“The Age of Violent Revolution” by Strangejuice – A Song Feature

 

     The instrumentation showcases upper-frequency chiming guitar, which enables individual notes to charm the listener. The allure is most apparent after the first of a repeating lyrical statement that forms the chorus. At the 0:56 mark of “The Age of Violent Revolution,” the guitar charm resides between the first two instances of “In the age of violent revolution, the easiest solution was always to cut off the head.” Creatively, guitar characteristics change with each lyrical space in the chorus.
 
     The meaning of the song from Strangejuice is not readily apparent. The most mysterious verse is the final one:

And the flowers are free

If you know how to find 'em

They're growing out of the big refrigerator island

It's okay to cut 'em and take 'em back to your house

Just watch out for the crocodile and the mouse

 
     Strangejuice is the project of Mike Anderson, who describes himself as “an Australian solo multi-instrumentalist and hermit song-maker, prolific and ugly. strange and beautiful.” Strangejuice is based in Perth, Australia. “The Age of Violent Revolution” is the first track on his recently released album “Common Behavior.” Information regarding the album is available at the Bandcamp site CLICK HERE. 
 
      Quoting a revealing description of the single:
  “The Age of Violent Revolution” is a dark, driving rock track built around a propulsive live drum beat, jangling guitars in the verses, and heavier guitars in the chorus. The main hook comes from the repeated vocal line in the chorus, which gives the song its force and obsessive momentum. Lyrically it moves through surreal, unsettling imagery rather than a literal narrative, circling violence, panic, and collapse in a dreamlike way.”

      “The Age of Violent Revolution” by Strangejuice

Facebook: https://www.facebook.com/Strangejuice
Bandcamp: https://strangejuice.bandcamp.com/album/common-behavior

Lyrics of “The Age of Violent Revolution” by Strangejuice
It was some wild time ago
A headless girl with her head in her hand
Had to leave my place 'cause I had no place
Had to leave my place 'cause I had no place
Had to leave my place 'cause I had no place
Had to leave my place 'cause I had no place
Someplace to go
 
In the age of violent revolution
The easiest solution was always to cut off the head
In the age of violent revolution
The easiest solution was always to cut off the head
And in the age of violent revolution
The easiest solution was always to cut off the head
And in the age of violent revolution
The easiest solution was always to cut off the head
And in the age of violent revolution
The easiest solution was always to cut off the head
And in the age of violent revolution
The easiest solution was always to cut off the head
 
House burning
Saving the gin
Don’t care if the roof caves in
House burning
Saving the gin
Don’t care if the roof caves in
The wind’s howlin’
But the water’s warm
Don’t know if there’s a coming storm
 
In the age of violent revolution
The easiest solution was always to cut off the head
In the age of violent revolution
The easiest solution was always to cut off the head
And in the age of violent revolution
The easiest solution was always to cut off the head
And in the age of violent revolution
The easiest solution was always to cut off the head
 
And the flowers are free
If you know how to find 'em
They're growing out of the big refrigerator island
It's okay to cut 'em and take 'em back to your house
Just watch out for the crocodile and the mouse
 

“Let It Die Here” by Linda Perry – A Song Feature

 

     “Let It Die Here” is a title relevant to Linda Perry’s artistic past, present and future. In June 2024, a documentary with that title was released, revealing the vulnerability and courage of Perry. The documentary's trailer is embedded at the bottom of this post. Regarding the present, “Let It Die Here” is the title of Perry's most recent single release. And this May, her album by that name will drop.
 
     Our admiration for Linda Perry dates back to 2016. We are within the widespread fanbase of the 1990’s hit “What’s Up?,” with Perry as the lead singer of 4 Non Blondes. But it was the 2016 documentary “Soundbreaking” that demonstrated her passion for music and her skills and conviction as a producer. In the documentary, she talks about prioritizing vocal emotion over vocal perfection.
 
     The single “Let It Die Here” represents an internal battle. Linda Perry explained, “I wrote this song while taking care of my mom when she was really sick. At first, I thought it was about her dying… but it’s really about learning to let go. That’s what this album is about, and this song is a big piece of that story.” The lyrics are included in this post. The final verse ends “Well, God as my witness, let the healing begin.” The song is already personal and stirring, but the strings and brass significantly enhance the emotion.
 
