Coverville

Dark Compass

It never fails to amaze me that music can still surprise. You'd think that, with only a finite number of notes to work with, we'd eventually reach a point where new sounds and fresh ideas become impossible. Yet every so often a band comes along that completely shatters that notion. Ebbb, with their debut album Shallow Hits, is one of those bands.
 
The album opens with "Come Alive" and my first thought was, "how am I going to describe this?". In the end I resorted to a little help from the internet before settling on avant-pop and left-field electronica. Maybe it's just human nature that we like to label things. For me, it's simply a way of getting a handle on a band's sound and putting myself in the right frame of mind before diving in. This is unlike pretty much anything I've heard before, although vocally there are moments that remind me of the Fleet Foxes. Musically, though, it's all over the map, part pop, part electronica, with hints of maybe European/Caribbean influences, all wrapped up in an almost beach-like atmosphere. Whatever you choose to call it, it's an earworm that's impossible to shake.
 
"Home Ground" begins more conventionally, but you quickly realise this is a band completely absorbed in experimenting and enjoying themselves. Before long, conventionality is the last thing on your mind. There's an almost addictive quality to the music. Every track leaves you wanting more, while at the same time there's a warmth and contentment running through it all. I'm sounding like someone who fed a neuroscience textbook through a buzzword generator, but the music genuinely does light up your brain in all the right ways.
 
"Now You Know" is a more vocal driven track. Perhaps it's one of the album's more accessible moments, but in the context of Ebbb, that's no criticism. It's bright, uplifting and has an unmistakable summer feel. It's almost impossible not to move along with it.
 
Bringing us back into more adventurous territory is "Pander", which opens with an intriguing vocal sample that reappears throughout the track. Once again it's upbeat and infectious. You'll find yourself listening intently before suddenly realising your head is bobbing or your foot has started tapping of its own accord.
 
"Side On" was the track that first introduced me to the band, and within seconds I knew this band was going to be something special. It left me genuinely excited for the album's release. The Fleet Foxes comparison is still there in the vocals, but then everything is interrupted by a wonderfully chaotic drum break, underpinned by a deep, throbbing bass line. On paper it sounds like it shouldn't work, but somehow it absolutely does. It's playful, a little irreverent and completely captivating.
 
The title track, "Shallow Hits", opens with a wonderful synth that immediately reminded me of Tangerine Dream. Then the vocals arrive and, once again, what seems like an unlikely combination comes together effortlessly. I found myself almost reprimanding myself for ever doubting it. I love the track, although I do think "Side On" would have made a stronger title track. To me, the title track should capture the essence of the album, and "Side On" does exactly that. A special mention also goes to the drumming towards the end.
 
"Remedy" is one of the album's more understated moments. Built around drums, bass and those wonderfully distinctive vocals, it almost acts as a chance for your brain to catch its breath. Towards the end there's a beautiful, almost classical piano passage that's joined by a subtle synth or organ. It's over far too quickly. I could happily have listened to that section for several more minutes.
 
Beginning with delicate synth strings, "You've Got Me Where You Want Me" creates a subtle sense of unease, only for the vocals to bring everything back to a place of calm. That push and pull works beautifully. There's also an excellent vocal break midway through before the song returns to its earlier arrangement.
 
"Moving On" once again leans into orchestral strings, opening with elegance and restraint before steadily building. Soon the vocals are soaring, the drums are pounding and the song reveals a power that wasn't obvious from its opening moments.
 
Gregorian chant-like vocals introduce "Youth", while subtle synths gradually emerge beneath them. The song slowly builds, with the chants layered against additional vocals and increasingly insistent drums. There's a surprising amount happening for such a restrained arrangement, making its relatively abrupt ending all the more unexpected.
 
As soon as "I'm Not Enough" begins, you know it's going to be a fitting closer. One voice introduces the title before another joins in, and from there the song steadily builds. Despite running for just over two minutes, it never feels rushed, instead unfolding with remarkable confidence before bringing the album to a satisfying conclusion.
 
