DaveCromwell Writes

Detailed Recap of Recent Impressive Live Show Experiences

noreply@blogger.com (DaveCromwell) — Mon, 29 Jun 2026 19:30:05 +0000

The live show coverage continues in full force here at DaveCromwellWrites. With the first half of this year favoring live performances over new recorded works, that pattern continues here once again. Returning to a venue last visited at the end of 2024, two favorite bands now appeared there for the first time. Having experienced these artists spectacular live shows multiple times at other storied locales, the opportunity now presented itself once more in a unique and well-respected arena.

It was just over a year ago when a show at the House Of Blues in Orlando, FL dubbed “The Goth Prom” was attended. Performing that night (and seeing for the first time) were two of the best Tribute bands on tour. Both Lovesong-The Cure Tribute and Strangelove-The Depeche Mode Experience put on dazzling shows of exceptional interpretation at the highest level. In the 12 months plus that followed, more Lovesong shows would be attended at a number of nearby popular Orlando-area venues. Thrilled to see that *both* bands would be performing together again on June 19th at The Plaza Live made attendance there a must.

Opening the show was the band we've become quite familiar with over the last year. Having caught multiple shows by them all over the Orlando area, Lovesong The Cure Tribute present a stunningly accurate re-creation of that English Goth bands entire catalog of music.

They kicked the night off with one of their most recognizable songs "Just Like Heaven," much to the packed crowds delight.

That was followed by the equally beloved "Inbetween Days" - the whole show was pretty much one Cure hit after another.

With the fan favorite "Pictures Of You" serving as further evidence.

Deeper tracks began to emerge, with the still wildly popular "The Walk"

The moody and mysterious "Fascination Street"

Quirky/cute pop of "Let's Go To Bed"

Trippy fever dream "A Forrest"

Heartfelt angst with "A Night Like This"

An anticipated show highlight was the visually stimulating fire-on-screen projections for "Burn." Robert Smith and peak-era drummer Boris Williams wrote and recorded the track specifically for the 1994 film "The Crow."

Another expected moment was the band playing their namesake composition "Lovesong," which comes complete with romantic video screen images of Robert Smith and his wife Mary.

That was followed by the creepy-cool spider musings of "Lullaby"

Since it was a Friday night, it could have been more appropriate to hear them play "Friday I'm In Love"

They closed out their show with The Cure's first hit and probably most know song "Boys Don't Cry."

There are a number of opportunities to catch Lovesong live in the days ahead.

Find out more about this and everything else with the band via their Official Website - Linktree - Facebook - Instagram

A previous DCW feature on this artist can be found here.

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Getting a second opportunity to see and hear Strangelove-The Depeche Mode Experience on this their 40 years of Black Celebration 2026 World Tour was a thrill once again. With a few back-end personnel changes this time around, there was no loss of quality in both sound and overall performance. Front men Brent and Leo still carry the show, with rock solid drummer Chris (a more live upgrade over electronic beats) and new keyboardist/harmony vocals Kaleb all contribute to a show that the one and only OG Martin Gore says is “such fine detail that's it's scary.”

The show opened with "A Question Of Time," the third single and sixth track on Black Celebration. The visuals of various clocks on the projection screen behind them set the tone for all that followed.

That was followed by "World In My Eyes," an instantly recognizable and wildly popular DM single from their seventh studio album, 1990's Violator.

"Get The Balance Right" was next, delivering a perfect rendition of this 1983 single (and first with Alan Wilder as an official member).

The sometimes maligned "People Are People" from 1984 was delivered with precision. A chart topper at the time, both Martin Gore and Dave Gahan thought the song was ultimately "too commercial" and stopped playing it live in their shows.

Less pop and more in line with darker themes saw the band perform 1985 single "Shake The Disease." Brent leading the audience with his "understand me" vocal is a particularly sublime moment.

Returning to Black Celebration, the moody lead single from that album "Stripped" was played. Sometimes confused with sexual connotations, it's more about stripping away all of your trappings.

A brilliant version of "Halo" from 1990's Violator album.

Brent really puts all his heart and emotion into the tender relationship ballad "A Question Of Lust."

Going back to the early days, 1981's "Just Can't Get Enough" was DM's only 3rd single (and first release in the US), and one of the few to be written by soon-to-be-leaving the band Vince Clarke.

Another early gem, 1983's "Everything Counts" is still so relevant with it's satirical critique of corporate greed.

Since this day was actually Brent's (a/k/a "Counterfeit Martin") Birthday, the guys from Lovesong (and his own band) came out and presented him with a birthday cake, and an audience serenade to him.

The always popular "Policy of Truth" from 1990 album Violator was another show highlight.

As was the deep groove "It's No Good" from 1997's Ultra.

It's always a celebration (black or otherwise) when the tribute band plays their namesake song, as was the case here with "Strangelove."

"Behind The Wheel" is another deep dive into the bands catalogue, from their 1987 album Music for the Masses.

Moving ahead two decades, "Suffer Well" is from their 2005 eleventh studio album Playing the Angel. It was their first single written by Dave Gahan, and first single not written by Martin Gore since the above mentioned "Just Can't Get Enough."

Dipping back into the Ultra catalog, the fourth and final single from that album "Useless" is always a crowd pleaser.

As is the bands most successful worldwide hit "Enjoy The Silence." The Violator track because their highest-charting US single, and has since amassed over a billion streams.

That is rivaled by the other huge Violator single "Personal Jesus." The first release to enter the US Top 40 since 1984's "People Are People," it was also their first gold-certified single in the US.

Closing out the show was live show crowd pleaser "Never Let Me Down Again." A fitting end to a satisfying 20 song concert, leaving everyone buzzed by the incredible audio and visual experience.

A hand signed setlist always a treasured keepsake.

Pre and Post Show chit chat were the order of the day, engaging with our favorite usher Natalie (we see her at Hard Rock Live all the time as well) and of course two of the Strangelove superstars.

Lovesong's Nick Bomleny is always great to catch-up with.

All the fun of the fair.

Recognition for the positive Florida turnout.

The tour rolls on throughout the summer.

Including a number of dates continuing "Love Is Strange" with Lovesong.

Follow the band at their Official Site and on Social Media - Facebook - Instagram - TwitterX

A previous DCW feature on this artist can be found here.

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Illuminating Report on Dazzling Live Shows and Cutting-Edge Music

noreply@blogger.com (DaveCromwell) — Wed, 27 May 2026 14:52:29 +0000

Multiple live concerts came fast and furious recently here in the DaveCromwellWrites universe. With two big shows covered in last month’s feature, the most instrumentally intricate showcase attended now receives full coverage right here. It’s a rare occasion when storied musical trailblazers join forces in one single band for a tour. An opportunity to attend an event like this is something you never want to miss. As the rock music world continues to expand and evolve, recognizing true talent and artistic intent will always be a worthwhile pursuit.

As soon as it was announced that legendary ultimate-shredding guitar virtuoso’s Joe Satriani and Steve Vai were teaming up for a joint 40 shows #surfingwiththehydra tour across North American spanning April through May, we knew it was a must attend event. Spotting April 26 was scheduled for our favorite Orlando Florida venue The Hard Rock Live, plans were quickly made to be there. Rather than doing two separate solo shows, the lifelong friends (beginning in their hometown Carle Place, Long Island) created one single band to play the best of their material together. Enlisting an all-star cast of super drummer Kenny Aronoff, bassist/occasional vocalist Marco Mendoza and rhythm/3rd guitarist Pete Thorn, the two front-man heavyweights delivered a brilliant set of their catalogues, both classic and new.

After the shows opening act (more on them later), Joe and Steve came out accompanied by their aforementioned super sidemen, kicking off the show their recent single release "Dancing."

A choppy “Boléro” type rhythm with Joe and Steve’s signature precision guitar soling over top, the song is actually a reimagined instrumental interpretation of Italian singer and songwriter Paolo Conte's original 1982 composition. This updated arrangement was designed by Steve, with it's accompanying official music video (shown on the big screens behind while the band played) directed by Joe's son ZZ.

Sticking with their latest material, the next song was another single "I Wanna Play My Guitar." Co-written by Joe, Steve and legendary vocalist Glenn Hughes (who sings on the studio version) the initial lyrical idea was Joe's. Bassist/Vocalist Marco Mendoza steps up to handle the singing here on the tour.

Choosing one more original composition specifically written for this historic Satch/Vai collaboration, "The Sea of Emotion, Pt.1" rounds out the opening 3-song arc. Inspired by a field outside their mutually attended high school they called this song's title, this heavy chord progression includes sequences they used to jam over when they worked on guitar lessons together.

The next two songs were Steve compositions from his 2022 studio album "Inviolate." First up was "Zeus in Chains" which was released as a single at the beginning of that year.

Emphasizing sophisticated start-stop rock rhythms with precision guitar note fills in the open spaces.

That made way for the next Inviolate song, the fusion-funk track "Little Pretty."

Choosing to play this one on a Gretsch hollowbody guitar instead of his signature Ibanez solid-body model, this sound complimented his complex shifting chord changes.

Shifting over to Joe's catalogue, a four song set of his beloved classics got under way.

As each song was treated with thematic visuals, the image of the band name frozen and dripping with icicles was a particularly clever touch. The Vonnegut/Cat’s Cradle inspired 2nd track off “Surfing With The Alien” delivered a unique performance as Joe and Steve played in tandem for much of it.

Playing the title track to his third album, "Flying in a Blue Dream" had Joe out front and solo, with Steve and rhythm guitarist Pete Thorn laying down support. Like most of Joe's songs, it's a gorgeous blend of blues, jazz phrasing and soaring melodies.

The signature and album title song from Joe's 1987 breakthrough album "Surfing with the Alien" is everything you could want from this brilliant musician. Chugging rock rhythms, pitch bended accent notes and high-speed shredding all over the fretboard.

Jumping way ahead to Joe's 2022 19th studio album "The Elephants of Mars," it's cinematic, Middle-Eastern influenced opening track "Sahara" was given the full live show treatment. Steve comes back into the spotlight to play intertwined melodic lines together, with the projected visuals behind once again coming from son ZZ's video of the song.

Alternating the set once more, a two song Steve arc was up next.

Going back to his 1995 EP "Alien Love Secrets," Steve presented his emotional ballad "Tender Surrender." Against a backdrop featuring his "V A Eye" graphic symbol, this image serves to depict his spiritual journey of inner enlightenment, and higher consciousness.

Reaching the most "showy" portion of the night, Steve stood in front of what looked like a magicians table with a heavy tarp over it. Slowly the covering was lifted off, revealing a massive multi-guitar structure. It was The Hydra - a custom-built triple-neck guitar on a stand. Built in collaboration with Ibanez, the instrument features a 12-string neck, 7-string neck, 4-string fretless bass and a 13 harp strings. Vai plays this composition titled "Teeth of the Hydra" by rapidly switching between the instruments. He taps the 7-string fretboard, alternates open A-strings on the bass and 12-string necks, and frequently flicks the built-in harp strings for eerie, synth-like dissonances. The track is another from his tenth studio album, 2022's Inviolate.

Moving over once more to a Joe featured segment, two of his classics are presented to a delighted audience.

First up was one of his most famous pieces, the high-energy rocker "Satch Boogie." The fifth track from his breakthrough album "Surfing with the Alien" is quick paced rocker that blends blues with virtuoso guitar techniques, highlighted by his signature two-handed tapping.

That was followed by the much-beloved, somewhat controversial "If I Could Fly." One of Joe's most beautiful melodies, the track first appeared on his 2004 album, "Is There Love in Space?" The melody is distinctive as he makes his guitar sing like a vocal line. The "controversy" comes Joe having to sue song-thieves Coldplay, who blatantly ripped off this song for their massive hit "Via La Vida." Knowing they were going to lose in a big way legally, they settled with Joe out of court, and he surely got a huge payday. This song lives on as one of Joe's most uplifting and haunting pieces.

Reaching the penultimate moment of the show, it was back to Steve for arguably his greatest piece ever.

The one so many of us were waiting for, he did not disappoint with his Passion and Warfare masterpiece "For the Love of God." Written in 1990 during a 10 day fast, producing an altered state of consciousness and vision quest in search of spiritual connection. Having been on repeat for this writers life over the past 30 years, it holds a special place in the annals of lived history. The contrast of high-speed playing over a slower moving progression accentuates the sheer brilliance of ascending tremolo notes and descending legato runs.

The final (pre encore) song of the night went back to Joe, with his romantic ballad "Always With Me, Always With You."

Steve soon comes back into the spotlight and the two of them play brilliant tandem and complimentary lines on this 1987 "Surfing with the Alien" classic. Featuring uplifting vocal-like melodies, it's the delicate arpeggiated phrasing that truly stands out. The beautiful sweeping chord progression and song title make it perfect for a wedding song.

Returning for the expected encore, first up was Joe's wildly popular "Crowd Chant" from his 2006 album's "Super Colossal" and then later that year on "Satriani Live!"

It's a super fun back-and-forth participation call-and-response with the audience, where Joe plays a lick and then the crowd is encouraged to sing it back to him (which everyone does enthusiastically). The track has also been featured prominently for some time during the NHL's Long Island team The New York Islanders promotions. Anyone who listens to their games on the radio has heard this open a seasons worth of broadcasts. A fitting tribute for a hometown hero.

The final performance of the night was a cover of the Mars Bonfire written Steppenwolf hit "Born To Be Wild."

Along with Joe and Steve taking the tandem guitar spotlight on this closer, bassist Marco stepped up to take the lead vocals once again. Also spotted was Steve stepping up to the mic and singing hearty background vocals on the chorus. A perfect ending to an amazing concert experience!

Opening the show and appearing on all 40 dates of this tour was the heavy math-rock instrumental progressive metal band Animals as Leaders.

Challenging the listener with their complex structures and ferocious attack, this highly-skilled musical trio consists of guitarists Tosin Abasi, Javier Reyes and drummer Matt Garstka.

Along with the percussive low rumble pummel and fluid guitar shredding, the bands unique light show featured spinning circles that projected colored lights all around the arena.

At times what they were playing moved over toward a more prog-rock style. The above clip shows them sounding a bit like English progressive pioneers Yes at their most frantic. Like the manic speed-driven into to "Close To The Edge" and Steve Howe's tonal quality and fluid notes.

So many styles combined within just one piece. Sophisticated jazz with funky moments anchored by thundering drums.

The Hard Rock Live at Universal CityWalk in general is a great place to see a show.

There's tons of great restaurants to choose from, making for a pleasing dining experience before you head over to the concert hall.

Happy concert goers having a meal before the event.

Find more info on each of these artists at their websites:

A previous DCW feature covering Joe Satriani can be found on this website here.

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Towards the end of 2023, Seattle, WA based gazey-guitar rockers Guest Directors released their first full-length album “Interference Patterns.” Impressed with its quality, that recording garnered a detailed review here on DCW at that time. The band is now back with their follow-up second album, the recently released “Before You Get Broken.” Putting it out again on the TopsyRecords label, the acclaimed Cromwell listen and review follows below.

Opening track “Meet You on the Land” lays out a bouncy rhythmic groove, before bright female vocals commence a tale of sea and sky. W ell placed distorted, chugging guitar chords enhance the lyrical story where “I’ll meet you on the land, but I can’t stay.” This siren song to “keep me on the ground” is ultimately rejected with “no, I won’t stay.”

Listen and watch via their official video for it here:

Follow-up cut “You Are Never” pairs male and female voices together with tandem delivery. Quick paced and clean, higher-register guitar driven, the simple (yet-catchy) chorus stating “you are never done” is almost always universally true. Third entry “Now I Know” builds around dual guitar interplay, with static notes paired against contrasting melodies. Vocals bring to mind the timbre and delivery of 80’s legends Berlin on a chorus that looks back on being charmed by someone insincere. While a touch of Garbage’s Shirley Manson is felt on outro lines “I tried to stop you.”

