The Flower Hour 9
This month's instalment of The Flower Hour is opened by the only song ever released by Grippa in his lifetime. Drill artist Grippa - real name Keylan Bokassa, not to be confused with The Flower Hour alumni of the same name - was tragically stabbed to death in Woolwich, South London on 7th January. He was only 14 years old. "Bangers & Mash" - with its bolshie, brazen, braggadocios lyrics, with references to violence and crime - acts as a reminder to us all that if you play with fire, unfortunately you often get burned. Grippa delivers bar after bar in a slick, distinctive, composed and accomplished manner which suggests that his obvious talent and ability could've taken him anywhere (he also produced the track, by the way). However the song will sadly be forever overshadowed by the awful events that surrounded it.
With his trademark sense of humour and laid-back style, Asim C has steadily been putting out a stream of impressive tunes since 2020 - but he has been rapping for a hell of a lot longer. On “Brown Excellence” (Freestyle) he makes knowing references to Hitchcock’s Psycho, Maradona’s Hand of God, and gives an excellently executed nod to Jay-Z's "Michael" lyric from Ni**as In Paris but with an delightfully Asian twist (it’s the highlight of the track, listen out for it). With a flow clearly inspired by Biggie, various members of Wu-Tang Clan and the golden era of UK hip-hop, Asim C has, for some time, given us a unique view of the British-Asian experience, and Brown Excellence is no exception. He is also on production duty here which is just as impressive as the striking but minimalist music video that accompanies the track.
Channelling the hybrid "terror-trap" of artists like Salem, elements of the digi-punk of Crystal Castles and aspects of adventurous electronica acts like Arca, Yesh Yoko returns to The Flower Hour with “Esther”. With his constantly shifting stylistic choices and aesthetic evolution, Yeshua is a real Artist in the truest sense of the word. Always pushing forward whilst at the same time taking the past into reverential consideration, this artists goes from strength to strength and carries himself with a composure that screams confidence and certainty. His output recently has been extremely consistent - he’s been crafting brooding, beguiling electronica accompanied by impactful, impressive monochromatic artwork - and, based on the quality, we’d hazard a guess that he’s responsible for that too. A true renaissance man.
Continuing the eerie electronic theme, we move onto “Crimson Sky” by David K Frampton. David is somewhat of a maverick in the DIY music scene having released music under a variety of guises for over two decades and having been the head of Brighton-based Eyeless Records for what feels like an eternity. He’s recently relinquished control a bit on the label side of things but continues to produce captivating, compelling work like the album this track is taken from (which we recommend consuming as a whole). Sparse, cold and clinical, this what you imagine tension would sound like - like Kraftwerk collaborating with Brian Eno. It is a slowly pounding, methodically pulsating piece that holds your attention for its full 127 seconds. While you immerse yourself in the soothing sounds - as tempting as it might be - don’t forget to breathe.
Peruvian pianist Dorbax is up next with with the beautiful song “Te Espero”. This is another instrumental track, but here we dial the grandeur up to 11. Sounding like the soundtrack to a particularly poignant moment in an unseen cinematic classic, this piece is emotional, evocative and epic in equal measure. With bundles of personality, it builds and grows like sprawling audio ivy, enveloping you in expression - taking you higher than the sun and then, by the tracks end, tenderly lulling you to sleep in the undergrowth. It's really powerful stuff.
“An Empty Nest Is An Emptyness” by Quarantine Angst is another stirring instrumental - this time centered around the pairing of shimmering, clean guitar tones and measured, pared-back drums. The combination of song title and artist name, I'm sure, will immediately conjure nightmarish images and memories of the not-too-distant-past for all of us. The beauty of this piece makes us even more appreciative to have come out the other side of that unspeakable debacle in a position to be able to enjoy such pleasures as art like this. Written, performed and produced entirely by one man - Brooklyn’s J Herskowitz - this track blends indie rock tones with post-rock structures to make something quietly monumental.
With a style that recalls the work of The Flower Hour alum Tim McNary, “Hungry Ghosts” by Lewis Stevenson is a folky ditty with a twist. There's almost an emo undertone or a bit of Biffy Clyro to the songwriting here - we'd go as far to say that it would slot in nicely alongside songs from Biffy’s stupendous MTV unplugged set. There’s a warmth and an earnestness here that is what acoustic troubadours are all about - but it doesn’t feel in any way clichéd, which is an impressive feat. It’s a bit Frank Turner and a tad Billy Bragg - but much more subtle than either of those cult favourites. As the song picks up the acoustic guitar is paired with piano and distorted guitar and we’re reminded of a more subdued Gaslight Anthem - maybe if they wrote a song with Ben Gibbard. An intriguing prospect.