This was an album I was genuinely excited to review, and that doesn't happen very often. Hearing "Side On" left me counting down the days until "Shallow Hits" arrived, and I'm delighted to say it more than lived up to those expectations. Whatever label you want to put on it, this is one of the most inventive and exciting debut albums I've heard in quite some time. I'll definitely be adding the vinyl to my collection, and I can't wait to hear where Ebbb go next.

Shallow Hits

I knew very quickly that Jacob's album was going to be one I had to review. The moment I heard his voice, my first thought was of John Darnielle from The Mountain Goats. That comparison stayed with me throughout the album, but this is very much more than that. Jacob has his own identity, and it doesn't take long for it to shine through.
 
The album opens with "Past Mistakes", beginning with an intriguing combination of strings and vocals. It gently leads you down a slightly mischievous path before shifting direction, and suddenly it feels like the album is welcoming you with open arms. His voice has a comforting softness, while the music carries that same reassuring quality, as though everything is exactly where it should be.
 
I loved the opening to "Colorado Low", with its jangly guitars before the bass line arrives and the track begins to motor. I can't adequately describe that feeling of connecting with a song almost instantly. It's like being in exactly the right place at exactly the right time, simply letting the music wash over you. It may sound contradictory, but there's something wonderfully comforting about discovering music that feels immediately familiar.
 
"Kids" opens with a distinct country flavour, bursting out of the gate with real energy. I wasn't entirely convinced by the vocal effect, with its hint of distortion. I understand what he was aiming for, but I think something a little subtler would have worked better. Even so, it never became distracting enough to take away from the song.
 
The next track, "Restaurant", also features another former Indie Launchpad reviewee, Dominique Adams. I was secretly hoping for a full duet because I think their voices would work beautifully together. Instead, her contribution comes as understated backing vocals that complement the song perfectly. The track has subtle cowboy and Latin influences, largely coming from the acoustic and jangly guitars. I loved both the lyrics and the way the story unfolds. At times, the metre of the verses even reminded me a little of Leonard Cohen.
 
When "Older Too" began, my immediate thought was, "Where is he going with this?" It initially feels a little at odds with everything that's come before, but as with the opening track, Jacob seems to enjoy a little musical misdirection. As it unfolds, it proves to be noticeably darker than the earlier songs. While I enjoyed it, I couldn't shake the feeling that it might have been better placed elsewhere on the album. It's entirely possible that impression will change after a few more listens.
 
As the title suggests, "Intermission" is a brief one-minute diversion that flows naturally out of the previous track before morphing into some delicate guitar work. It almost feels like one of those moments in Scooby-Doo where the gang pause to reflect on everything that's just happened.
 
"Lack Thereof" continues the album's willingness to shift mood. Whether it's the tempo or simply the atmosphere, it feels different from the surrounding tracks while still carrying that subtle cowboy influence. It's the first song where I found myself thinking more about what was coming next than the track itself, although that may well change with repeated listens.
 
The irony of the next track, "Downer", is that as soon as I heard the opening bars, that rush of excitement returned. It has one of those melodies that grabs hold immediately, while the lyrics carry a vulnerable sweetness that's impossible not to warm to. It's such a wonderful song that I ended up listening to it several times back to back.
 
"Beneath It All" feels very much like a live recording, and it certainly has a noticeably different sound from the rest of the album. For me, it doesn't quite have that same spark, but it's still a lovely track with some beautiful string arrangements. I found myself wishing for a deeper string voice, perhaps a cello, to emerge towards the end and add a little extra emotional weight. That's purely my own take.
 
The opening instrument on "Winters" (I'm guessing either a xylophone or a vibraphone) provides a wonderful foundation on which the rest of the song is built, especially once the drums join in. The vocals and lyrics sit perfectly together, giving the song that irresistible "play it again" quality. My only complaint is that it seemed to end far too soon.
 
