“Golden Fever” by Rome Is Not a Town – A Song Feature

     After hitting “Play,” the listener has only 23 seconds to wonder where “Golden Fever” is heading. Those opening moments are a sonic mirage—pulsing waves that swell and thicken until being consumed by a steadily progressing tsunami. Then the drums break through, commanding attention and clearing away any uncertainty about the song from Rome Is Not a Town. The percussion energetically drives the song, while a brooding lower-frequency guitar generates a sense of urgency. When the vocals arrive, they contribute a restless anxiety.
 
     If you are already aware of Rome Is Not a Town, it’s time to reboot your understanding of the band. Their Spotify bio still describes them as “noisy Indie Rockers with an alarming and fuzzy sound.” However, “Golden Fever” is the first single from the forthcoming album “Echoes of Love,” which promises to show a shift in the band’s sound. The album’s press release explains:
  “The first single, ‘Golden Fever,’ opens this new chapter. Measured and more grounded than their earlier work, it leans towards storytelling rather than confrontation, while still carrying the weight that has always been central to their sound. The raw energy has found a new form: more contemplative, less abrasive, but equally uncompromising.”
 
     The change may not amount to a full “reinvention,” but the shift is unmistakable. Although the genre comparison might not be fair, “Golden Fever” recalls the sound of London-based Savages with Jehnny Beth on vocals — a band we still miss. Our favorite section arrives at 3:34, when tribal drums momentarily underlie the lead vocals as they contemplatively repeat “Out of my mind,” before the track surges back to its signature intensity and builds toward the multilayered vocals at 4:23.
 
      Rome Is Not a Town are based in Gothenburg, Sweden. The members are Kajsa Poidnak (vocals, guitar), Susanna Brandin (guitar), Emma Wättring (bass), and Anna Lund (drums).
 
     “Golden Fever” by Rome Is Not a Town

     The single is available for downloads at Bandcamp

Facebook: https://www.facebook.com/romeisnotatown
Instagram: https://www.instagram.com/romeisnotatown

“Chinese Restaurant” by Radio Free Alice – A Song Feature

     The crisp, clear, and clean upper-frequency guitar that opens “Chinese Restaurant” functios as the initial announcement that the song is one that deservingly demands the listener’s attention. The guitar’s gleaming characteristics remind us of “Chasing Sleep” by The Good Williams Fringe (starting at the 1:42 mark – CLICK HERE for the song), but with a subtle nod to the cinematic shimmer of the guitar intro of David Bowie’s “China Girl. The three guitars don’t share melodies, but they’re bound by a tonal DNA - crisp, bright, and precise.

 

    Radio Free Alice were originally formed in Sydney in 2020, but are now based in Melbourne. The members are Noah Learmonth (vocals, guitar), Jules Paradiso (guitar), Michael Phillips (bass, saxophone), and Lochie Dowd (drums).

 

       In explaining the inspiration of “Chinese Restaurant,” Noah Learmonth said:

  “The idea for Chinese Restaurant came while touring the UK, surrounded by this overwhelming sense of living in the past. Every venue had a punny name nodding to some bygone legend, places like ‘EBGBS’ (a riff on CBGB) or ‘The Stoned Rose.’ Driving around the UK in this tour van felt like wandering through the aftermath of a house party that was definitely over, but no one seemed capable of moving on from.”

 

      “Chinese Restaurant” by Radio Free Alice

Facebook: https://www.facebook.com/radiofreealiceband

Lyrics of “Chinese Restaurant” by Radio Free Alice

I've been watching the tv screen
And I've been getting all huffed and puffed
About the things that they say to me
And then the things that they do to us
 
You know the Birmingham 666
But they never did it did they
It was the man in the suit and tie
That was the bomber with hell to pay
Oh oh oh oh
 
Marry me in a Chinese restaurant
White light, sulphate
Couldn't keep me up
These old men
Yeah they know we can kick ‘em out
Or I could kick him in the mouth and say
Do dootle do do
 
I used to think that the past meant nothing
Because it's always been out of style
But now I see it's the future that's forgotten
Traded in for a greater past
 