There’s a distinct Sonic Youth feel to the pitch-bend accented, crunchy guitar chords and Moore/Ranaldo style vocals of “Just Not Today.” Even the snare drum accents and quick-cut guitar figure punctuation give off a lost track from “Daydream Nation” feel.

Accompanied by an official video release, check all that out here.

A laid-back, unhurried groove sets the pace for fifth offering “So Many Somedays.” Dual female harmonies add a fuller quality to the straightforward title-line chorus. However, each of these calmer plateaus is followed by expressive, harsher guitar textures. “Restore Your Soul” flips back to male lead vocals, and with it comes that SY/DinoJr/Seattle late 90’s/early aughts vibe. Slightly off-kilter downstroke guitar chords share space with open-note guitar phrasings. Repeated line “I got caught in the middle” provides a thematic center.

Listen to that here:

Chiming guitars and sharp accent percussion provide the underpinnings for the female voiced “Blame Pandora.” Momentary “Oooooooh-oooh” vocal segments provide contrast to alternating guitar interplay. “At The Gate” continues the alternating lead vocals with male voices telling the tale. A relaxed vibe permeates throughout, with spacious moments between guitar licks for the unfolding story. With “Ahhhhs” now added behind a chorus that goes “standing in line waiting at the gate,” an extended wiry guitar solo cuts in between. The album’s closing track “What Shapes They Take” is a tom-tom fueled, mystical descending trip. Soaring guitar washes flood spaces, creating emotional peaks. Points for the clever lyrics “I thought that you might be my pet - because you hadn’t bit me yet.”

Check out how to listen to and acquire this wonderful album here:

Before You Get Broken by Guest Directors

Follow Guest Directors on Social Media

Official Website - Facebook - Instagram - Bandcamp - YouTube - Record Label

A previous DCW feature on this artist can be found here.

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Dynamic Reviews of Live Shows and New Music Releases

noreply@blogger.com (DaveCromwell) — Wed, 22 Apr 2026 14:20:00 +0000

Leaving the busy place you’ve called home all your adult life for less-stressful pastures is a choice as well as an adjustment. For this writer, people and bands that were seen there regularly are now hoped they’ll come to your new locale. The good news is a number of them have, and the opportunity to catch their shows again has not been wasted. When a new album offers fresh source material along with an appearance, a deep-dive-analysis is the only way forward. As is often the case, some of these shows also introduce performances by artists previously unheard in the live environment.

Beloved and long-time adored band The Raveonettes have been doing a live show retrospective of all their albums since 2024, their first proper tour in a decade. Feeling a bit of FOMO as they played city after city, it was exiting news indeed when they announced a Florida date for April 1, 2026. Arranging for a modest road trip, the trek was made from Orlando to Ft. Lauderdale to experience once again the dazzling sights and sounds of this glorious band.

The location was venerable Ft. Lauderdale. Florida venue Culture Room.

On arrival a lengthy cue was already waiting to get in.

Entry didn't take long, and after opening act Astari Nite (more about them later) The Raveonettes were on stage.

Opening the show with "Blackest" from their most recent album “Pe'ahi II,” it's descending “detective story” guitar melody is instantly recognizable. That suddenly drops out leaving behind changeover “ooohs” and a stark rendition of the songs lyrics. “When I rise on my wave - the moon shows her face. A lonely dot at sea - a lonely girl coming straight at me.”

Immediately following that was another track from the same album (it would eventually be discovered that the entire setlist would be blocks of songs from one album, before moving on to another) and a personal fave track "Killer." It's chorus hooks you in immediately with the battle-scarred relationship lines “Kill for love, and make it so I don't care. Most of the time, I felt so alone.”

On more from that same album with the forward charging rocker "Speed." True to the song title, it’s fast paced, tasty guitar lick driven.

Choosing to play only one song from their 2003 debut full-length studio album, Chain Gang of Love, they went with the albums most recognizable track "That Great Love Sound."

Moving to their 2005 album Pretty in Black, first up was single "Love In A Trashcan."

Followed by "Red Tan" from that same album.

As well as "You Say You Lie."

Pivoting to their 2002 debut mini-album Whip It On, "Attack of the Ghost Riders" was up first.

Followed by "Veronica Fever"

As well as the blistering "My Tornado"

With "Cops on our Tail" as a fourth entry from that record.

Shifting focus to their 2007 album Lust Lust Lust, "Hallucinations" was first up from that heady period.

Followed by "Dead Sound"

Then it was on to their 2014 seventh studio album Pe'ahi with "Endless Sleeper." Fuzzy bass, shuffling percussion and deep twang guitar figures alternate between dense layers and open spaces. Lyrically, its one part songwriter Sune Rose Wagner recapping a near death experience from drowning while surfing a number of years back. Sudden bursts of quick flashing pulses match the tracks violent sonic outbursts, which in turn perfectly underscore appearances of tranquility abruptly exploding into violence.

Followed by "Sisters" from that same album, with it's frenzied guitar destructiveness and sonic landscape of beautify mayhem.

Breaking the album block cycle, they dipped back into Pe'ahi II, for a brilliant rendition of "Strange" with its familiar Every Brothers-style blended vocals. Then a cover of the 1967 Velvet Underground classic "Venus In Furs."

Perennial pre-encore show ender (and Lust Lust Lust album opener) "Aly, Walk With Me" is always a high point of every show.

For the encore Sharin took the spotlight singing lead vocals on their 2010/2013 Dr. Martens commissioned cover of The Stone Roses "I Wanna Be Adored."