The album concludes with "It's Alright", and it quickly becomes apparent that it's the perfect closer. It has the feeling of tying up every loose end, slowly and thoughtfully wrapping the album up with quiet confidence. The accompanying vocals are subtle but exactly what's needed.
 
Despite a couple of moments that didn't resonate with me quite as strongly as others, they really are the exceptions. This is an absolutely cracking album from another hugely talented Canadian artist. It won me over almost immediately and has left me looking forward to hearing whatever Jacob does next.

Tell The Kids We Tried

I reviewed Matilda's Roxwell album back in December 2025, and this EP serves as an interim release before her new album, Kismet, which arrives on September 4. It's certainly one I'll be making a point of listening to.
 
The EP opens with "Make Up", which has a wonderfully laid-back, relaxed vibe. It's very much the kind of track that makes you want to put your headphones on, lie back, and simply unwind. The vocals have a breathless, almost shoegaze quality that complements the music beautifully.
 
"The Fig Tree" opens with a distinctly '70s soul feel that immediately reminded me of The Real Thing's "You to Me Are Everything". There's a wonderful looseness to the track, and you can't help but feel the happiness radiating from it. It's funny that this is the second mention of figs I've come across in as many days, so perhaps finding this track really was kismet. I do have one small observation, though. The ending feels unusually abrupt. Not in an intentional "bang and it's over" kind of way, but almost as though the track has been cut off by accident.
 
When I heard the opening guitar on "Bittersweet", it instantly reminded me of George Harrison. In fact, the brass arrangements also hint at some of his earlier work. If you're going to draw inspiration from someone, you might as well choose one of the very best. The song continues the '70s feel and conjures up images of cruising down a highway in a convertible on a summer's day, with this blasting through the speakers.
 
The closing track, "Inventing", provides a fitting end to the EP. Once again, there's a tasteful use of brass that helps tie the record's overall sound together, but it feels more like a reinvention than an outright throwback.
 
This is a terrific EP, and part of me hopes these tracks won't appear on the forthcoming album. It would make reviewing Kismet a little easier, while also leaving even more new music to discover. What we have here is a wonderful soundtrack to the summer and an excellent way to keep the anticipation building before the album's release.

Make Up

There's a distinctly cinematic feel to this EP. It fuses some of my favourite genres, ambient, drone, electronic, and more, into something that could easily provide the mood and atmosphere for a dystopian or noir-inspired film. Rather than demanding your attention, it gradually draws you into its world.
 
The opening track, "SINK WHERE YOU SLEEP", begins with pizzicato strings before fuller orchestration arrives, immediately creating an unsettling atmosphere. This is softened somewhat by the saxophone that follows, at times double-tracked to great effect. It has a strange aesthetic, but one that reminds me of a deer caught in headlights. You're apprehensive, yet somehow unable to look away.
 
When "AN ELEPHANT NEVER FORGETS" begins, I couldn't help but think of the movie Blade Runner, with its vision of a dystopian future that somehow remains beautiful and seductive. Beneath it all sits a persistent drone that constantly pulls my attention back towards itself. Part of me appreciates the musical purpose it serves, while another part wants it to evolve just a little further. The soaring vocals are beautifully placed and provide a welcome contrast to the darker textures underneath.
 
The next track is the ambiguously titled "GBTC". There's a strong presence of double bass, accompanied by understated percussion, while the saxophone once again plays an important role in shaping the atmosphere. For me, it evokes reflection more than sorrow, although I can easily understand how others might hear it differently. Ghostly operatic vocals sit low in the mix, adding another layer without ever overwhelming the arrangement. Towards the end, there's an almost unhinged shift in tone that initially feels disconcerting, but the feeling soon gives way as the piece settles once more.
 
"HOLD ME (SLOWLY)" opens with simple guitar accompanied by understated vocals. It begins as a gentle, melodic piece, largely leaving behind the more dystopian atmosphere of the earlier tracks, almost as though we've emerged on the other side of whatever journey preceded it. As it develops, it gradually transitions into something strongly reminiscent of the '80s, a sound I remember well, but one that has lain dormant for quite some time.
 