“Sao Paolo” is a little hazy dreampop interlude of a tune from Australia’s Frank Justin. Justin creates laid-back bedroom indie-pop that melts and meanders and burrows its way into your soul. Drenched in reverb and other assorted effects, Frank Justin has risen from the ashes of his previous musical project - Jacuzzi Onsen - with a new EP entitled Adelaide. With a drum beat that almost sounds like an old hip-hop sample, a Mac DeMarco chillaxed vibe and Tame Impala-indebted guitar and bass combination - this track is a fuzzy, freaky, psych journey in only 54 seconds. We’d encourage you to give the rest of the EP a listen - there’s a lot going on in only 12ish minutes - and read our full Start Track blog review here!
“The Fighter (Round 2)” by Dead Nature is up next. Dead Nature is the solo pseudonym of ex-Spring King drummer Tarek Musa. Stepping out from behind the kit, he takes centre stage on this project, responsible for, well, everything that you hear here. The Fighter (Round 2) has a decidedly mid-late 00s “nu-rave” vibe about it. It evokes vivid memories of sticky floors, glitter everywhere, neon everything and sweaty kids off their tits. There's bits of New Young Pony Club, Hot Chip, Passion Pit, Foals and Klaxons here. Indeed, even the production has a touch of the James Fords about it, which is really saying something. It's fun, lively, danceable and considered and - based on the strength of this tune - whatever he drops next may well turn out to be the sound of spring (no pun intended). Dead Nature aside, Tarek can also be found producing and mixing tracks for both emerging and well-established artists in his studio in Liverpool.
“Naked and Swimming” is a collaboration between long-time Grizzly favourite Sorcha Richardson and fellow Irish chanteuse Morgana. The tune is a highly emotive but lightly lilting lullaby of a thing - with touches of country, indie and folk, all lashed together with ambient electronic textures - like Phoebe Bridgers collaborating with Maribou State produced by Daniel Lanois. As the song swells and reaches it’s apex, the words go “Jesus Christ, take the wheel, ask me how I fucking feel” - there’s an undeniable undertone of exasperation but it’s laced with a kind of release that can only come from letting go and leaving your destiny in the hands of someone else. As the song concludes, the two vocalists intertwine and complement each other perfectly - as though they were made for each other. Here’s hoping they work together some more.
The guitar tone that begins “When I Fall To Pieces” immediately ensnares you and as the minimal intro quickly evolves, the song rapidly flourishes and comes into its own. The syrupy guitar is joined by understated drums, tasteful bass, occasional saxophone and the gorgeous country-tinged soulful vocal of Rachel Fields. Brick Fields conjure ideas of a gentler Alabama Shakes - albeit with a more muted (but no less earnest) singer at the helm - and the rootsy traditionalist tones and textures work wonderfully together. There’s a subtle late-Stones-esque quality to the track - moments that are slightly reminiscent of Keys To Your Love or Wild Horses. It’s peaceful, delicate and really quite stunning - like a soothing chicken soup for the ears. Or something. Entirely wonderful.
A similarly old-school approach is applied to the songwriting on the next song - “First Name Basis (With The Blues)” - which is the work of Nashville, Tennessee resident Kurt Fortmeyer. Sounding like an amalgamation of Dr. John & Randy Newman covering a mash up of a Sam Cooke song (specifically A Change Is Gonna Come and/or Touch The Hem Of His Garment) and Sinatra’s That's Life - this is quite the melting pot of retro influences combined into one enchantingly charming neo-traditionalist piece - equal parts hobo blues, folk and honkytonk - this singer-songwriter clearly has done this a few times before. In fact, he’s been at it since the 1970s - and shows no sign of slowing down.
“Is This For Real?” is the work of Caged Dodo - a.k.a. young Rochester resident Dylan Vieira. With obvious influence from Joni Mitchell, The Beach Boys and George Harrison, and maybe just a touch of D’Angelo - this is a soulful folky number that’s full of personality and charm. There’s a decidedly jazzy Latin lean to the instrumentation here too which probably comes from Dylan’s frequent travel - specifically time spent in South America. Only his debut single, we will avidly look forward to what comes next. “A dodo in a cage, will soon be all the rage” - his Spotify page informs us. We would not be surprised.
“Mr. Other Meets Another” by Dog Army is up next. Sounding like a direct descendent of the macabre classic Red Right Hand - this has all the same haunting, enthralling, hallmarks of Mr. Cave’s best work. With an unsettling undertone of gently simmering, barely-contained mysterious rage, this song creeps along, not changing much but for some reason being as engaging by the end as it was at the beginning. Dog Army is the artistic project of one man music machine Erik Dionne who does everything himself - these duties include but are not limited to vocals, guitar, mandolin, merlin, violin, bass, percussion and production via “acoustic and analogue means, using a mix of traditional and unorthodox instrumentation”. Really impressive stuff.
