Swedish singer/songwriter Ruborg has released his new album ‘In It For The Long Haul’. This is his first project for 2019, preceded by the promotional singles ‘Straight Through The Dark’ and ‘Hold Up’, released in July and August respectively.
‘In It For The Long Haul’ finely blends tender acoustic ballads and blues rock with Ruborg’s passionate musicianship to create a wholesome and warm album. ‘Glory Of The Wild Days’ kicks the album into motion with vibrant light guitar, stomping beat and a nostalgic wild melody that is sure to put a smile on your face. ‘Damaged Goods’ is a gritty, adrenaline-pumped track as slicing jagged guitar lacerates through the stomping rhythm while Ruborg swaggers through this slick rock number. With delicate acoustic guitar gracing and driving tracks like ‘ Traces’ Ruborg creates soft and emotional scenes to sway to as his rich deep vocals caress the tender melodies. The album shifts seamlessly into meatier blues rock with tracks like ‘Road To Exile’ and ‘On The Breadline’ where the punchy drums fill out the backdrop while the guitars flurry through steamy riffs and light mellow jingles in tracks like ‘Straight Through The Dark’ and ‘Hold Up’. There isn’t a shortage of powerful classic rock choruses however ‘Black Dog Calls‘ displays Ruborgs’s versatility perfectly as it broods to start before belting into a mighty chorus filled with passion and oomph. An enjoyable album from start to finish.
Glasgow based musician The Standing Man aka Louis Carr has released his new album ‘Those Stories Of Old’. This rich collection of tracks takes Carr’s electronic infused sound and splashes it upon some R&B influences, indie aspects and soul elements to create a unique experimental album.’Those Stories Of Old’, ‘Do You See What I See (God’s A Wookie Man)’ and ‘You Flew Too High’ weave darkly smothered hip hop and electronic tones into the album as Carr coos and sings over flashing soundscapes and smooth grooves while the velvety melody drifts effortlessly over the fluctuant backdrop. The more eerie aspects of the album come in the form of ‘Sign My Love Over To You’ with creepy reverb vocals as the melancholic melody sweetens the haunting electronics while ‘I Lost My Love’ ventures into a heavier almost dubstep soundscape. Sometimes the vocal melody and instrumental backdrop appear separate like in ‘Diamond Eyes#’. The melody separates from the track as if its lifted slightly while the weaving instrumentation flickers and slaps beneath. The album is heavily electronic. The refreshing guitar moments and keys in the tracks glimmer as an undercurrent in the songs occasionally peering through the electronics. The guest vocals on the album are a surprising and pleasant surprise. ‘Meet Me’ is a standout track featuring the wonderful French / Parisian singer Noé on vocals as she sweetly contrasts Carr’s deep whispers while ethnic tones spiral and wisp beneath the beautiful vocal contrast. It’s has commercial quality elements yet exudes Carr’s unique and dark tone. ‘Keep On Pushing On’ follows this trend with tropical tones and an easy listening backdrop, it’s a refreshing lift in the album. Kat Dahlia is guest vocals on ‘I Aint Gettin No Help’ and adds a bad-ass quality to the album while ‘I’ll Lead You Home’ has a surprising country element. With twanging guitar and jangly piano the track is another sudden shift in the album. The Standing Man packs a lot of different genres and styles into this album from murky electronics, R&B, indie to county sometimes I wondered if it fit however, the shift in styles come across refreshing.
‘Those Stories Of Old’ is a unique album filled with intricate electronic backdrops wonderful guest vocalists, superb production and thick dark atmospheres. Not going to be everyone’s cup of tea as this album entwines around gloomy murky soundscapes and obscure moments but its The Standing Man’s style and an interesting glimpse into a unique artists mind.
Australian singer-songwriter Mark Braham has recently released his debut album ‘After A While’.Currently residing in Canberra, Mark Braham also serves as a producer and mixing engineer, regularly working on projects for local and national artists as well as the development of work in the film and TV industry.