The next track, "MOTHER", is the longest on the EP at nearly nine minutes. It opens almost like an orchestra warming up, an impression created by the ever-present drone that forms its foundation. It's subtle but impossible to ignore. The strings and saxophone seem to play off one another in an elegant dance, and part of me hopes the moment will simply linger, unhurried and purposeful. Thankfully, that's exactly what happens. The final minute hints at some kind of transformation, but never quite allows it to fully emerge.
 
The closing track, "SPILL YOUR TIME", initially feels like it's building towards something, which is an unusual approach for a finale. Instead, it gradually descends again once the vocals enter. It never quite reaches what feels like a natural conclusion and, for me, "MOTHER" might have provided a more satisfying ending to the EP.
 
Overall, this was an intriguing introduction to the band. It's a departure from the genres I would normally gravitate towards, but a welcome one. They've certainly earned a place on my radar, and I'll be interested to hear where they go next.

ELEGY

Rodney Crowell isn't a name I'm particularly familiar with. Of course, that's probably because country music, on the whole, has never really appealed to me. There are always exceptions though, because at the end of the day every release, regardless of genre, has the potential to connect.
 
This album was apparently pretty much recorded around 20 years ago before being left to mature like a fine wine. As Rodney himself says, "I'm glad I put it on the shelf, because now is the time for it. It may not be the time for it for the rest of the world, but it's time for it for me."
 
I have to admit, I wasn't expecting much when I pressed play, but there was something about this record that captivated me almost immediately. The album opens with "I Won't Lie". I'm not sure whether this was one of the later recordings, but it immediately reminded me of Johnny Cash's final recordings. There's a rawness to Rodney's voice, and the song slowly works its way under your skin, helped by the simple but wonderfully effective musical accompaniment.
 
The next track, "Are You One of Us?", has a more radio-friendly sound, giving me Tom Cochrane vibes. Once again though, it's the vocals that sell the song, conveying a life well lived, particularly through the spoken word fragments. It's very much a song of two halves, but they come together seamlessly.
 
If I'm honest, it was "If I Could Speak to Leonard" that first caught my eye when I saw the track listing, and it was actually the first song I listened to. I correctly guessed it was about Leonard Cohen, of whom I'm a huge fan. I'm guessing this was recorded later, as Leonard passed away in 2016 and the song feels very much like a lament. If not, then it's perhaps the ultimate fan song, arriving sadly a little too late.
 
"Bring It on Home to Memphis" is a much looser, upbeat affair with some lovely harmonies. For a brief moment I caught a flash of the Travelling Wilburys, although it's only fleeting. It's a good song, but for whatever reason it didn't quite click with me, even though I can completely appreciate why it will for others.
 
I felt much the same about "The Ballad of Artemis and Orion". Perhaps it's simply closer to what I instinctively expect from a country record. Musically it's excellent, the vocals are superb, and the song unfolds beautifully, but for me it just lacks that elusive final ingredient.
 
Things slow down a couple of notches with "Sing Your Heart Out". I love the string arrangement that opens the song. It's a beautiful ballad and one of the album's most affecting moments. It's also a little more polished than much of what precedes it, giving the record another texture and dimension. Once again, the musical accompaniment is wonderful, with a special mention going to the cello. I think it's one of my favourite tracks on the album.
 
Another change of pace comes with "Whatcha Gonna Do Now #2", which opens with a lengthy burst of rapid-fire lyrics before settling into the repeated refrain of "Whatcha Gonna Do Now". At just over two minutes, it's over almost before you know it. It's not a standout track, but there's an undeniable charm to it.
 