     “Beautiful” was also shared from the upcoming album. The song was written by Linda Perry, and made famous by Christina Aguilera with Perry as the producer. In total, the album will include 17 songs. The Bandcamp site for the album states:
  “Linda Perry’s ‘Let It Die Here’ is a raw, spiritual reckoning, a journey through inherited pain, grief, and redemption. Across seventeen tracks that blend confessional poetry, cinematic rock, and vulnerable introspection, Perry confronts the ghosts of her past — mothers, lovers, and the darker corners of self.
  The record moves from the streetlight confessions of “Balboa Park” to the searing surrender of ‘Let It Die Here,’ culminating in ‘Albatross,’ a release from the weight she has carried her whole life. It is an album about release, letting go of guilt, embracing imperfection, and finding beauty in survival.”
 
     “Let It Die Here” by Linda Perry

Facebook: https://www.facebook.com/lindaperrymusic/
Website: https://www.lindaperry.com/
Linktr.ee: https://linktr.ee/reallindaperry

Lyrics of “Let It Die Here” by Linda Perry
Holy mother, paid the price
Grand illusions, La la lies
 
Nature’s beauty, charm and grace
Set corruption, in the face
 
Fortune teller, all is known
A grifter con, on a tricksters thrown
 
Angel Love, always by my side
Said the spider, to the fly
 
I said save me
Set me free
Let it die here
Rest in peace
 
Forgive me, lover, for I have been
Lost in the darkness of all your sins
 
You gave me strength, but not еnough
So I drink black water, from a demon's cup
 
Fought the battles, with the child’s sword
I stabbed the monster, but lost the war
 
Lick the wounds, to ease the pain
A well of deception, runnin’ through these veins
 
I said save me
Set me free
Let it die here
Rest in peace
 
I said save me
Set me free
Let it die here
Rest in peace
 
No more secrets, guilt or blame
No more fury, no dice, no game
Fell like a bird, catching the wind
Well, God as my witness, let the healing begin
 
I said save me
Set me free
Let it die here
Rest in peace
 
I said save me
Set me free
Let it die here
Rest in peace
 
Let it die here
Rest in peace

“We Knew Before It Fell” by Evil Level Live – A Song Feature

 

     The guitar virtuosity is the immediate draw to “We Knew Before It Fell,” particularly with the appeal of a clean, crisp ascending lick. Gradually, the vocals emerge—beginning with a subtle hum that builds in intensity—before giving way to the track’s minimal, carefully placed lyrics.
 
     Much of the song from Evil Level Live is characterized by Eastern sensibilities, although a more traditional Rock guitar abruptly breaks through at the two-minute mark. At times, the female vocals are reminiscent of Clare Torry’s in the Pink Floyd masterpiece “The Great Gig In The Sky.” The vocals flawlessly and seamlessly meander through the scale. 
 

     “We Knew Before It Fell” is a single from the album “Control Room Lullaby” by Evil Level Live. Interestingly, the album's visual representation (shown in the embedded picture) echoes Pink Floyd, since it depicts Control Room A of the Battlesea Power Station, which graced the cover of Pink Floyd's "Animal" album. 

     In the 13-year history of Indie Obsessive, this might be the first feature by a band with a name that is a palindrome. Looking at the credits on Spotify, the contributors to the single include Christophe Suzat (engineer), James Blish (keyboards), Ben Yamud (drums), Silas Zout (guitar), Jean Pierre Avidol (bass), and Sandy Malo (lead vocalist). The project is based in France.
 
     While referring to their album, the band explained:
  “’Control Room Lullaby’ is an album born inside the machine. In a silent control room, systems keep running while human doubt quietly emerges. Blending dark progressive rock with cinematic textures, Evil Level Live explores control, silent collapse, and the persistence of consciousness. A lullaby for a monitored world — gentle on the surface, deeply unsettling underneath.”
 
     “We Knew Before It Fell” by Evil Level Live