‘After A While’ is an acoustically driven album as Mark Braham provides emotive foot tapping tunes of indie folk. With sweet melodies and easy on the ears acoustic backing each track on the album flows beautifully into the next. From the twanging guitar and warm melody in ‘After A While’, the cheery vibrant ‘Space Between the Sound’ and ‘Don’t Save Me Yet’ to the soft twinkling piano in ‘We Were Young’ and ethereal ‘Always Son’ Braham creates each track meticulously building tender emotion and passion into each component part. ‘Any Real Reason’ fleshes out the country twang element of the album while ‘Million Dollar Star’ introduces elegant string arrangements to flutter between the piano. The entire album is an emotional and personal collection of acoustic music presented by Mark Braham with final track ‘This Is Our Lives’ ending with uplifting tones and exuding snug comfort as nostalgic tones stream throughout.
‘After A While’ is a wonderful warm collection of tracks, perfect for those who love chilling and listening to acoustic music.
Alice’s Night Circus have released the full-length album ‘Metamorphose’.Sheffield-born Alice (Julia Scott) is classically trained and started singing professionally in her late teens whilst running her own business as a designer of fashion and jewelry. Thanks to her arresting live performances over the past few years, Julia has developed a growing global fan base, playing shows at Zandari Festa Music Festival, Seoul, South Korea, Liverpool Sound City and Mini Herfest at the Tramlines Fringe.
‘Metamorphose’ is a collection of cinematic instrumentally rich tracks held together by Alice’s mesmerising and powerful voice. The album flows fluidly between different styles and genres from an uplifting and empowering opening track ‘Stand Up’ and the pop rock stomped ‘Illuminate’ to the more elegant and passionate slow burners like ‘Never Enough’ and ‘Medusa’ the entire album is brimming with hair raising instrumentals and relatable themes. There is a sublime mix between dark alternative, dreamy new wave and theatrical expression to create a wholly satisfying listening experience. With quirky circus elements in ‘Curious World’, the cabaret swing of ‘Penny Dreadful (Mr Strange)’ and alien – esque electronics in ‘Dark Water’ Alice uses a multitude of unique elements to create and paint the images of the theme of her tracks. Drama and exquisite splendour is the running theme of the album aptly presented through the spectacular ‘Show Must Go On’ as the jagged guitar elements back the powerful stage-show display. The tracks are composed for maximum impact with pulsing heart racking drum beats, swirling electronics, elegant strings and refined production. The unique and rich use of instrumentation and percussion along with Alice’s outstanding vocals and powerful chorus in songs like ‘The Machine’ and final track ‘War of the Worlds’ continue the high energy and intensity of the album without fail.
‘Metamorphose’ is a passionate collection of tracks with tremendous weight and impact that will empower you for your day. Alice’s Night Circus should create a musical with tracks like these – she has the recipe for standing ovations night after night.
Sleater-Kinney are set to release their tenth album, ‘The Center Won’t Hold’ on 16th August. The iconic trio is comprised of Carrie Brownstein (guitar/vocals), Corin Tucker (guitar/vocals) and, now former drummer, Janet Weiss (drums). The album was produced by St. Vincent and is released through Mom + Pop. Tickets are on sale to the general public for the band’s extensive North American tour kicking off in Spokane, WA on the 9th October with a full run of European dates announced for next year including a show at Dublin’s Vicar Street on March 1st.
‘The Center Won’t Hold’ shows a sparkling deeply smoldering new facet to Sleater-Kinney’s sound as they swirl and layer sultry synths and slinky guitar lines into their indie aesthetic. It’s a lush album – rich in sound, vibrant in its construction and smoking hot all the way to its core. From the enticing build of title track ‘The Center Won’t Hold’ right through to the fleshy raw ‘Ruins’ and steamy dance infested ‘Hurry On Home’, Sleater-Kinney present their unique sound blending boisterous noise- rock mania with brooding thuds, experimental moments, electronic swirls and all out smothering indie. ‘Reach Out’ is one sublime indie track with mesmerising guitar moments and infectious emotive melodies while ‘Can I Go On’ swirls a quirky quality into the mix as Sleater-Kinney flesh out their infectious melodies coating them with a sweet candied tone and sun kissed vibe. This album is full to brim with pulsing synths and sensual wobbly guitar, psychedelic soundscapes and powerful vocals. The synths and electronics ooze and seep from the tracks like liquid nitrogen creating a smokey haunting atmosphere of euphoria and mystery while the catchy melty melodies tease and entice. There is a Fleetwood Mac hue lingering over ‘A Restless Life’ and the darkly coated ‘The Future Is Here’ as the guitar jingles and strides with a laid back tone allowing the warm honest vocals take the attention.