As for song titles, I'd be hard-pressed to think of anything that rivals "The Has-Been Vents His Spleen". If this was one of the original recordings that sat on the shelf all those years, it's remarkably prescient, almost feeling at times like an examination of Gen Z under the microscope. At least, that's how I interpreted it. It's another song that seems to fly by, which is often the mark of a truly great track.
 
The penultimate song, "40 Winters", begins simply with acoustic guitar before gradually introducing more instrumentation. Even so, nothing distracts from the understated lyrics, whose warmth and simplicity make for a genuinely heartwarming listen.
 
The album closes with "Go Light a Candle", another slower piece. A beautiful organ or synth part drifts in and out throughout the song, creating an almost ethereal atmosphere. It's a wonderful closing track and the perfect full stop to what has, for me, been a delightful discovery.
 
Perhaps I'm showing my ignorance by not recognising Rodney Crowell's name, after all he's had a nearly 50 year career, but ultimately that's beside the point. What matters is whether the music has the ability to reach out and touch people, and this album certainly does. I'm very glad I took the time to listen to it, and perhaps I even owe Leonard a little thanks for leading me here.

Then Again

I love it when one of my kids sends me an Instagram post featuring an artist they've discovered and it ticks all of my boxes, as was the case with Jessie. This seven track EP is an interesting one, opening with four live performances before revisiting three of those songs in more polished, fully produced versions.
 
The EP opens with "the man with money in his hands", and the first thing that struck me was a comparison to Sarah McLachlan, albeit with acoustic guitar taking the place of the piano. I think the comparison comes from an idealised recollection of Sarah's work, because when I went back to revisit it, I found something a little different. Even so, Jessie's vocals possess that same captivating presence.
 
The next track, "the precipice", was the song originally sent to me, and I was immediately taken by the tone and honesty of her voice. There's often something especially engaging about a live performance, and this song gives Jessie's voice a wonderful canvas on which to paint.
 
The third track, "alive", is the standout from this seven-track EP. There's a little more rawness here, not just in the performance but also in the vocals, which carry a wonderful sense of melancholy and emotion. The song allows her voice to soar when the lyrics demand it. The closing line, "I wanna be alive", provides a satisfying resolution after what feels like a journey through an inner maelstrom.
 
The last of the live tracks is "How Deep is Your Love", and I have to admit I was initially expecting a cover of the famous Bee Gees song. Instead, the track feels more like a vocal exercise and didn't quite captivate me in the same way as the previous three tracks.
 
The following three tracks, "the man with money in his hands", "the precipice" and "alive", are the more produced versions of the live renditions featured earlier on the EP. They're interesting variations and perhaps the sort of thing you'd more commonly expect on an album. For me, however, this release is at its strongest in the live performances, which are ultimately what I found myself returning to.
 
There's a lot to like here, but I also found it a slightly confusing release. I would normally expect a format like this from a well established act whose audience is eager to hear multiple interpretations of familiar songs. For existing fans, I think this will be a wonderful release. For me, it's the acoustic performances that shine, while listeners discovering Jessie for the first time may find themselves drawn more to the polished versions in the second half. Perhaps that's part of the strategy, appealing to different audiences at once.
 
Ultimately, though, it's the quality of the songwriting and performance that matters most, and this EP has introduced me to an incredible new talent that I'll be keeping a close eye on.

untitled.jpeg (Live from Medium Sized Backyard)

I've alluded to this before, but I've been missing some good, honest rock music. It just doesn't seem to be finding its way onto my radar these days. I'm fairly old school in my tastes. I like loud guitars, thumping drums, dirty bass lines, and lyrics you can actually understand. Plenty of people enjoy screamo, but apart from a few brief dalliances, it's never really been my thing.
 
Muddshovel, a three-piece band from Ireland, were introduced to me by their record label and, seconds into the opening track, "Over the Line", it felt like I'd struck rock gold. You're greeted with an immediate assault on the senses. The guitars are heavy, loud, and dirty, while the drums arrive moments later to reinforce the wall of sound. When the vocals came in, I was a little apprehensive, but I needn't have been. They're raw and powerful, yet there's something instantly accessible about them that makes them easy to engage with.
 