Along with Sune handing his guitar to drummer Jakob to throttle, while he went solo on the mic for the 2011 album Raven In The Grave classic “Recharge & Revolt”

Show complete, the backstage shenanigans came fast and furious.

It's always a pleasure catching up with these amazing musicians and great people.

Looking forward to future shows down the road in sunny FLA.

Follow them on their Social Media at Facebook, Instagram and YouTube.

A complete track-by-track review of “Pe'ahi II” can be found here.

A full review the first “Pe'ahi” album (along with links at the end to 8 other Raveonettes reviews) can be found here.

An interview with Sune Rose Wagner on this site can be found here.

Finally, at full track-by-track review of all 12 "Atomized" song can be found on this site here.

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Opening the show was alternative/dark wave band Astari Nite.

Originating out of the Miami, Fla alternative scene, frontman Mychael Ghost provides a visual center and primary focus on the songs he writes and performs.

Accompanied by a solid guitarist and multi-layered keyboard player, the electronic trio filled this venue with a captivating sound and light show.

“Your perfect light – makes me shine" Mychael sings.

"I always wanted you"

"Bowie In Daydreams"

Cathedral lighting and atmosphere further enhances the power of each song performed.

The aura is dramatic with touches of goth-rock melancholy.

"Unisex Games" - vocals draw from Bowie influence in both tone and diction. Early Peter Murphy (in Bauhaus days) is another point of reference.

Meeting the artist post show is always a rewarding experience.

Follow this darkly dreaming glam wave band on their Social Media - Facebook - Instagram - YouTube - X - Official Website

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There was a period of time in the year 2019 when this site covered live shows by the electro-art collective A Place Both Wonderful and Strange seemingly ever other month. The history goes back even further with a detailed album review in 2018 and very first live show personally attended in 2017. Along the way the band members took a hiatus from apbwas to do other things, including their wildly popular ADVENTURE[s] Robyn Party, acting, art projects and living their lives. After this writer moved to Florida, it was a pleasure to catch up with Russ and Laura in 2024 for their appearance at Crux in Orlando. Now back again for another Crux/Orlando show, the band also has a brand new album “Matter and Desire.” A deep dive analysis on all of this commences below.

Finding inspiration from Andreas Weber’s book “Matter and Desire: An Erotic Ecology,” the band completed their unfinished songs (some 8 years in the making) that focus on “the moment before something changes forever.” Opening track “Intro444” combines ominous background sounds with spoken word lines (delivered by guest vocalist Devery) that state “I have a theory” morphing into “I HAD a theory.” The swirling, pulsing ambiance progresses mysteriously as vocal declarations float in and out “you have to honor me” and “in this house – renewal – creation.” It’s tense film-score sensations as voices continue with statements “to crawl, to walk, to run.”

Follow-up cut “Shedding Velvet” emerges via percolating machine-driven synth arpeggios that have been the staple of club music since forever. A solid 4-on-the-floor beat powers underneath orchestral melodies floating above. The rhythm is quick and motorik with synth stabs and ghostly voices adding depth during both it’s quieter and more frantic passages.

Third entry “Crying In An Uber” leans on world music percussion to establish it’s rhythmic base. Vocals are purposely buried deep into the mix, serving as one more ambient element, rather than direct storytelling. Liner notes, however indicate someone is witnessing “an apocalypse happen” (watching nuclear destruction coming this way?!) which would be more than enough to make anyone cry. Cryptic clearly-heard vocal inclusions such as “a light at the end of a tunnel” add more questions than answers to the heavily percussive outro.

“A Map For Birds (Behind The Glass)” is a hypnotic deep space meditation that seduces the listener into a trance-like state. As the lengthy (over 5 minute) recording evolves, hard-slap percussion, throbbing sonics and female vocals are interwoven for otherworldly effect. Liner notes indicate they’ve been developing this one in their live shows “for what feels like a decade,” before finally being able to “capture it on record.”

Featured track “It's Not That Bad, Muffin” also comes accompanied by an Official Music Video. Depicting a “Groundhog Day” scenario where Russ repeatedly wakes up at 7 am and goes about his daily routine. Against a heavy synth-stab and trip-hop percussion beat, the image of someone stalking him (Laura) appears, cut in with bloody drops in the snow. As the music rises in intensity, with higher-pitch synth notes cutting through, Laura’s murderous voice drifts in and out with dramatic audio quick stops. Russ ultimately stops in to a bar to get a drink. When the bartender steps away, menacing Laura takes his place, forcing him to make a run for it. However, there’s no escape from “murdering” Laura, who ultimately takes the 7 am wake-up place as the videos final scene.

Check out this deliciously macabre video here:

A majestic orchestral intro is first heard on the ultimately Lynchian rendition of 17th century Irish Gaelic poem “Táim Sínte Ar Do Thuama.” Numerous artists have covered this authorship-lost-to-time piece with it’s more recognized anglicized title “I Am Stretched On Your Grave.” For this version, Laura is tasked with an unsettling vocal rendition, with low-end percussion and layered sonics.

Penultimate cut “Vegetation” rises out of a pulsating electronic backwash, with Laura commencing another spoken-word segment. Much like the dense thickets of its title subject matter, additional audio layers roll in and further obscure ones ability to traverse and cut through. With a subtle jungle thump emerging, Russ now joins the fray with more intense shouted vocals.

Final entry “Dissociation (A Map For Birds)” serves up an alternate dub mix of previous (behind the glass) version. With less background activity, emphasis is placed the voices recorded, rising up (and then out) of the mix. A more playful audio trip, it serves as a perfect closer to this overall fascinating collected recordings.