‘Love’ bounces with an 80’s slapped pop melody and infectious groove while the adrenaline rush on guitars are reinforced by the lush harmonies and vibrant atmosphere. The rock ‘n’ roll foot shuffling ‘Bad Dance’ drips swagger into the album with every slinky guitar line, panache-saturated vocal and drum thud. Sleater-Kinney display their emotional power ballad-esque style with ‘The Dog The Body’. With lamenting sting on guitar, anthemic chorus, punchy drums and compelling vocals its one for fist pumping the air to. ‘Broken’ brings a graceful close to the album. Elegant piano accompaniment and emotional vocals serenade distant guitar pines in the background creating the most moving and heartbreaking listening experience.
‘The Center Won’t Hold’ is a thrilling album that walks a fine line between sensual electronic and indie rock. Sleater-Kinney blend all these elements superbly to create a impressive body of work that you can dance, sing and rock out to. Its quirky, crazy and absolutely brilliant.
About the album Brownstein explains, “We’re always mixing the personal and the political but on this record, despite obviously thinking so much about politics, we were really thinking about the person — ourselves or versions of ourselves…. — in the middle of the chaos.” Weiss adds, “I think for Carrie and Corin it was liberating to explore a different sound palette. Annie (St. Vincent) has a lot of experience building her own music with keyboards and synthesizers so she could be our guide to help us make sense of this new landscape and still sound like us.” Tucker says, “The Center Won’t Hold drops you into the world of catastrophe that touches on the election. And almost like a mission statement, at the end of that song, it’s like the band is finding its way out of that space by becoming a rock band.”
‘The Center Won’t Hold’ will be released on 16th August
Until then you can stream the title track ‘The Center Won’t Hold’ below :
Mini Mansions are set to release their third studio album ‘Guy Walks Into A Bar…’ on July 26th on Fiction Records. Each Album, EP and track this trio have released has been more tantalizing, juicy and infectious than the last.Their quirky elements and mind frazzling instrumentation makes them a unique treasure and ‘Guy Walks Into A Bar…’ takes this wonderful trait, ferments it, curdles and blends it as we see the band produce their most thrilling and perhaps honest piece of work to date.
‘Should Be Dancing’ sets the experience in motion with a funfair carousel atmosphere. It sounds like it could be David Bowie and Marc Bolan’s love child.The track chugs along with that fun happy vibe while the undertone reeks of eerie clowns and danger.Michael Shuman takes his frontman role by the horns.His deep eccentric vocals flaunt with a flamboyant air and ring leader suaveness as he hyperboles, haunts and wails through the spine chilling backdrop.The jangly keys, funk flexed striking guitar and sublime bass weave and entice with an ominous yet peppy tone through the driving beat.The adrenaline heart racing ‘Bad Things (That Make You Feel Good)’ surges with rock ‘n’ roll swagger, slick guitar, an infectious clap along feature and a driving rhythm.
The first half of this album is a flurry of adrenaline and exhilarating emotions expressing one’s feelings of falling in love and all the cheeky bits in between. ‘Don’t Even Know You’ sees Tyler Parkford take the lead. His signature chord progressions on keys glitter and apply the perfect quirky quality to the melty wistful melody and sweet as taffy vocals. Zack Dawes’ bass weaves threads of delight throughout this dreamy candy-floss track. It’s a sun hazed dream-boat that cruises and bops along ready to be the soundtrack when you meet your next crush. It’s a gem to listen to. Parkford snaps out of his lovesick daze with the flurrying more confident ‘Forgot Your Name’. He swaggers over humorous lyrics as this shuffling dance evoking tune whisks you away into a rock ‘n’ roll carefree stupor. A thumping beat and riveting bass create that dance floor summoning foundation. Sharp guitar lines playfully wander and frolic between the buoyant keys and sprightly melody while Z Berg (former singer in The Like) provides the backing vocals. The album gallops straight into the heart racing ‘I’m In Love’. Jazzy keys and intricate guitar lines pepper the track in spice and rich flirtations while the electrifying wall of sound and distorted fluctuations ensure repeat plays. ‘Time Machine’ continues the loved up dreamy tone with hazy vocals, twinkling soundscapes and lush melodies.The sticky beat, zest filled guitar, echoed vocals and sweet harmonies create a delicate tender number with a pop sprinkling.The wistful swoony title track from the EP released last year ‘Works Every Time’ takes a seat on the album with its sublime lamenting guitar lines, elastic bass and Parkfords velvety vocals reinforcing the ethereal and floaty atmosphere of Time Machine.‘Living InThe Future’ re-introduces backing vocals from Z Berg as the track swirls through dazzling electronics, glam rock guitar lines and groove infested rhythm.