"Third Time Lucky" drops down a gear or two. It has a distinctive vibe, with a vocal chant that gives the song its own character. There's a nice sense of pace to it, and it reveals another side of the band's songwriting.
 
Continuing in a similar vein, "Deep Fried Soul" is driven initially by the force of the drums before being joined by the bass. There's also an intriguingly dirty guitar tone running through the track. It's difficult to tell whether it's an intentional effect or simply the natural texture of the performance. Unless I'm mistaken, there's also a hint of strings in the background, adding another layer to the arrangement.
 
Perhaps I was beginning to worry about the direction the album was taking, but I needn't have. "Pity Party" brings a welcome return to the denser rock sound of the opener. There's an underlying anger here that fits the title perfectly and comes through in the raw edged vocal delivery. The track also introduces some keyboard and synth textures which, on paper, perhaps shouldn't work, but in practice they fit surprisingly well.
 
"Heading Home" once again sees the drums driving everything forward. This track feels deeply rooted in the classic rock traditions of the 1970s, bringing to mind bands such as Led Zeppelin and Deep Purple. While there is a softer edge to the song, those influences are unmistakable, particularly in the guitar work that emerges around three quarters of the way through. It could easily have slipped into weak pastiche, but instead it manages to establish an identity all its own.
 
I couldn't help thinking of Douglas Adams while listening to "Don't Drink the Water". It may be a tenuous connection, but in "The Hitchhiker's Guide to the Galaxy" there's the line, "What's so bad about being drunk?" followed by the response, "Go ask a glass of water." As I said, it's a tenuous link, but I love how music can spark these random memories. The track itself continues to draw from those early rock influences. In my head, I can almost hear much harsher, more raucous vocals, which would have been the obvious choice. Instead, the band opts for something softer, and that's not a bad thing at all. It demonstrates a group that's entirely comfortable following its own instincts.
 
That brings us to the title track, "Little White Hair". I've said before that I feel the title track should always be the strongest song on an album, and for me that's not quite the case here. It's another slow burning piece, which doesn't make it a bad song by any means, but given the impact of the opener, I found myself expecting something more explosive. That's probably just the way my brain works. What I will say is that the track has all the ingredients of a great live performance, particularly when it descends into its darker musical passages.
 
At first, I thought "Cupid Sorrow" was heading somewhere completely different thanks to its unusual opening. Before long, however, it settles back into something much more rock-oriented, and for me this is where the band truly excels. I enjoy the slower material, but I still want those occasional moments where the volume gets cranked up to eleven. Like the title track, this feels like a song that would really come alive on stage, particularly during the instrumental section hinted at around the four-minute mark.
 
The album closes with "No Further", and my inner rock demon leaves somewhat satisfied. I love the guitar work here. It's loud, soaring, and full of energy, while the vocals complement it perfectly. Perhaps that's a little too stiff upper lip a way of putting it, so let's keep it simple: it rocks.
 
I have to admit that when I heard the opening track, my expectations immediately soared. To a large degree, Muddshovel delivered on that promise, although the album perhaps doesn't maintain quite the same level of intensity throughout. Then again, after such a long drought of genuinely exciting rock music, maybe my expectations were always going to be difficult to satisfy completely.
 
At the end of the day, there's so much to like here. Perhaps I simply haven't cast my net wide enough recently, but I'm glad to have discovered Muddshovel's, "Little White Hair".

Little White Hair

With the opening track, "Looser End of Love", I was initially getting John Lennon vibes, particularly from his song "Mother". Both share a brief moment of musical unison before the track shifts into a much more produced sound and any resemblance quickly fades. The song itself has a laid back, relaxed feel, with a playful musical break near the middle before slipping back into a classic 70s AM radio and yacht rock aesthetic.
 