But if you give it to me
A gallery of dead Rockstars
From 1984
The necrophiliac-ac alter
Pray to Glastonbury me
 
And now it's all gone u-u-under
They made the rockumentary
About the smashing of ancient taboos
They thought would set them free
 
Marry me in a Chinese restaurant
White light, sulphate
Couldn't keep me up
These old men
Yeah they know we can kick ‘em out
Or I could kick him in the mouth and say
Do dootle do do
 
Marry me in a Chinese restaurant
White light, sulphate
Couldn't keep me up
These old men
Yeah ya know we can kick ‘em out
Or I could kick him in the mouth and say
Do dootle do do
 
 
I used to think about
I used to think about
I used to think about
Do dootle do do
 
Marry me in a Chinese restaurant
White light, sulphate
Couldn't keep me up
These old men
Yeah ya know we can kick em out
Yeah ya know we can kick em out

“Mmmm” as a Song Intro in Southern/Outlaw Rock

     One of the social media platforms appears confident in its ability to specifically pinpoint our most-favored song type — recently released Southern Rock/Outlaw Rock tracks that open with a low-pitched hum. And given that we’ve bookmarked a number of its recommendations, the algorithm may deserve more credit than we prefer to grant. Over the past weekend, our TikTok feed featured four different artists with songs that fit that narrow profile, and some artists offer more than one such track.

    The succession of Mmmm-featured recommendations began with songs from 5 Days Left, which characterizes itself as “a Gothic Indie Folk Rock band born between Appalachia’s ridges and New Orleans’ midnight streets.”  And their “songs blend ghost stories and gospel fire, swamp anthems and mountain laments — music that feels both ancient and eerily new.”

 

     “A Voodoo Hymn” by 5 Days Left

     “When the world stops turning” by 5 Days Left

Lyrics of “When the world stops turning” by 5 Days Left
Mmmm
A sky when quiet birds took flight
Radio died in the middle of the night
Some say rapture, some say war
 
I just lit a candle by the cabin door
Wind whispered, child don't run
Earth stood still, stars came undone
When the world stops turning, I'll still sing
 
Yeah, ashes on my boots, fire on my strings
If heaven don't want me, hell can't wait
Cause I'll dance in the dark with the hands of fate
Mmmm
 
Crossroads flooded, church lights gone
Devil hums that same old song
But I ain't scared, I've been there twice
Paid my dues and rolled them dice
 
Thunders laugh and angels grin
We all get washed but none stay clean
When the world stops turning, I'll still sing
Yeah, ashes on my boots, fire on my strings
 
If heaven don't want me, hell can't wait
Cause I'll dance in the dark with the hands of fate
Mmmm
You can take my name but not my sound
 
I was born from the flood and I won't drown
When the world stops turning, I'll still sing
Yeah
When the world stops turning, I'll still sing
Mmmm

     Doc Raven has four songs that begin with “Mmmm.” The four songs are “Jesus Drinks Moonshine,” “Modern Day Outlaws,” “Kick Rocks,” and “Mad Dog Mean.” Only the first one is included in this post, but all four are recommended. Also included below is “Outlaw Heaven,” which doesn’t include the hum - it’s their song that most appeals to us.
 
     According to their Bandcamp site:
  “Doc Raven is a dynamic Outlaw Country, Southern Rock, and Soul artist who crafts deeply heartfelt lyrics and vivid storytelling, blending distinctive sounds that captivate listeners. Alongside his outlaw band—Doc, Duck, & The Dirty Deeds—he delivers a powerful, authentic musical experience that resonates with raw emotion and Southern spirit.”  
 
     “Jesus Drinks Moonshine” by Doc Raven

     “Outlaw Heaven” by Doc Raven (the only hum-free song)

     The Soulful Gentlemen are “gritty Southern Blues meets Cinematic Soul, Hip Hop drums, Gospel undertones, and whiskey-soaked storytelling. We create original music inspired by dark Blues, Country Rap, Outlaw Gospel, and faith-driven themes of redemption, pain, and resurrection. Blending raw emotion with vintage style and modern edge with every lyric rooted in truth, grit, and grace.”
 
     “His Temptation” by The Soulful Gentlemen

     Breaking Rust is the performance moniker of Aubierre Rivaldo Taylor. He speaks his truth in “Livin on Borrowed Time.”
 
     “Livin' on Borrowed Time” by Breaking Rust

Lyrics of “Livin' on Borrowed Time” by Breaking Rust
Mmmm
I've been broken, bruised, been used
Had folks talking like they know my shoes
Ain't no saint, I raised some hell
But I learned my peace where my demons dwell
 
I quit chasing ghosts that don't pay rent (mm)
Quit worrying about the ones who went
Now I walk my road, dust on my boots
Singin' my truth whatever it roots
 
'Cause I don't give a damn who don't like me
This world spins fast and time ain’t free
We're all just sparks in the midnight sky
Fading out slowly, sayin' goodbye
 
So pour that whiskey, let it burn fine
Laugh at the scars that prove I'm alive
We're all just livin', hm
On borrowed time
 
Had some lovers, lost some friends
Some stories start, some just end
Every tear I shed don't wash me clean
Of all those fake people and broken dreams
 
And I don't beg, I don't chase
Don't need no crown, I got my grace
Life's too short to wear a mask
So I will say my piece and sip my flask
 
'Cause I don't give a damn who don't like me
This world spins fast and time ain’t free
We're all just sparks in the midnight sky
Fading out slow, sayin' goodbye
 
So pour that whiskey, let it burn fire
Laugh at the scars that prove I'm alive
We're all just livin', mmmm
On borrowed time
 
Yeah, the clock don't stop, it don't rewind
You blink and you're 40, damn near blind
So love who you love and cuss when you need
Be your own man, that's all you can be
 
I don't give a damn who don't like me
Made my peace, my soul set free
We're all just sparks in a stormy sky
Burning out bright before we die
 
So raise that glass, let it hit just right
Here’s to the truth and the dirt and the fight
Yeah, we're all just livin'
On borrowed time
 
I don't give a -
I don't give a -
I don't give a damn
I don't give a -

“Dirty Rose” by The Tall Pines – A Song Feature

 

      “Dirty Rose” is a genre bender, but it’s fair to most closely identify the song as being Southern Rock, a genre that is increasingly associated with “Red Dirt” as a designation. The origin of the term is of interest to “Dirty Rose,” since the song begins with the line “She came out of a red dirt town.” Red Dirt as a genre gets its name from the distinctive soil color found in Oklahoma region. So, some purists hold that the genre designation should be reserved exclusively for music from red dirt areas. We are not purists! To us, Red Dirt represents Rock with attitude, infused with Southern/Country influences.

 

     The song from The Tall Pines is a first-person account from a man now in love with Dirty Rose. They met while she was selling highly effective “shit” at a bonfire boogie. The Tall Pines are Connie Lynn Petruk and Christmas Davis, a duo based in New York City. Davis explains that “Dirty Rose” was written to provide a foil for the harmful machismo of the lead character in a “Biker Fiction” story he found in a 1970s’ issue of Easyriders magazine. “Biker Fiction” was a series of short stories mainly written by incarcerated bikers, who sent them to Easyriders magazine from prison. The relevant story was about:

  “[an] older biker, who is sitting in a roadside bar, confronting his own mortality. Knowing that he will die soon, he writes a letter to the woman who has been his devoted partner for years, and who he has children with. In his letter he tells her how much he loves her, because he has never told her what she means to him before. The letter is heartfelt and moving. The old biker gives the bartender the letter and asks him to mail it for him, as he prepares to ride off to certain death. He has one more beer, and at the last minute, he tells the bartender to give him back the letter. He tears it up, throwing the torn pieces down on the bar where he had just finished writing it. He walks out of the bar, riding off to his death. A tough guy to the end.”

 

     In contrast, “’Dirty Rose’ rode out of her red-dirt town to remind us that if you aren’t strong enough to tell the people that you love, that you love them, then you aren’t really strong at all.”

 

     The Tall Pines describe “Dirty Rose” as a catchy fuzzed-out Garage Rocker. The song was released via NYC’s Declared Goods label. A hidden "gem" within the song comes in the form of the backing vocals around 1:50, when the Connie Lynn Petruk channels the power and elegance of Clare Torry's contribution to Pink Floyd's "The Great Big Gig In The Sky." 

 

     “Dirty Rose” by The Tall Pines

Facebook: https://www.facebook.com/thetallpines
Website: https://www.thetallpines.com/

Lyrics of “Dirty Rose” by The Tall Pines
She came out of a red dirt town
Left her mama and their double wide
Down in those parts even the breeze smells Southern fried
 
Gunnin’ her bike in the night out on 85
She’s going where them boys are half crazy
And the women are ten times as wild
Yeah!
 
Doo Doo Doo Do Do
Doo Doo Doo Do Do
Doo Doo Doo Do Do
I love you Dirty Rose
[Repeat]
 
I met her out at the bonfire boogie
In the woods down by the riverside
She was selling that shit
Got me lit up
Like the Fourth of July
 
Next thing I know we’re talking real low
Layin’ down where the grass is high
Caught between the headlights and the moonlight
I was holding her hand in mine
Yeah!
 
Doo Doo Doo Do Do
Doo Doo Doo Do Do
Doo Doo Doo Do Do
I love you Dirty Rose
[Repeat]
 
They say that nothin’ lasts forever
Man, what do they know?
She’s on my mind all the time
I love you Dirty Rose
 
Doo Doo Doo Do Do
Doo Doo Doo Do Do
Doo Doo Doo Do Do
I love you Dirty Rose
[Repeat]
Doo Doo Doo Do Do
Doo Doo Doo Do Do
Doo Doo Doo Do Do
I love you Dirty Rose
[Repeat]
 

“Haunting Feeling” by Elevated Focusion – A Song Feature

     It’s not a typical share for Indie Obsessive. “Haunting Feeling” lives in a lower-frequency neighborhood and does not feature the guitar. But there are thought-provoking lyrics (included below) delivered with an emphasis on emotion and soulfulness.
 
     Elevated Focusion is an eclectic electronic music project from the mind of Jonny Rythmns. Drawing inspiration from his own life experiences within the vibrant kaleidoscope of what defines New York City, Jonny wants to elevate that NY state of mind by reaching out to various corners of the globe, enhancing our appreciation of the world through music and art.
     “Haunting Feeling” is the final track on the recently released 10-song album “Space Dance.”
 
     “Haunting Feeling” by Elevated Focusion

Facebook: https://www.facebook.com/jonnyrythmns/
Website: https://www.elevatedfocusion.com/
 
Lyrics of “Haunting Feeling” by Elevated Focusion
Past lives
Demon nights
Bad things
Evil child
 
wild mind
deadly times
child like
friendly smile
 
Empty stares
Faceless glares
Noone there
Faithless prayers
 
Dares and truth
Define my youth
Past visions
Haunting grooves
 
Lost in space
I find myself
The past erased
By cosmic spells
 
Solar systems
And galaxies
Free me from the prison
Of reality
 
Spacey place
Hazey mind
Waste of space
Crazy life
 
Humanity
Soul desire
Gravity
Holds me tighter
 
Dance Groove
Get Loose
Guiding lights
Yellow Moons
 
Black holes
Dark matter
Fashion goals
Lava planet
 
Lost in space
I find myself
The past erased
By cosmic spells
 
Solar systems
And galaxies
Free me from the prison
Of reality
 
Mind games
Brain damage
Mind frame
Another planet
 
Crazy place
Lifeless
Wasted daze
Timeless
 
Fast money
Cash is king
Hands bloody
Panicking
 
Cold world
To the core
Spoken words
Nevermore
 
Lost in space
I find myself
The past erased
By cosmic spells
 
Solar systems
And galaxies
Free me from the prison
Of reality

“The Breaks” by Balancing Act – A Song Feature

 

     The lyrics of “The Breaks” are included at the bottom of this post. The interpretation is open to speculation. We certainly need help on the first verse, but it includes the line “‘Cause you crave me all too much,” so there is a reference to a relationship that has difficulties. Is there a problem with one of both ages? That is the suggestion in the chorus:

Crimson and closure

It’s the right time to give me the love

If we were older

It’s be the right time to give me the love

Oh love

     The “Crimson and closure” is particularly interesting. We had to confirm that it wasn’t “Crimson and Clover,” the title of a 1968 hit by Tommy James and the Shondells. Tommy James confirmed that the phrase is meaningless outside of the song – it is a combination of his favorite color and his favorite flower. Some “experts” interpret the 1968 song as being about infatuation and love, while others say it’s about drugs. Can a parallel disagreement run for “The Breaks," which begins with the statement “Take a sip of the elixir I rise”?
 
      Regardless of all discussions of lyrical meaning, “The Breaks” should be explored. The song resides on the debut album of Balancing Act - Part 1 of “Who’ve You Come As?” The band is based in London and the members are Kai Jon Roberts (vocals), Jackson Couzens (guitar), David Carpenter (bass), and Pat Hanbury (drums).
 
     “The Breaks” by Balancing Act

Facebook: https://www.facebook.com/BalancingActBand
Website: https://balancingactband.co.uk/

Lyrics of “The Breaks” by Balancing Act
Take a sip of the elixir I rise
The teeth they scrape
Suspended from the ceilings higher
Expose the breaks
‘Cause you crave me all too much
And pace round the garden of trust
Expose the breaks
 
Is it not the right time to give it up
In another life
Another love
Pace it to the top then peel it off
On your own
Monochrome
 
Crimson and closure
It’s the right time to give me the love
If we were older
It’s be the right time to give me the love
Oh love
 
Take a sip of the elixir I rise
The teeth still scrape
Suspended from the ceilings higher
Expose the breaks
‘Cause you crave me all too much
And pace around
 
And if it’s not the right time to give it up
In another life
Another love
Pace it to the top then peel it off
On your own
Monochrome
 
Crimson and closure
It’s the right time to give me the love
If we were older
It’d be the right time to give me the love
Oh love
 
Crimson and closure
It’s the right time to give me the love
If we were older
It’d be the right time to give me the love
Oh love

“You Ain’t My Crowd” by Follow Floor Five – A Song Feature

     Of course, Germany is not the original source of Southern Rock. Nor is the country known for its Blues. Still, Follow Floor Five showcased a Bluesy Southern Rock gem with its release of “You Ain’t My Crowd.”  The same disassociation of genre and country of origin applies to Italy. But in marches Follow Floor Five with a song submission accompanied by a German flag of black, red and gold. Investigations found links of the band to Italy or to the United States. The story has more flare if we assume that the U.S. is not a possibility, but that assumption is not tied to anything other than story preferences.
 
     The music of Follow Floor Five identifies Luca Bonsignore as the driving force. He is a composer and producer. Regarding his song:
  “You Ain’t My Crowd” is a bold statement of independence – gritty guitars, raw vocals, and an unapologetic groove. Follow Floor Five channel the spirit of standing alone, turning defiance into anthem energy. Perfect for Alt-Rock and Indie playlists where attitude meets authenticity.
 
     “You Ain’t My Crowd” by Follow Floor Five 

Lyrics of “You Ain’t My Crowd” by Follow Floor Five
Seen y’all dancin’ when the light was high…
Drinkin’ from my flame, singin’ my name.
Feelin’ real close.
 
But when the fire dimmed,
I looked around…
And every goddamn seat was cold.
 
They came runnin’
when the champagne poured,
when the beat dropped
and the roof got tore.
Flashbulb faces,
all teeth and gold,
chantin’ my name
like a lie they sold.
 
Where you at when the lights go black?
You only love me when I don’t crack.
You ain’t my crowd.
Nah…You ain’t my fucking crowd.
 
Got hands on my shoulder
when I’m on the stage,
but none by my side
when I’m locked in rage.
Got likes on my fall,
hearts on my pain,
but no one’s callin’
when I drown in rain.
Don’t pretend like you were there.
When my soul was fucking bare.
Not you.
Sure not you.
Don’t fake that crown.
 
Seen y’all dancin’ when the light was high…
Drinkin’ from my flame, singin’ my name.
Feelin’ real close.
 
But when the fire dimmed,
I looked around…
And every goddamn seat was cold.
 
They came runnin’
when the champagne poured,
when the beat dropped
and the roof got tore.
Flashbulb faces,
all teeth and gold,
chantin’ my name
like a lie they sold.
 
Where you at when the lights go black?
You only love me when I don’t crack.
You ain’t my crowd.
Nah…
You ain’t my fucking crowd.
 
Got hands on my shoulder
when I’m on the stage,
but none by my side
when I’m locked in rage.
Got likes on my fall,
hearts on my pain,
but no one’s callin’
when I drown in rain.
 
Don’t pretend like you were there.
Yeah-yeah
When my soul was fucking bare.
Not you.
Not you.
 
Don’t fake that crown.
I watched the room when I fell down slow.
Silence screamed.
Not a damn soul showed.
Just me.
My breath.
And the echo of cheers
from the night before.
 
Next time I rise,
don’t reach for my flame.
 
This fire ain’t yours.
You ain’t my crowd.
You ain’t my fucking crowd.
 
Instrumental bridge
 
I watched the room when I fell down slow.
Silence screamed.
Not a damn soul showed.
Just me.
My breath.
And the echo of cheers
from the night before.
Next time I rise,
don’t reach for my flame.
This fire ain’t yours.
You ain’t my crowd.
You ain’t my fucking crowd.

“Love In Blue” and “Get It Right” by Neurotypes – Song Features

     Canada-based Neurotypes recently released “Violence District,” a six-track album that showcases the band’s sharp production and stylistic range. Standout tracks “Love In Blue” and “Get It Right” draw on New Wave, Post-Punk, and Synthwave influences, resulting in tightly constructed, rhythm-driven songs that almost irresistibly invite toe taps and shoulder shimmied.
 
     “Love In Blue” opens with instrumentation that feels like a spotlight moment — the kind of sound that announces a band’s arrival on stage. But only 15 seconds in, a kick drum ignites momentum, shifting the track into an atmospheric condition that feels grounded yet electric, as if declaring, “Hang on — we’ve landed.”  The bass soon joins to enhance the rhythmic power. And the reverb vocals fit well with the instrumentation. Later, after the three-minute mark of “Love In Blue,” the song creatively shifts into a less melodic, yet highly appealing, Experimental Synthwave soundscape.
 
     “Get It Right” is similarly a rhythmic marvel, but the bass plays a more significant role in driving the song’s energy. The song remains consistent to itself, but the vocals appealingly feature a higher pitch, beginning around 2:10. Neurotypes describe the song as Shoegazey guitars over lyrics of change and acceptance of lost friendship.
 
      Neurotypes is the project of Nat Resi of Ottawa, Ontario. The Bandcamp site states that the project features “Mumblewave from Canada.” The credits for the album, “Violence District,” identify Hannah Judge as a contributor. Judge uses the performance name fanclubwallet for her releases
 
     "Love In Blue” by Neurotypes

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Bandcamp: https://neurotypes.bandcamp.com/
Instagram: https://www.instagram.com/natneurotypes/

     “Get It Right” by Neurotypes

     “Violence District”

“Land of Leisure” by Sunny Pache – A Song Feature

 

     There is a sense of urgency in the instrumentation that isn’t fully shared by the vocals, although the falsetto backing vocals seem to have more sympathy for the instrumental bustle. In his song “Land of Leisure,” Sunny Pache allows each instrument to showcase its individuality, as long as the energy remains uplifting. The bridge, which begins shortly before the two-minute mark, features a mini call-and-response between the guitar and the keys.
 
     Sunny Pache describes “Land of Leisure” as having “fun alternative Indie vibes.” While he originally hailed from the New England area, he is now based in Portland, Oregon. His song was recorded in his home studio. The credits identify him (Nathan Watt) as the composer, guitarist and vocalist. The bass is from Mike Felton and the keyboardist is Carlos Homs.
 
     “Land of Leisure” by Sunny Pache

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LinkTree: https://linktr.ee/Sunnypache
Website: https://www.sunnypache.com/