Suddenly things start to turn sour as the tone of the album changes and the strutting ‘GummyBear’ follows.Though a sweet pop-coated number the track lyrically takes us down a darker path “No, I got love for you no more ”. With a disco- esque undertone,the song is brimming with infectious grooves and funky bass line while buoyant drums fluctuate through the euphoric soundscape creating a rich elastic foundation. Shuman duets with The Kills’ front woman Alison Mosshart on the bittersweet ‘Hey Lover’. It’s a heartbreaking parting of ways however the band deliver this with elegance and dignity. Shuman’s smoky whispers caress the lyrics with steamy seduction as he coos and blends perfectly with Alison Mosshart’s sultry tone.The moving melody drifts along as jangly keys peep between the sombre tone, lamenting guitar and steady beat while the bass broods throughout. All that’s left is for the passionate electronically dazzling ‘Tears In Her Eyes’ to bring the album to a close the best way Mini Mansions can – leaving you wanting to take the entire emotional roller-coaster again.This smoky track simmers beneath dark daze-filled electronics while sultry guitar stings contrast the bubbling and festering bass.The verses are ominous however the chorus lightens a little with twinkling keys echoing naive innocence.The track builds and ignites into a harsh crashing crescendo. It’s an extremely expressive track while the invigorating and smothering instrumentation wrestles and tussles creating a beautiful contrast.
‘Guy Walks Into A Bar…’ is a whirlwind of emotions heightened through sublime musicianship and production.The refined glorious melodies and masterful instrumentation portray the themes perfectly. Mini Mansions are exquisite musicians. These guys are diamonds in the rough.
‘Guy Walks Into A Bar…’ will be released on July 26th until then you can check out their newest single ‘I’m In Love’ below
Cork singer songwriter Eoin is set to release his new album ‘Reverie’ on 19th July. ‘Reverie’ examines the descent into anger and depression coupled with the transition from a lighter, acoustic driven folk sound to a heavier, grunge infused one. This compact album showcases Eoin’s rich, warm and emotive musicianship as he ventures from tender ballad- esque to expressive indie rock tracks effortlessly. Each track is just as compelling as the next from the warm folky stomp of opening song ‘Anthony’s Got Mono’ to the guitar swaggering ‘Mask Your Lines’ and the dark rugged ‘The Eleventh Hour’.Eoin caresses each number with his velvety, lightly rasped vocals as the melodies drift easily into the ears with a honeyed texture however, he’s not afraid to let go as we hear through his vocal wails in ‘The Eleventh Hour’. The delicate and more tender tracks such as ‘Infinite’, the numbing twinkling ‘Instrumental’ and grunge hued dark ‘Reverie’ croon and elegantly drift you into a lulled stupor as the soft guitar and steady beat create a calming effect. Eoin builds these tracks superbly, some becoming more intense as the instruments progress. His vocals haunt and wail in ‘Infinite’ and add a steamy tantalizing dash of spice through the falsetto in ‘A Blues Song’. This hair raising progression is why Eoin is an artist to keep an eye on. He surges his tracks with emotion and passion while reinforcing his moving themes and lyrical content with mesmerising and thrilling instrumentation to make you feel each pulse, guitar strike and drum beat. ‘Snow Angels’ is a charming ditty. Simple in its approach the acoustic gem has a cheery twist as Eoin coos and whispers the quirky lyrics through a chirpy guitar feature. The smoky ‘Chalk & Cheese’ provides the steamy bluesy side to the album as the verses tease and entice with soul infused vocals and light flirtations on guitar before blasting into the brawny chorus. There is sublime guitar moments in this track as it builds to its massive crescendo. We see the frenzied rock n’ roll facet of the album through ‘A.C.I.D.’ and boy it is a thrilling whoosh that takes you by surprise. Crashing and dizzying soundscapes whirl around while a gritty guitar riff and dynamic bass relentlessly pummels through the pounding drums. An absolutely magnificent and swagger steeped number that I’m sure is going to be insane live. The grunge filled angsty track ‘Blurb’ follows the frenzy with moody tones, light lamenting guitar and steady beat. This is another superb track. The perfect build from eerie numb and glum verses to crashing guitars, dynamic drum blasts and all out explosive nature of the chorus is erratic and perfectly crafted. Another track that is sure to be outstanding live and will strike a chord with listeners.