Continuing the chilled-out vibe, "No Games" opens with a wonderful guitar introduction. I wasn't quite as enamoured with the vocals, however. Whether it was my headphones or simply a production choice, they felt a little more overpowering here. Where the vocals on the opener felt relaxed and comforting, these occasionally threatened to dominate the mix.
 
Musically, "If I've Got To Live" returns to that earlier softer sound. Think The Carpenters or Bread. There's also a lovely woodwind flourish that gives the track a whimsical, airy quality, evoking the feeling of a lazy summer afternoon.
 
I wouldn't say the title track, "Evening Song", is the strongest piece on the EP, but it certainly hits all the right notes. Continuing the warm 70s inspired sound, it's a song that practically radiates relaxation.
 
The EP closes with "Skin & Soul", which adds another dimension to the release. There's almost a traditional standards feel to it, delivered in a Harry Nilsson kind of way. In fact, I can easily imagine him singing it himself.
 
This is one of those feel good EPs that you put on when you're looking to settle into a relaxed summer mood. I'll certainly be keeping an eye out for future releases and will be interested to see how the project develops when it eventually expands into a full length album.

EVENING STORM

This is an interesting EP. Its release marks ten years since the original three compositions were issued under the name LUCHS. This new release includes both the original recordings and slightly reworked versions, with the updated interpretations opening the EP.
 
The EP begins with "Her Eyes The Stars (X)", the "X" presumably denoting the version recorded ten years later, a convention that appears across all three tracks. First and foremost, this is a beautiful piece of music. I have to admit, though, that apart from a slight key change, there is not a great deal separating the two versions. Conventionally, there is only one instrument being played, but another important element is the ambient sound itself, much of it emanating from the piano: creaks, resonances and subtle tones created as the instrument is played. It's a short piece, at just over two minutes long, but effortlessly beautiful.
 
The next track, "II (X)", again centres around piano and ambient tones. As before, there is a slight key change between this and the original version, but here the reworking also introduces a much cleaner, more stripped-back sound, which I think I prefer.
 
The final track, "Ljusnan (X)", shows the greatest divergence from the original. Once again, the arrangement is more stripped back, yet conversely I find myself preferring the earlier version. The original possesses a dreamlike quality that doesn't quite carry over into the reworking. I suspect this was entirely intentional. Patrik clearly had a particular vision in mind when revisiting these compositions, and I'm sure the new versions align perfectly with that vision. Sometimes, though, it is difficult to outshine the original work.
 
For many listeners, this will be their first encounter with these pieces, so in effect they're getting twice the value. It's fascinating how thoughts, perspectives and creative ambitions surrounding a piece of music can evolve over time. There's often a desire to revisit a work, to refine elements that no longer feel quite right, or simply to see where a fresh interpretation might lead. Whatever the motivation, this is a beautiful EP, one that's easy to become completely absorbed in.

Her Eyes the Stars (X)

Belvedere Kane is the project of producer and songwriter Barry Stone, whose 1996 single *Never Felt As Good* was hailed by Pop Justice as "one of the twenty best singles of the 1990s". Despite the acclaim, it failed to trouble the charts and has since attained cult classic status.
 
The album intended to follow was shelved, but as the 30th anniversary of the single approached, Stone revisited the recordings and rediscovered his affection for the project. Reflecting on the process, he said, "I remembered how much these songs had meant to me", describing the completion of the album as "a bit like writing a love letter to my younger self." Listening to the finished record, it's easy to understand why he felt compelled to finally bring these songs into the world.
 
The album opens with "Legends (Forever Young)" and there's no denying the Dead or Alive influence, hardly surprising given that they actually feature on the track. It's everything you could want from an opening statement, glitz, glamour and a full-on assault on the senses. The song practically demands movement, powered by an irresistible energy that never lets up. I particularly enjoyed the smattering of sultry French dialogue woven throughout, which adds another layer of texture and sophistication. Simply put, this is an all-out pop banger.
 