In addition to this wonderful album's debut (both studio version and live renditions) were many curious sights encountered in this arty village and gallery/bar.

On arrival a majestic and relaxed cat was spotted, seemingly owning the streets outside.

It was soon discovered this was Lulu, the "mayor" of the venue and neighborhood.

With honors this regal individual so obviously deserves.

Being an art space, a variety of vintage photos (1921!) and paintings adorn the walls.

The night's theme was a Twin Peaks Costume Contents and the participants did an amazing job.

Out front with the best David Lynchian band there is.

Thanks for never forgetting to come to Florida!

“Matter and Desire” is on the Re:Mission Entertainment label and can be ordered here.

Follow apbwas on their Social Media: Facebook - Instagram - Official Site

Previous DCW features on this artist can be found here - here - here - here and here.

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Meticulous Reviews of Recent Albums, Singles and Live Shows

noreply@blogger.com (DaveCromwell) — Mon, 23 Mar 2026 15:25:00 +0000

Discovering that new music has dropped from bands you know and love is always exciting. The need to experience every note and lyric is a powerful thing that ultimately leads to a thorough track-by-track analysis. Whether it’s a full-length album or an advance promotional single, a detailed approach for the recorded works is essential. Furthermore, the current trend of generational classic rock bands bringing their live shows to hometowns across the globe leads to rediscovery of what you always loved about them. Along the way, previously unheard artists find their way into your wheelhouse. It all adds up to yet another informed literary discourse.

It was towards the end of last year (during the “spooky season”) when we got a first glimpse of The Suncharms forthcoming album “Darkening Sky.” Featured track “Monster to Me (Halloween Version)” was released at that time, receiving a detailed review here on this site. The band have recently put out the entire 12 track album, and with it comes a greater sense of maturity. Once focused solely on singles and live shows, they’ve now completed their third full-length album in the last five years. The time has come once again to listen with purpose and discover the core elements of these new songs.

Opening cut “Midnight Train” leans on a relaxed bass and drums groove with retro organ keyboard textures. Wire-y guitar lines slither through with Stone Roses-like appeal. Vocal maestro Marcus Palmer delivers his storyteller lines with just the right amount of Jesus and Mary Chain vibes. It’s so much about the mood, but there’s thought behind those lyrics. “Names rusted into the pier . . . for 100 years,” is both poetic and sublime listening. The twist comes via it’s minor chord chorus where picturesque lyrical imagery leads to having “never caught that train.” Adding subtle trumpets on the end out elevate everything to conclusion.

Follow-up track “Annabel Lee” continues the thematic by-the-seaside, looking-back poetry, this time wrapped in a perfectly concise uptempo pace. Memorable guitar melodies, fluid bass and drums with organ enhancements are all there. “Love became a stranger” between “me” and “Annabel Lee.”

“Stone Tape Rewind” blends a subtle country-esque vibe using according and pedal-steel sounding guitar work. Book-ending all that are some classic John Squire-like guitar riffs. “Was that the ghost of you? Was that the ghost of us?” is the lyrical question asked - “locked in walls of blue.”

As mentioned in the intro above, fourth entry “Monster To Me” received a fully detailed review this past October. “Air Raid Shelter” tells the story of an unexpected encounter where “you told me you were born with your feet facing the wrong way” (?!) “and by the way your lover is still at home and I've nowhere to go.” So oddly specific, the picture created stands out uniquely. “How can I get home?” the chorus asks – “all the coaches have gone” and “I’m hundreds of miles away.” Light piano notes sprinkled throughout add a delightful sonic compliment to the proceedings.

“Diamonds” features a more distorted primary guitar figure as it’s dominant sonic force. The overall rhythm has a 1960’s feel about it, as a tale is woven around someone magical and kind. Having “diamonds in her soul,” she is found “stepping over insects and butterflies.”

“1000 Years” comes on by way of triumphant power chords and big rock arena song appeal. Boldy uptempo, the story tells of a “lost wish” where one “drifted back” from “a lost romance” and “a wasted chance.”

“Motorway Bridge” opens (and closes) with the sounds of cars traveling by, before it’s main progression commences in full force. Busy multi-note bass guitar and tom-tom drumming creates the rhythmic undertow for chiming guitar figures over top. The chorus hits “like a dagger” with vocals channeling the other above-mentioned Stone Roses front man, Ian Brown (back in happier times).

Commencing in full flight out of the gate, “Interstellar” bounces along at a spirited pace. The bass, drums, keyboards and guitar configuration all contribute with the appropriate touch. Comparing a photo of earth from space to a tower block, “behind each light hundreds of lives both unique and the same.” The chorus surprises by going instrumentally sparse on the lines “capturing beauty in the mundane - raindrops glistening on a window pane.” Another trumpet emerges as a lovely enhancement on the outro.

With amusement park sounds fluttering in the background, tenth entry “Ferris Wheel” emerges via relaxed groove driven by acoustic guitar and shuffling drums. Making comparisons between circular movements of coffee stirring and the song-title subject matter, this perspective shows “where it all went wrong.” What is supposed to be casual fun, actually provides insight on “silent screams” and “hidden fears.” A gentle twangy guitar solo playfully dances against counter-melody bass lines up to the songs final notes.