“Ride On” is the first single from Evan Williams’ upcoming debut album entitled The View From Halfway Down, due to be released in the Spring on Peter Doherty’s Strap Originals label. Dripping with vintage style and retro attitude, Ride On comes across like a hybrid of The Birthday Party, The Cramps and Edwyn Collins - if they came from Thanet. You can hear The Libertines influence too - although we get more Carl than Pete - in the quintessentially English but clearly American-influenced rollicking tale of rambling raconteurs, Jobseekers Allowance, takeaway meals, drug deals and seedy, sordid encounters. Bet it sounds great live.
“Stranger” by Leeds-based The Flower Hour alumni The Foxgloves starts strong. The Joy Division influence here is front and centre – the bassline has more than a touch of Transmission about it. This focal point is complemented by a grungey shoegaze-style lackadaisical vocal and larger than life drums. Eventually we’re introduced to a catchy-as-a-cold “do doo, do doo, do do doo do doo do” chorus part (with matching guitar melody) – and it’s apparent - as if we didn’t already know - that this lot know their way around a tune. All these ingredients come together over the course of the song to make something uniquely delicious. Stranger is a song that grows organically and eventually builds to a satisfying climax. We would encourage you to give the full EP a listen and to check out our full review here. Keep an eye on this lot.
New Jersey's Jeremy Abrams is up next with “Sleeptalking”. Jeremy has really nailed that emo/pop-punk sound. Borrowing from bands like Fall Out Boy, Blink-182, Taking Back Sunday and New Found Glory, Jeremy has crafted a perfect pop-punk track - and all by himself, no less. Sleeptalking is expertly realised and wonderfully easy to listen to and enjoy. The “wake up, wake up!” chorus is instantly anthemic, the energy is that perfect emo blend of upbeat and depressive (LOL) and the musicianship (especially the guitar work and the chord progressions) is “on point” - as I believe the kids (still?) say. Jeremey’s degree in music production is put to excellent use here and the songs introspective sentiment and lyricism dovetails perfectly with the absolutely quintessential sound of the genre.
Keeping the pop-punk theme going, Houston, Texas’s Galaxy Parade follow with “I’ll Always Be Around”. Like a fusion of Brand New and Hawthorne Heights, and with more than a touch of early Panic! at the Disco (specifically I Constantly Thank God For Esteban) there’s a melodic core at the route of the alt-rock guitar maelstrom that is instantly captivating. There’s also a grittiness that gives the song another dimension and separates it from others in the emo-adjacent genre - a bit like Hell Is For Heroes, Funeral For A Friend or Hundred Reasons. Fans of the style will be elated and those who are unfamiliar may just find themselves converted.
“SNAKESKIN” by Gramercy channels the sprit of early Gallows and blends it with a screamo energy (is that a hint of The Used we hear?) and a bit of a Strange Bones-esque electronic undercurrent. At first, SNAKESKIN is an undeniable all-out sensory assault, but around two thirds of the way through, the song evolves. It sheds its spikey, aggressive cocoon and blooms into something more beautiful and tender, albeit briefly. Cleaner guitars, and ethereal female backing vocals cut through the ever-present distorted bass and drums and another level is unlocked - there is a fleeting glimmer of light in amongst the grime. The song then 180’s again and goes back to pounding you in the face in the dark - and then it leaves swiftly, before the lights come on.
Last, but by no means least is “Glass Jaw” which is brought to you by The Lonely Suns. The Lonely Suns is the project of an enigmatic one man band who goes only by “Dan”. “Dan” is a self-described “40 year old west-coaster Dad” who has recently undertaken the task of committing to tape years of songs that he has never gotten round to recording. Rumour has it there are over 250 of them! Glass Jaw is the second song from this project and is a blend of The Sonics, The Jim Jones Revue, Howlin’ Wolf, The Flat-Duo Jets, The Stooges and Motorhead. And it's as chaotic as that sounds. This is a scuzzy, dirty, downright nasty piece of work - and we bloody love it. This multi-instrumentalist is currently looking for collaborators, so reach out and get in touch!
And that concludes the ninth edition of The Flower Hour. Double digits next month. Wow, they grow up so fast.
As always, if something here connects with you, please, #GiveThemTheirFlowers
Also, as always, submissions for consideration for inclusion in future instalments of The Flower Hour are open.
You are welcome to get in touch via email (kindagrizzly@gmail.com), here on Substack or via social media.
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