In the time since her 2024 album For Your Consideration, Empress Of’s family home in California burned down in the Altadena fires. She grappled with the tragedy on last year’s “Blasting Through The Speakers” and March’s “Dream House,” and now the singer-songwriter is announcing her new LP called Dream House.
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In 1973, David Bowie discovered Bruce Springsteen via the New Jersey singer/songwriter’s debut album, Greetings from Asbury Park, N.J, and liked what he heard, to the extent that he decided to cover not one, but two, songs from the record.
In November ’73, during the early sessions for Diamond Dogs, Bowie recorded a version of Growin’ Up with The Faces’ (and future Rolling Stone) Ronnie Wood on guitar, and a year later, while recording at Sigma Sound Studios in Philadelphia for what became his Young Americans album, the English star taped a version of the closing track on Greetings…. It’s Hard To Be A Saint In The City. A DJ who’d been supportive of Bowie’s past releases was invited to drop into Sigma Sound to hear the work-in-progress, and when Bowie mentioned that he was recording a Springsteen cover, the DJ asked, “Do you want me to get Bruce down?”
Calls were duly made, and Springsteen took a Greyhound bus down to Philadelphia to hang out, arriving on the morning of November 25, at around 1am. The 25-year-old American was doubtless bemused to find that Bowie wasn’t actually there when he arrived… and perhaps even more bemused when the English star showed up an hour later “out of my wig”, as Bowie later admitted, with a hint of embarrassment, in a 1987 interview with Musician magazine.
Joking with writer Scott Isler, Bowie said he “vaguely remembered” Springsteen’s visit, and added, “I remember chickening out of playing [It’s Hard To Be A Saint…] I didn’t want to play it to him ’cause I wasn’t happy with it anyway.”
“I used to go and see him,” Bowie continued. “I hated him as a solo artist, when he came on and did this Bob Dylan thing. It was awful, so cringe-making. He’d sit there with his guitar and be folky, have these slow philosophical raps in between the songs. As soon as the band came on, it was like a different performer and he was just marvelous.”
Of the night itself, Bowie admitted, “I just couldn’t relate to him at all. It was a bad time for us to have met. I could see that he was thinking, ‘Who is this weird guy?’ And I was thinking, What do I say to normal people? There was a real impasse.”
Springsteen departed at around 5am, right around the time, according to an onlooker, that Bowie started banging on about UFOs: the young American didn’t get to hear his song. In fact, Bowie’s version of It’s Hard To Be A Saint In The City remained unreleased until it surfaced on the Sound + Vision box set in 1989. His take on Growin’ Up emerged on the Ryko reissue of Pin Ups and, subsequently, on the 30th anniversary reissue of Diamond Dogs.
The song begins with a driving rhythm that draws listeners in with its refined and alternative vibes. The music envelops you, creating an experience that merges elegance with an easygoing feel, while addressing profound themes. Matt Law’s single “Made Up Construct” delves into the philosophical notion of humans’ constant quest for meaning and connection. The lyrics engage with our tendency to make everything revolve around our personal experiences.
The architect behind this musical project, Matt Law, has collaborated with talented musicians such as drummer Taylor Whyte, bassist Alex Duncan, rhythm guitarist Kian Carrol, and lead guitarist Morgan Flanagan. This group shares a strong chemistry, enhancing their creative output. The synergy among the band members fosters a unique vision that sets their music apart.
The sound is intriguing and never overwhelming. It reaches listeners as gently as snow falls on a field. Yet, like snow altering the landscape, this track has the capacity to transform your surroundings. For a moment, you might feel as if you have stumbled upon an old, yellowed Polaroid that brings forth distant memories. This ability to evoke nostalgia adds to the overall depth of the song.
Law’s exploration of existential themes is thought-provoking and relatable. The lyrics challenge listeners to reflect on their interactions and relationships with the world. It’s a call to reconsider our positions and the stories we create. The music progresses fluidly, resonating with those who often find themselves questioning the meaning behind their experiences.
Taylor Whyte’s drumming lays a solid foundation, propelling the song forward with each beat. His rhythmic patterns enhance the dynamic feel of the track. Alex Duncan’s bass work provides a warm, grounding undertone. The bassline supports the melody while ensuring the overall sound remains richly textured.
Kian Carrol’s rhythm guitar introduces an engaging harmonic layer, integrating with the rest of the instrumentation. Morgan Flanagan’s lead guitar takes listeners on a journey through melodic highs and lows.
This collaboration results in a well-crafted piece of art that invites listeners to immerse themselves completely. They have evidently poured their hearts into this project, allowing for an authentic expression of their collective vision.