Ice clinks introduce the electro/acoustic driven penultimate track “Winter Sun.” With a rhythmic cadence not unlike the Church’s “Under The Milky Way,” it’s western frontier vibe is dappled with subtle instrumental touches. Extended note synth pads stand out, while banjo-like figures are heard off in the distance. As expected, the bass guitar is ever-busy throughout, and brassy synth-fills emerge to provide further sonic depth. Lyrically reflecting on “what might have been,” it seems that “no spark was left for us.”

Final track “A Snowstorm” uses ethereal flutes and horns to augment an easy-going guitar-strummed rhythm. The ghost of Lou Reed’s Velvet Underground floats through it’s lyrical cadence on picturesque verses. While the chorus leans on melodies with images of “a snowstorm outside a room lit by streetlights . . . poisonous fire” and “desire,” a dreamy ending perfectly sums up this gratifying album.

Listen to and find out how to acquire this dreamy album here:

Darkening Sky by The Suncharms

Follow The Suncharms on their Social Media - Facebook - Instagram

Previous DCW features on this artist can be found on this site here, here, here, here and here.

Check out what their IndiePop label Sunday Records has to offer via their Official Site - Facebook - Instagram - TwitterX - YouTube

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When the opportunity arises to catch one of your all time favorite Rock and Roll bands live in concert, you’d be a fool to pass it up. Discovering that 2016 R+R Hall of Fame inductees and legendary hit makers Cheap Trick were coming to Hard Rock Live in Orlando, Florida – it was a no-brainer to attend this show. Listening to bassists Tom Petersson’s wit and humor on Eddie Trunk’s interview show only sealed the deal. Since moving to FLA, the Universal Citywalk concert venue has become a personal fave to see live concerts. Big Name bands in the perfect sized environment. Great sound, great sight-lines – and great performances. What follows here is a clip of every song they played.

The now traditional show opener "Hello There"

Followed by "Elo Kiddies"

"Hot Love"

"Radio Lover"

First spotlight moment goes to Rick and his cool square guitar

Which leads into their cover of The Move's "California Man"

Dipping into their most recent album, they play the marvelous "Twelve Gates"

The next featured musician moment was Daxx with a drum solo

Leading into their own hit cover version of Fats Domino's "Ain't That A Shame"

"The House Is Rockin"

"High Roller"

"Downed" (with Robin Taylor Zander on lead vocals)

The next solo spotlight went to brilliant bassist Tom Petersson

That leads into "I Know What I Want" with Tom on lead vocals

Last but certainly not least, a solo spotlight for perfect frontman Robin Zander

Leading into one of their all time great songs "The Flame"

Speaking of their biggest hits, here's "I Want You To Want Me"

Then there's "Dream Police" which they closed out the pre-encore show

After the lively Orlando crowd engaged in much applause and calls for "more" - the band returned within a reasonable amount of time with first encore "Never Had a Lot to Lose"

Followed by their arguably most well-known song "Surrender"

Then closing out the night we a redux of the opener "Goodnight"

Follow this legendary still going strong band at their Official Website - Facebook - Instagram

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A frequent occurrence attending live shows is the discovery of new, previously unheard music via the opening act. That proved to be true once again with the Nashville based Americana style singer-songwriter James Hatem. Impressed with his ability to command the spotlight with just an acoustic guitar and a few pedals as accompaniment, he delivered a tight 30 minute set that was thoroughly enjoyable. James has just released a new single “Prodigal Son,” that now receives a close listen and review.

Opening with acoustic guitar chords and minimal percussion, a violin joins in on this soulful country progression. James sings “all my life I’ve been living like a loaded gun. Sights raised high and I’m shooting up towards the sun. ‘cause every day that comes and goes I know it’s a battle that I have won” delivered in a harrowing voice.

Taking in all the advice others seem to be giving, the introspective decision “I’m moving slow – but I’m coming home” rings sincere, enhanced by gentle keyboard swells. The big, gospel-tinged chorus provides a twist with how “I ain’t a prodigal son – I’m just a poor man living free. This life on the run – oh it keeps on chasing me. I don’t know where I’m going, but I’ll let it take the lead” completes the cycle, as pedal-steel ambiance flows through the mix. Big “Whoah Whoah” background vocals emphasize how he’s just “praying for a little peace.”

The songwriting craft is eloquent, with so many great lyrical passages. “Forgive me for all the wrongs I have done. Though I feel there will be more before I am gone. I am only flesh and bones and prone to hurt those that I love, but don’t lose hope,” comes straight from the heart. As does the change section “life’s got chains, but none will hold me down – life’s got pain, but there’s joy to be found (with voice rising for uplift) – “ain’t no shame in living like I know how – a little grace holds a lot of power.”

Listen to this wonderful track wherever you stream. Here it is on YouTube Music and Spotify.

Here's a short clip of it from the concert - listen to how it sounded live at the show:

Another outstanding number played was heart-tugging, previous single "Northern Winds"

Which made an impression (and later got the Story/ReStory treatment)

An artist worth checking out!

Follow James on his Official Website and Instagram

Wall of Fame Photos - so many you need multiple trips to see them all.

The whole Universal City Walk Experience is highly recommended.

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Nuanced Views on New and Upcoming Music Releases

noreply@blogger.com (DaveCromwell) — Mon, 23 Feb 2026 15:20:00 +0000

While being the shortest month of the year at 28 days (29 every four), February still provides enough early-in-the-year opportunities to check out interesting new music releases. Heading down unfamiliar paths can often lead to surprisingly pleasant discoveries. At the same time, following recommendations from tried-and-true sources continue to deliver positive results. Taking all of that into consideration, a careful (and rewarding) listen inspires the thoughts and analysis below.

