Album Review

Never Heavy Releases “Never Heavy Is One Full of Light”

Steve Alex’s new album is Never Heavy Is One Full of Light. The former frontman of the nineties alt-rock band Four Star Riot has forgone excess production value for a simpler, much more acoustic touch. The album skews the distinctly modern with the excess throwback, something decidedly in for the last couple of years because of romanticization of the past.

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It could be the sixties, with the sexual revolution fashion and counter-cultural zeist, the seventies being the era of the singer-songwriter juggernauts, when the maestro of the excess confessional was sexiest person of the year. “Never Heavy Is One Full of Light” skews the latter excessively, literally starting with the title, down to the lyrics Alex has written for each track. The album also reflects the era because of the fact each song is a story, all thematically linked, with beginnings middles and ends. The other thing very much a welcome throwback is how personal Alex makes each song, feeling like a vulnerable creative expression.

What makes the album as a whole compete aside from nostalgia is the assuredness with which Alex performs each track. It’s unusual to feel like an artist has their own material on lock, there naturally being hits and misses throughout the course of their career, even their own, individual releases. I’m pleased to say Mr. Alex never falls into any traps on that front. The album is insanely consistent, maddeningly so. I would have liked to see a few cracks here and there, but all in all it’s a solid and entirely immersive achievement.

There’s a visceral quality to each of the tracks, something deeply gripping not just about the music itself but the stories it tells. Storytelling is the lost art of songwriting, much like poetry it’s about speaking to the heart in addition to the mind, conjuring immersive emotive experiences not easily dismissible even when it ends. A lot of this in Alex’s case likely points back to his experiences as rock frontman for Four Star Riot. It’s clear he’s carried this over to “Never Heavy Is One Full of Light,” once stating in an article with V13 Media: “The stage is a great leveler. It is the true yard-stick by which an artist can be measured.”

In the same article, Alex was quoted as saying, “The only reason to be in a rock band is to play live, period…The energy that is given during the show between the band and the audience is the most exhilarating thing I know. It’s fun as well as emotional, but I guess the best part is the danger. My Pseudo-dance and swagger has in the past, produced sprained ankles and bloody puncture wounds. Y’know, the possibility that at any moment the whole thing can fall apart, but that is the beauty of live performances, it’s here, then it’s gone and on to the next song.”

APPLE MUSIC: https://music.apple.com/us/artist/never-heavy/1492197159

He carries this mentality to the soft rock nature of his independent release. In many ways, the aforementioned sentiments have never proven more relevant. People crave connectivity in this era, with polls regularly pointing out depression, isolation, and a lack of social cohesion are at record highs. It’s nice to see someone turn back the hands of time on that front, if just a little bit, reminding us about everything that works outside of the corporate-controlled, digitally enhanced world of the top forty still has it.

Loren Sperry

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Brynja Rán finds clarity in complicated relationships on “Unblurred” [album]

It can be hard to see when a relationship no longer meets your emotional needs, especially when affection, uncertainty, and repeated disappointment are hard to untangle. “Unblurred,” an album built on the bedrock of emotional unavailability, recurring conflict, and the slow dawning that a relationship might need to end, is where Brynja Rán unpacks that difficult process.

The ten songs follow the arc of attachment and frustration, weaving together the story of someone trying to figure out what they deserve. The focus track, “Unblurred Lines,” hits on the album’s central concept. This is when the veils begin to fall, and the person is more ready to see the partner’s behavior for what it is. The song is musically rich, with an acoustic and electric guitar soundscape, synthesizers, bass guitar, drums, and additional instrumentation.

The surrounding songs view the same emotional landscape from different angles. “Cowboy Wannabe” explores a partner masking insecurity with a detached personality, and “Deja Vu” captures the frustration of arguments that go round and round without changing anything. “Adore” is about ignoring red flags when you’re that into something, and “Cherry” is about the temporary comfort of being in a relationship that just isn’t right.

The album opens up by looking at borders and the need for real connection. “Make Me Feel” is about wanting to be loved, and “Until” is about how long you should stay in the twilight zone. “Still Stuck Waiting” captures the frustration of waiting for communication and commitment. “Don’t You Leave” begins with fear of abandonment and moves toward healing, while “What Else” ends the record with emotional exhaustion and a desire to move on.

Rather than treating every experience as a one-off event, the tracklist of “Unblurred” attempts to create a single image of relationship troubles. With this release, Brynja Rán explores unhealthy patterns, boundaries, and getting the clarity to choose a different path.

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Album Review

Legends of the Seven Golden Vampires explore healing and personal growth on “The Pumphouse of Broken Dreams” [album]

Albums often have a strong sense of identity, with songs linking to a broader emotional and musical direction. The nine-song album “The Pumphouse of Broken Dreams” by Legends of the Seven Golden Vampires, featuring Dutch vocalist Ilse Van Der Linden front and center, is more cohesive.

The band’s melodic psychedelic pop offers a welcome counterpoint to a project that explores recovery, longing, uncertainty, and personal growth. The tracklist is an emotional journey. “To Think, To Heal” starts with the idea of mental healing and moving on from the past. “Flying” is more of an escapist wish to escape the pressures of day-to-day life. “Come Home” is about finding comfort and belonging.

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It ends with “BLEND,” a combination of psychedelic, shoegaze, and electronic influences. The release also includes another visual element from Gareth Halliday, who also worked on Noel Gallagher’s High Flying Birds Who Built The Moon. “The Pumphouse of Broken Dreams” has softer vocals and a range of emotions. This album is deliberately constructed, moving from reflection to acceptance without losing the variety of experiences it tackles.

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