The song gently nudges you to contemplate significant questions about identity and connection. Its reflective quality makes it applicable to various life situations.
“Made Up Construct” is an enriching experience that intertwines a profound message with elegant musicality. This blend creates an inviting atmosphere, making it easy for listeners to lose themselves in the music while simultaneously pondering their own realities.
Matt Law and his band have crafted a beautiful song that deserves to be heard.
Philosophic
If you love this music: Discover MoreThe post Matt Law Made Up Construct Review appeared first on Edgar Allan Poets – Noir Rock Band.
Posted on June 26th 2026, 3:22pm
He’s gone country! Killers frontman Brandon Flowers revealed this week that he went to Nashville and tapped into the country music tradition for his new solo album Thrasher. To my colleague Tom Breihan, the music in the album trailer sounded like a Killers song with more pedal steel, but I was pretty taken aback by how much it resembled a country ballad from the old-time Nashville studio system. Now there’s a single that continues to up the twang quotient.
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Tackling a legendary song like “Enter Sandman” by Metallica is no easy feat, but this artist has shown the courage to create their own version. From the very beginning, the introduction of this rendition feels softer than the original, establishing a different atmosphere. As the track builds up, it captures the essence of the original while incorporating distinct sounds and subtle variations that lend it a more alternative nature.
When the vocals enter, the vision of the song becomes truly intriguing. One can envision a vocal line crafted by Alice in Chains fitting into Metallica’s framework. The harmonic variation in the vocals is innovative, enhanced by backing vocals that add depth and interest. This version takes on a rock character that moves away from metal influences, incorporating alternative and grunge vibes. The guitar solo also introduces progressive elements that coexist effortlessly within the arrangement.
While the song maintains its original structure, it is the unique sonic blend that transforms the experience. The chorus, in this new interpretation, veers closer to the style of bands like Foo Fighters or Weezer. This song reflects an artistic vision, demonstrating that the artist possesses a deep understanding of music and enjoys experimenting with their interpretation of familiar sounds.
The daring nature of this rendition invites comparisons not just to its predecessor, but also to the broader rock and alternative landscape. Each decision in the arrangement reveals a thoughtful approach to reimagining a classic. The softer opening creates anticipation, drawing listeners in with its distinct charm. As tensions rise, the transition to heavier sections maintains the energy essential to “Enter Sandman,” yet the artist’s personal touch offers a refreshing take.
This version manages to respect the essence of Metallica while clearly carving out its own identity. The harmonic progressions and vocal treatments elevate the song beyond mere imitation. The artist’s willingness to explore different textures leads to a fascinating interpretation that resonates with both nostalgia and modernity.
In breaking away from the original’s heavy metal aesthetic, the artist effectively blends genres. The influence of grunge, layered with rock elements, creates a multi-faceted listening experience. The instrumentation plays a critical role, infusing the work with a lively spirit that enhances its overall appeal.
Listeners familiar with “Enter Sandman” may initially feel a sense of trepidation. However, the reimagining becomes an invitation to explore what lies beneath the surface. Each note feels deliberate, as if the artist is sharing a personal journey through sound. By integrating back vocals into the fray, the song flourishes, adding richness and complexity that make it a standout rendition.
The artistic journey from beginning to end reveals a commitment to honoring the past and embracing the present. The artist aims to make this rendition a living piece of art, not just an echo of the original.
The choice to maintain the structure of “Enter Sandman” while altering the instrumentation and vocal delivery paves the way for new interpretations. By navigating familiar territory with fresh ideas, this version stands as a distinct representation of the artist’s bold approach to music.
The artist’s interpretation of “Enter Sandman” is an exploration of musical boundaries. They have successfully created a version that invites admiration and fresh listening experiences. While it pays homage to Metallica, it blossoms into something much more.
Visionary
If you love this music: Discover MoreMetallica • Alice in Chains • Foo Fighters • Weezer
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Here we go, axemen, here we go! Before Sleater-Kinney existed, elemental American indie rock howler Corin Tucker was one half of Heavens To Betsy, a duo that didn’t last long but left a deep impression. Tucker and her childhood friend Tracy Sawyer started Heavens To Betsy when Tucker was a student at Evergreen in Olympia, Washington, and they played their first show at K Records’ International Pop Underground festival in 1991. They went on to do some DIY touring and to release a few 7″ singles, as well as one album, the sick-ass 1994 feminist punk classic Calculated. In 1994, Heavens To Betsy broke up, and Tucker started Sleater-Kinney with her Excuse 17 tourmate Carrie Brownstein. The rest is history.
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