"Never Felt As Good" is the previously mentioned single, presented here in its Kobold Album version. At first I thought it didn't ring any bells, but as it unfolded I couldn't help being reminded briefly of Cutting Crew's "I Just Died in Your Arms". The comparison is fleeting though, as the song quickly establishes its own identity. What remains undeniable is just how infectious it is. Whether I genuinely remembered hearing it all those years ago or was simply responding to the familiar sound of the era is difficult to say, but either way it feels strangely familiar in the best possible way.
 
You can't help but immediately recognise the classic 80s and 90s synth sounds that dominate "Getting Away with Murder". It's like opening a musical time capsule and being hit by a wave of nostalgia. I'm by no means a disco-pop aficionado, but there's no denying that this is expertly crafted pop music. The hooks are strong, the production is polished, and it captures the spirit of the era perfectly.
 
There's a brief respite with "Magazines". It's a pleasant enough track, but following such a strong opening run it feels more like a transition piece than a standout moment in its own right. That's perhaps a little unfair, because taken on its own merits it's perfectly enjoyable, but it lacks the spark and immediacy of the songs surrounding it.
 
The same certainly can't be said for "I Want You I Want You", which immediately restores that sense of excitement. Given the period these songs originate from, it's unsurprising that traces of other artists emerge throughout. For me, I could hear hints of Madonna's "Material Girl" alongside shades of ABBA's "SOS". That doesn't make this a derivative work, far from it. Rather, it wears its influences proudly while still sounding distinctly like Belvedere Kane.
 
We get a welcome change of pace with "Sleeping Dogs", but unlike "Magazines", this slower tempo feels completely integral to the album's flow. It's a slow-burn synth-pop gem, rich in atmosphere and layered textures. The production is particularly impressive here, creating a soundscape that feels wonderfully immersive, especially when experienced through headphones.
 
Then come the sweeping synth strings and infectious beat of "Such Trying Times", which feels steeped in classic Euro-pop sensibilities. Listening to it, I could almost imagine myself transported back to an 80s holiday resort in Benidorm. Mm, not sure if that's a good or a bad thing, but that's no fault of the music. Either way the song captures that carefree, larger-than-life spirit beautifully.
 
"Could This Be Love" is perhaps where my own enthusiasm starts to wane slightly, although I suspect that's more a reflection of my personal tastes than any shortcomings in the song itself. It's another well-crafted track, packed with a driving beat and plenty of synth-pop charm, but by this point some of the stylistic similarities between songs begin to blur together. Fans of the genre will likely find plenty to enjoy, even if I found my attention drifting a little.
 
I can't deny that when "Isabelle Rossellini" appeared on the track listing, my ears immediately pricked up, largely because it's a name I recognised. The song itself possesses a warmth and charm that's difficult to define. There's something quietly endearing about it that goes beyond the title alone, and it gradually works its way under your skin.
 
Musically, "Never Said Goodbye" has all the hallmarks of a song that could feature during the closing moments of a John Hughes film. It's the soundtrack to a resolution, the moment where all the threads finally come together. Neither a full-on anthem nor a ballad, it occupies a sweet spot between the two, and for reasons I can't entirely explain, it's one of the songs that resonated with me most strongly.
 
The album closes with "We're Not Lovers", opening with sweeping synths before diving headlong back into those glorious 80s and 90s sounds. It immediately sparked memories of *Top of the Pops* and that iconic countdown sequence soundtracked by Thin Lizzy's "Yellow Pearl". It's a fitting finale, ending the album with the same energy and confidence with which it began.
 
This isn't a genre I listen to regularly. My connection to it comes largely from having lived through the era rather than actively seeking it out today. That said, it's impossible to deny the sheer joy contained within these songs. They're playful, infectious and endlessly entertaining. There were moments where I found the relentless energy a little overwhelming, but that's very much a reflection of my own listening habits rather than any flaw in the album itself. Ultimately, this lost pop record finally gets the chance it deserved, and the result is nothing short of brilliant.

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