‘Reverie’ takes Eoin from a simple singer songwriter to a passionate diverse artist with a bright future ahead. Sure he can produce light, little, sweet ditty’s that make your feet tap and warm the cockles of your heart but the album takes you down into the depths of his musicianship with eerie haunting twists, flickers of anger, turmoil and depression through dynamic chilling and sometimes erratic instrumentation. He’s not afraid to lay everything out and showcase his versatility as an artist and boy has he made one mesmerising and outstanding album.
You can catch Eoin live at :
‘Reverie’ album launch night on 19th July in DeBarra’s Folk Club
Sukh has recently released his new album ‘Galactic Love Machine’. Sukh is a Wolverhampton born, Manchester based singer-songwriter and doctor. His roots in music started with his love of film scores, and as a teenager he was thrown in at the deep end when he was commissioned to compose an action movie soundtrack. On the live circuit Sukh has supported the likes of Basia Bulat, Nizlopi, Beth Rowley, Stu Larsen and Natsuki Kurai. He has also performed at Kendal Calling several years running, and garnered support from BBC Radio 2 and BBC Introducing.
‘Galactic Love Machine’ is a magical and ethereal album crafted and meticulously arranged for a gentle mesmerising listening experience. Sukh layers and weaves his melodies beautifully. Each track is a gem. From the elegant piano in ‘Not Far Now’ and ‘Flight’ through to the warm glistening guitar in ‘G.L.M’ and the infectious peppy ‘Dance On Ice’ Sukh shows how his beautiful musicianship creates cosy tones and tender moments while also making you smile and dance. The melancholic tones and dreamy atmospheres create special moments and a moving quality throughout the album as the tracks build becoming more dynamic and more passionate. The sweet heartbreaking ’Forever’ delves deep into Sukh’s emotional songwriting with touching lyrics and moving instrumentation. The lamenting guitar pines, behind warm melancholic vocals and haunting backing vocals while the graceful piano meanders wistfully throughout. The album struts through the funk flexed ‘Hail The Sun’ and rock hues in the darkly luring ‘Mystic’ while ‘My Joy’ drizzles on some country tones with warm guitar twangs and lush harmonies. With a shredding guitar solo and bright brass elements in ‘Revolution’ as well as a female vocal lead – the album draws to a sublime end with the bright sun kissed ‘Something Good’ and ‘Let Me Love You’. The former is filled with glorious tones and images of relaxed good times while jazz-esque tones and beautiful string strides are sprinkled throughout the latter track.
‘Galactic Love Machine’ is a charming album packed with magical tunes, sweet melodies and refined instrumental arrangements. There is something for everyone within this album.
Dublin’s Fangclub have released their eagerly awaited sophomore album, ‘Vulture Culture’, on Vertigo Records. The band kick off their headline UK and European tour this October, opening in Liverpool and closing in Dublin’s Button Factory. They will also play Indiependence Festival, Cork on August 4th.
‘Vulture Culture’ is an experience – each track spirals towards the next in a gush of frenzy and turmoil while Fangclub showcase their expressive, explosive and majestic musicianship. Within this album Fangclub refine their sound, lacing each track with intricate guitar, raw bass lines and dynamic drum progressions. The album lulls into motion with ‘Last Time’. This beautiful track is made up of extracts from a confessional note that vocalist Steven King wrote his girlfriend, (which he sang to her in a lamp-lit studio). The band ease us into the album encompassing tender emotion and turmoil in one sublime slow burner. This delicate gem stops time and introduces the fragile aspects of the album with glistening guitar, reverb whispered vocals and a dreamy nostalgic melody. The track builds superbly becoming more vigorous as the drums and guitars crash into motion bringing about that powerful expressive sound we have come to love from this trio. What a track to introduce the album it’s everything the album contains and more. Title track ‘Vulture Culture’ has the trying job of following and boy it doesn’t disappoint. Stomping in swagger soaked and filled with bravado ‘Vulture Culture’ struts on slinky guitars, pulverising drums and snide vocals. With its jagged gallop and creepy carnival jingle on guitar, this light fun track is a daring cocktail of sinister and dark with a cynical zesty twist to add a sting to the palate.
