th of June. It is the day that Michael Cooke will release his seminal album ‘Midnight Call’. Within the album’s lead single ‘Around Here’, Cooke showcases his innate ability to combine juxtaposing musical styles to create a novel and distinctive sound only he can make.
‘Around Here’ begins with a heavy, thumping, pounding drum beat which immediately demands your complete attention. Cooke then introduces a gentle acoustic guitar riff, making the listener feel as if they’re gently gliding on water.
In his youth, Cooke was initially set to become an Olympic athlete, however fate intervenient in the form of a devastating injury that hindered his chances of achieving his sporting dreams. However, Cooke would find an emotional outlet in music as he says:
“So many people let life pass them by and get caught up in group identity because they are scared of knowing themselves. I think once you start down the road of knowing yourself there’s no going back and let’s be honest it’s pretty terrifying you see a lot of things about yourself you don’t like and it’s very hard to ignore”. – Michael Cooke
Cooke has had an enviable music career as he has eloquently crafted music for television programmes and films available on Netflix. This album is just the start for Cooke, and I, for one, cannot wait to see what he has in store for us next.
Released January 22nd, ‘Space Art and Angels‘ is the latest release from Synth Wizard Wavewulf. Sounding somewhere between realms of Jean Michel Jarre and Kraftwerk, Wavewulf’s innovative music is a refreshing sound in today’s overly saturated industry. Following in the footsteps of his previous album ‘Green Decay’, there seems to be no stopping this talented artist, and we’re not complaining.
Nicholas Long, the mind behind Wavewulf, has a huge passion for synths and that radiates throughout the release. A mystical journey through time travel, the cosmos, outer space and dimensions behind our own, any track off the album could make for a perfect soundtrack to an episode of The Twilight Zone or Black Mirror.
Exploring human conditions and the soul as well as political, environmental and philosophical themes, Wavewulf’s new album question humanity and what it really is to be a human. An iconic release that will go down in Wavewulf’s history, ‘Space Art and Angels’ is out now, and deserves your attention.
Set to release a new live album this December, the news of Arctic Monkeys‘ return is blowing up social media. Out December 4th, the album was recorded at the band’s show at London’s Royal Albert Hall.
Raising money for WarChild, all proceeds from the show went to the charity, and the proceedings from the album release will too.
Arctic Monkeys stated, “On June 7 2018 we played a special show at London’s Royal Albert Hall,” they wrote. “All proceeds from that night were donated to War Child in support of the vital work they do protecting, educating & rehabilitating children who have experienced the trauma of conflict and the horror of war.”
Armed with a trailer to gear fans up even more, Christmas has certainly come early!
After being a part of two of rock & roll’s most foundational bands (the Byrds and Crosby, Stills & Nash, respectively), and four years removed from a life-saving liver transplant, David Crosby channeled the creative frustration he had been feeling into CPR’s 1998 self-titled debut. Joined by noted session guitarist Jeff Pevar and Crosby’s recently reunited son James Raymond, the trio crafted smart, heady, jazz-indebted rock that showcased their stunning harmonies. They followed that three years later with 2001’s Just Like Gravity, an album that refined the burgeoning trio’s sound. On May 15th, BMG will reissue CPR, Just Like Gravity and the group’s two live album – Live at Cuesta College and Live at the Wiltern. All four albums will be available digitally, and CPR and Just Like Gravity will be available on CD July 31st, with liner notes written by Steve Silberman, the award-winning science writer who hosted the illuminating Freak Flag Flying podcast with Crosby from earlier this year.
“CPR was me realizing that the world of CSN and Y was getting old and stuck in its place and that I needed to still keep moving,” says Crosby. “That I had more and different music in me that needed room to grow and stretch. CPR was me finding my son James and realizing pretty quickly that he was an even better musician that I was, and that he was rapidly becoming the best writing partner I’d ever had. CPR was a wonderful chemistry that has now become the Sky Trails band. I don’t think very many people heard these records, and I do think that they are some of the best work I’ve been involved with. Enjoy.”
Still on the road with CSN – but as Crosby says merely “turning on the smoke machines and playing the hits” – the two-time rock & roll hall of famer wanted an outlet for his still churning creativity. After meeting Raymond for the first time shortly after his liver transplant, the pair discovered a creative chemistry neither saw coming. They went on a songwriting spree, and after recruiting Pevar, went on to make CPR. After a series of successful tours, they went back into the studio to record Just Like Gravity. And by opening himself up to working with younger artists to help stoke his creative fires, Crosby’s recent late-career resurgence – highlighted by 2014’s Croz, 2016’s Lighthouse, 2017’s Sky Trails and 2018’s Here If You Listen – can really be traced back to working with Raymond and Pevar in CPR.
CPR was very much a precursor to Crosby’s acclaimed Sky Trails album and the ace live band that grew out of that album, both of which feature Pevar and Raymond. Spin called Sky Trails Crosby’s “most stylistically diverse and sonically lush solo album,” while the Associated Press called it “an excellent batch of tunes.” In many ways, CPR and Just Like Gravity were albums that pushed against what was popular in rock at the time – CPR going up against the nu-metal wave of the late 90’s, and Just Like Gravity coming at the beginning of the turn of the century “rock revival” led by acts like the Strokes and the White Stripes. Crosby, Pevar and Raymond weren’t chasing after the flavor of the day or trying to recreate old glories, they simply followed their muse, trends be damned.
As Silberman says in the liner notes for the Just Like Gravity reissue, “CPR and Just Like Gravity were two of the most powerful and personal records Crosby made in his celebrated career, but they flew under most critics’ radar and quickly went out of print. The lessons that Crosby learned by opening up his creative process, however, made possible later collaborative breakthroughs like Croz, Sky Trails, Lighthouse, and Here If You Listen. Far from done at this point, his best work was still ahead of him.”
A Light From The Other Side is the new album from Australian singer-songwriter, Lisa Richards, who has developed her very own brand of jazz infused folk, with a few hints of blues and roots music too.
Growing up in North Queensland, Australia, was difficult for Lisa; her Mother who was formerly a concert pianist, had moved there for her Father and thus Lisa’s childhood became a turbulent time. Alcohol and substance abuse were issues from a young age, but Lisa eventually fled her troubles to the city where she would pursue a career in music.
Check out ‘Frank Sinatra’ from the album here: