“Maybe you won’t even recognize me.”

“Black Jeans” by Lucie Silvas | Let’s do some accidental book-ending. One of the first songs I wrote about on this blog is Lucie Silvas’ “Breathe In”, originally released in 2004 and a relatively big hit in her native UK. I wondered then what she was up to, since she more or less fell out of the radar in the eight years since; turns out she went to the US to do some songwriting, settling down in New York, but primarily in Nashville. Good to know, I thought, and then forgot about her again as I endeavored to write about all these other songs I am still losing track of. Which brings us to last year, when, as it turns out, Lucie released an album, E.G.O. – an album that’s getting a fair amount of airplay in the American radio stations I monitor. I’ll admit a shallow read. I only really listened to that song. Here she sounds fuller, more confident, more accomplished, more authentic. Yes, I can hear a bit of Nashville in there, but it isn’t really the part that screams out at you, but rather, how fresh it all sounds. And realizing all this, well, it makes for a nice book-end to this blog. Sort of. [NB]

“…then again, it might just be me.”

“Everyday” by Weyes Blood | It’s starting to pop up, those albums from artists I’d just discovered and would be interested in reviewing, if not for the fact that I’m likely to forget them, or in this case, I won’t be around to review them anymore. And yes, I know that I am, once again, late to Weyes Blood; the artist otherwise known as Natalie Mering has released three albums, and this Friday she’ll release her fourth, Titanic Rising, her first under Sub Pop. But, yes, I’ll focus on this one song I heard on the radio yesterday, and particularly how it lets its whole 70s vibe just creep in, how it ultimately feels like a sing-along shorn of chronological context. In other words, it’s a pretty timeless tune. Already? Yes, sure, why not? [NB]

“Hindi na tayo katulad ng dati.”

“Burnout” by Sugarfree | I haven’t written on this blog enough about Sugarfree. Surprisingly – they’re my first favorite local band. I keep on making mental notes about making commemorative posts surrounding the release of their first two albums, but then I forget about it. Now we’re closing down, I guess I’m trying to make up for it. I discovered Sugarfree, like most of us, on the radio, but by then they had begun creeping out into the mainstream – I think I first heard “Telepono” on RX. Dramachine, their second release, remains one of those really good, all-killer-no-filler local albums of the past couple of decades. But I still have a soft spot for the songs of their debut, Sa Wakas, of how it introduced us to the bittersweet nature of Ebe, Jal and Mitch. “Burnout” was the second single, if I recall correctly, and it felt just a bit more painful. And then it makes sense. It’s time to go, even if you don’t want to. [NB]

“…but that sure will be expensive.”

“Emmanuel” by TK & the Holy Know-Nothings | I am writing about this song at half past two in the morning. I slept for an hour, woke up, and two hours later, just cannot sleep. Is it the trip to Clark? Is it me pondering whether I’m actually dying sooner than I thought? This is the second time I am listening to “Emmanuel”, the debut single from new band TK & the Holy Know-Nothings – what frontman Taylor Kingman describes as an attempt to front a “loose, groove-heavy bar band”. Well, I could be holding a glass of whiskey right about now. Maybe I should, just to fall asleep, just to avoid all these thoughts of death. But, yes, this is loose, and also dark, or it’s the time of the day that’s making me think that way. Their debut album Arguably OK drops on 24 May. [NB] (Have things I should hear? Drop me a line here.)

“You tore apart my insides.”

“Hush” by Cielo Pordomingo | Like nothing happened, right? Let’s get on with it. We’ve written about Cielo Pordomingo three years ago; the Argentinian electronica artist has an interesting approach with sound, a push and pull that plays with opposites to make a united yet dissonant feel. Next month (25 April to be exact) she’ll be releasing her fourth album, Moirai, and the first single off it, “Hush”, is, well, here. It’s the same approach that led us to write about her the first time, only now I’m really attracted to that violin thing, how it flits through and make me feel a little more on edge than I should be. (“The song presents a reality that no longer holds,” the press release says. Yes, yes, yes.) Also, yes, I’ve feel a bit on edge lately, but somehow I’m still enjoying this even if I really should feel aggravated. [NB] (Have things I should hear? Drop me a line here.)