Epic choruses and a robust wall of sound flood through the darker ‘Nightmare’, ‘Hesitations’ and ‘Kingdumb’ concreting the mosh ready hair raising effect of the album as each track takes you further and further into this glorious festering experience. ‘Viva Violent’ adds a steamy flourish to the album with its jangly guitar infectiously weaving between the elastic beat and rooted bass groove leading to the feisty chorus eruption. The melodies in the album, as always are catchy delicious spreads of honey that roll and drift into your mind in sweet easy doses. Each track has its own slinky raw manner which adds a sublime character and lovable quality to each song. Themes of fear, paranoia, addiction, love and despair all spew, ferment and curdle through ‘Every Day’ ‘Heavy Handed’ and ‘All I Have’ while the band use their musical prowess to create an instrumental whirlwind of shrilling guitar, beefy bass lines and mammoth drums creating the most thrilling and commanding backdrop. ’Black Rainbow’ is another gem within this treasure trove. This adrenaline inducing track drives through the gritty darkly smothered verses setting the tune up for another blasting chorus however, strikingly the band break into a sweet, light, fluffy chorus with King cooing over a dreamy, euphoric backdrop. There is of course a heavy crescendo but the track winds down into repetitive soft vocals, acoustic guitar and piano end – allowing us a glimpse of a more elegant side to Fangclub as we are lulled into a whimsical state of bliss. This track is fast becoming my favourite on the album. Its opium soaked melody and rich peppy rhythm mixed meticulously between the contrasting, brain-frazzling mania is masterful. ‘Slow’ closes the album ensuring our thirst for more is unquenchable. A beefy beat, luring guitars and attitude soaked vocals end the album on a massive high. You can’t get bigger, better or more frantic (well these guys probably will ) but it’s an enticing, vaporous and anthemic number that I can imagine is utterly mind blowing live. The track is raw, endearing and filled with enormous moments from crashing slick guitar to ground shaking bass lines and first class drumming.
Fangclub have created a phenomenal album with ‘Vulture Culture’. Once you listen to the album you will never be the same again. It is brimming with passion and curdling themes of confusion, sadness and violence. The band express this through fiery intense instrumentation that surrounds you and consumes you in a world created entirely by Fangclub. The tracks reach deep into the crevices of your subconscious and lay bare your emotions and experiences – raw and exposed but contained within this powerful medium. ‘Vulture Culture’ is pretty potent musicianship.
Singer Songwriter, Maxime has just released his debut album ‘The Honest Me Pt 1’. Maxime hails from France where his passion for songwriting began but he now resides in the vibrant city of LA where he continues to bring his words to life. Alongside the release of ‘The Honest Me Pt 1’, Maxime dropped a string of material which has already garnered huge interest with the leading single, ‘Is this Love’, already boasting over 20k streams on YouTube alone
‘The Honest Me Pt 1’ is a charming melodic album that drifts, swoons and surges with Maxime’s sublime cinematic musicianship. With vibrant, strong strides on strings throughout open track ‘Is This Love?’ the album begins elegant, graceful and compelling as warm guitar weaves between the raspy vocals, caressing the catchy melody. Each track exudes rich emotion and the instant rush of one’s first kiss as Maxime’s lyrics and expressive instrumentation flood with adrenaline and passion. From the more delicate ‘WTTW (Welcome To The World) Feat. Naby’ and heart breaking ‘Look At Me Now (Feat. Sheryl) ‘, ‘Little Words’ to the motivational and powerful ‘Damned’, ‘Tonight’ the tracks create dreamy soundscapes and instant cosy tenderness . The lyrical content feels sweet like a Disney movie but with more honesty. Each track is filled with romanticism and yet has realistic outlook. This is displayed by the swoosh and glide of dramatic heart racing instrumentation and powerful rhythms. There are beautiful powerful piano moments throughout the album and sublime pop flourishments with electronic peppering to keep a raw and rich texture throughout each song.The particularly gripping ’Apologies’ brings the album to a close with emotional and honest lyrics and vibrant instrumental content. The soft verses build to a heart racing chorus. This rush of emotions appears to be what Maxime does best, he has a sublime ability to make you feel every note, every pulse and quiver throughout each track making this album a very sweet and beautiful treasure to listen to.
