Andy Bell ‎– Something Like Love

 

Andy Bell ‎– Something Like Love

By

Jesse E. Mullen

 

In a creative profession, the past is usually used as a source of inspiration for an artist. A writer may look inwardly to understand where they came from, and how these experiences have shaped them as a person. Andy Bell takes this to a new level on “Something Like Love.”

The Ride guitarist/songwriter’s new solo single takes the form of a message to his younger self. Bell said in a press release that he went back to young Andy for advice on how to live life during the ongoing COVID pandemic. He said that he learned the technique in therapy.

Bell takes the lessons of both youth and adulthood, and channels them into his message. When we are young, we tend to naively wish our time away. When we are older, our naivete can turn to cynicism. Bell cautions young Andy not to give into either.

He says to “use a mirror” to “burn down the world for me.” “Burning down the world” seems not to be taken literally, but rather a clever inversion of the phrase “set the world on fire” – meaning to achieve great success in a short period of time.

Historically, mirrors have been used in multiple ways in song lyrics. They have been used both to symbolize drug use and for looking inwardly. Here, Bell uses a mirror for the latter purpose. He’s expressing a desire return to his youthful energy and enthusiasm for creating art and conquering the charts.

Musically, the track is just as beautiful and reflective. Waves of reverb, harmony vocals, and mellotron wash over the song as a haunted acoustic guitar melody is strummed. The track recalls the chord progression of Ride’s early hit “Vapour Trail,” but also the majesty of “Soul On Fire” by Spiritualized.

According to Bell, the track – and forthcoming album – was recorded with guitarist and former Beady Eye/Oasis bandmate Gem Archer engineering. The instrumentation was done back in 2016, with Bell adding vocals and overdubs in 2020 and 2021. The fruitful sessions also produced songs from Bell’s first solo album.

While introspection can help us live in the present, it can also help us learn from the past. On “Something Like Love,” Bell looks ahead to an uncertain future with the wisdom of both youth and experience. The duality of existing in both worlds makes the track a lush success.

Sonic Cathedral/2022

 

 

 

 

 

Black Sands EPs

(Black Sand/Bandcamp)

Black Sand - The Reverberation EP

This EP is so damn good that I can't pick any highlights off of it. Hazy psychedelic/shoegaze with smooth, dry production. Cannot stop listening and picking up on new nuances in the music. Highly Recommended.

self-released/2017


Black Sand - Endless Blue

"Don't Throw It All Away" is simply breathtaking, and head and shoulders above the rest of the tracks here. While the other songs follow a similar formula, the repeating arpeggiated riff and warm bass propel it forward at a blissful and languid pace.

self-released/2018

Black Sand - Around The Sun 

Absolutely beautiful psychedelic/space rock. "Heaven" is a laid back Spiritualized/Jesus and Mary Chain groove that will lull you into your best mindset. 

self-released/2019

Black Sand - Kaleidoscope EP 

"For The Longest Time" is an epic tune stretching through the desert with backwards guitars, a warm bassline, and a tight drumbeat. Modern psychedelic for the ages. 

self-released/2019 

Song Review:

Lush - Out Of Control

By

Jesse E. Mullen

Lush, the popular shoegazing group formed in 1987 in Camden Town, London are back, following a 20 year break up, after the untimely death of drummer Chris Acland. They have announced a UK/US tour, and have a brand new EP out April 15th, the first single of which, "Out of Control" is nothing short of astounding. Emma Anderson’s swirling, heavily delayed guitar is instantly recognizable like none other, and when Miki Berenyi’s wise, comforting voice comes in, shoegazers the world over no doubt tear up.

The great thing about "Out of Control" is that it takes the lyrical themes of "Lit Up" (one of Anderson's classic compositions), and updates them from the perspective of a parent. Part of what makes Anderson’s songs with Lush so emotionally moving to so many, is that she writes lyrics that are incredibly relatable for those who are on the fringes, or feel like an outsider. She seems to empathize with the listener in a way that few artists attempt to, particularly towards young people finding their way in life. And Berenyi’s great strength, besides her own more acerbic style of songwriting wit, is to take Emma’s songs and give them breathtaking vocal performances. Out of Control has all the hallmarks of classic Lush, yet it also sounds like a song that the band couldn’t have made the first time around. The song seems to be passing on a wisdom, that only comes with age, and can’t fully be understood until one reaches that point. There is also a sense of mortality that hangs in the air, and an understanding that life can be short. Out of Control is deeply moving, and will no doubt whip the next generation of guitar bands back into shape.

Edamame/2016

Bands To Watch: PINS

By Jesse Mullen

I have been putting off writing this column for too long. The band you are about to read about has had far too much of an impact, on me and my life, to not write it eventually.

That band is PINS from Manchester, UK on Bella Union.

(image courtesy of VIES Magazine)

The quartet (now quintet)’s members are: Faith Vernon (lead vocals, rhythm guitar, tambourine), Lois Macdonald (lead guitar, backing vocals), Anna Donigan (bass, backing vocals), Sophie Galpin (drums, backing vocals), and new touring member Kyoko Swan (keyboards, guitar, tambourine, backing vocals.)

Their music combines elements of Punk, Post-Punk, Noisepop, Neo-Pyschedelia, and Shoegazing, with a bright, crisp pop edge. What makes them truly great, however, is how they combine these well-worn elements into something that is truly their own.

The key to their sound is their immediacy. My first reaction, when hearing the band’s music for the first time, via a live bootleg recording, was how strong their sense of melody was. But, after re-examining them, that is just one of their many gifts. The four original members have such a strong chemistry, and kinship, that it’s obvious that none of them are replaceable. This became even more obvious after last fall, when Anna broke her leg in a cycling accident, forcing her to take a sabbatical from the band. When PINS went on tour with an interim bass player, she joined the band in spirit on February 27th from the balcony, getting much love from the three original members onstage. In between songs, throughout the night, Faith was talking directly to her, at one point saying “Come back we miss you!” When it came time to play “Waiting for the End,” one of the highlights off of their debut, loud popping noises could be heard from above. It was Anna, setting off cans of streamers from the balcony, as a pre-planned stunt by the band. This humorous brand of mischief has turned up in interviews as well. When being pressed in an interview last May, about what made them so good, Faith replied “I don’t know. We were born this way, I guess.” with a grin.

(image courtesy of PINS/Bella Union)

While their debut album, Girls Like Us, contained hints of promise, it had some weaker cuts, and an overall lack of consistency. This is soon to change however, as their upcoming record, Wild Nights (June 8th on Bella Union), contains track after track of prime material. From the dark, twisted sound of “Oh Lord,” to the jangly folk of “Dazed By You,” this record tops their debut on all fronts. First single “Too Little, Too Late” has a dreamy hypnotic organ line, and a mid-tempo pace, until the end, when it speeds up and comes to a grinding hault. The B-Side is a cover of “Hybrid Moments” by The Misfits, which they have been playing live for quite some time now. Their version is the rare cover that improves on the original, and manages to make it sound like one of their own songs.

(image courtesy of PINS/Bella Union)

Second single, “Young Girls” is perfect three-chord sugar-coated noisepop, right down to Anna’s loud “Ow!” at the end of the chorus. Former title track, now re-titled “Molly,” seems to depict either a drug trip/addiction with the titicular substance, or just simply a wild night with someone named Molly. Key lyric; “You look so good when you’re sad/You look so good when you’re bad.”

(image courtesy of PINS/Bella Union)

So what’s next for PINS? World domination? possibly. Universal acclaim for their new record? I’d bet my life on it.