If there’s one thing this site can consistently count on, it’s an enticing pitch from frequently reviewed Burbank, California label Big Stir Records. This time we’re introduced to Michigan indie pop band The Legal Matters and their latest single “It Doesn’t Matter.” Presented as the third and final preview single from upcoming album LOST AT SEA, these Midwest USA power poppers chose their name from a mutual love of The Who (and that classic song we know so well). Digging in to this current single provides focus on what the combined creativity of band members Keith Klingensmith, Andy Reed and Chris Richards have to offer.

Chugging guitar introduces the track, accompanied by mid-tempo 4-on-the-floor bass and drums. A descending keyboard line surfs in offering melody just before vocals commence. “In an instant the other arrives, I’m falling” are mysterious introductory lines, served up with ethereal touch similar to promo referenced beloved band Split Enz. However it’s their namesake inspired The Who that is channeled on the big windmill churned bold guitar chords and “Ahhhh” vocal hook that immediately follows. That slightly warbly carnival-organ downward-melody and steady rhythm section returns in support of another verse.

As does the 16 count emphatic power chords which lead into the tracks main chorus. “It doesn’t matter what I say or what I do – but then again it’s got a lot to do with you” is how this hooky sing-along goes. A tasty in-tandem synth and guitar lick solo emerges, supported by catchy slap-clap percussion. Followed by one more cycle of ascending Who-bash 16’s into that ear-worm chorus. Displaying total dedication to complete song craft, the intro and big chords lead it all out to it’s conclusion.

Listen to this perfect slice of power pop here:

Lost At Sea by The Legal Matters

Ahead of the full February 27 release on Vinyl, CD and Streaming, you can check out this quick album preview here:

Order the album here

Follow Big Stir Records at their Official Website - Facebook - Instagram - YouTube

DaveCromwellWrites most recent Year End Best Of Feature contains two previous Big Stir Records reviews.

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In the early 1990’s a band both my future wife and I were very much into were the glammy power-pop quartet Enuff Z’Nuff. They were all over MTV at the time and we went to see them live at one of the mid-sized, big stage clubs in New York City where we lived. It was an amazing show and future Mrs (Mimi) had a crush on a number of the band members. I was impressed that the two front guys (Donnie and Chip) wore baseball jersey’s with the NY Mets being one of them. I thought that was cool of them as I knew they were from Chicago and probably Cubs fans.

They did some local radio around that time as well and I remember one night when Mimi and I called in to a station and got to talk to the guys. Jump forward to 2026 and the notification that principal songwriter and frontman Donnie Vie has released a new single “Plain Jane,” on limited-edition 7-inch vinyl and streaming digital platforms is exciting news. The release also comes with a b-side cover of John Lennon’s “Instant Karma” delivered with Donnie’s own personal touches. A thorough review commences below.

“Plain Jane” opens with it’s primary riff, feeling like an homage to The Beatles “Day Tripper.” Not all that surprising as Donnie has always had an element of The Fab Four running through his music. “Rise and face the new day, little girl” are the opening lines, immediately followed by that sinewy riff which is already evolving with extended variations. Pivoting right away to a secondary bridge-hook (essential for any catchy, well-under 3 minute song) lyrics “those other guys, not looking your way – I look in your eyes and everything is O-kay, Oh yeah” satisfies on multiple levels. First the obvious positive sentiment, but also the double-time Badfinger/Rasberries/Beatles cadence is instantly relatable. When the chorus hits, a warm swathe of cascading harmony vocals surround Donnie’s lead vocal. Even the back half of that shifts to another Beatle-like hook where his voice goes higher on “baby I could lose myself for a while, with that sparkle in your eyes.”

Donnie’s rendition of the John Lennon classic “Instant Karma” stays true to the original, emphasizing rock chords piano, solid thump with periodic explosive fills drumming and sincere vocal delivery. He nails Lennon’s voice perfectly on the first line of verses, while stretching out into his own melodic gravel on secondary lines like “how in the world you’re gonna see – laughing at fools like me. Well who on the earth do you think you are? A Superstar? Well, right you are!” When that chorus hits where “we all shine on – like the moon and the stars and the sun,” Donnie’s background vocals come on smoother, richer and fuller. A surprising electric bass-note solo (of sorts) emerges unexpectedly, adding one more personal touch to this classic song. The end out is a joyous celebration of voices that ultimately dwindles out to distant hand-claps.

You can stream these tracks right now on Spotify:

The limited 7-inch vinyl release of “Plain Jane” backed with a cover of John Lennon's “Instant Karma” can be acquired here.

Follow Donnie Vie on his Linktree / Facebook / Instagram / YouTube

Follow Wicked Cool Records on their Official Site / Facebook / Instagram / YouTube / Spotify

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The multitude of promotional emails that winds up in a music reviewer’s inbox on a daily basis can often be overwhelming. However, attempts to at least give a listen to most everything out of concern that one might miss something captivating (the old “fomo”) many times yields positive results. Such is the case of a young recording artist going by the name of lucky break. A quick look and listen immediately triggered the urge to find out more about this 24 year old singer-songwriter. Name-checking artists like Alvvays, Hole and The Breeders as her own musical inspiration only intensified the desire to delve further. With a debut album “made it!” scheduled to arrived in May, a new video for the song “City Lights” is out now and reviewed below.

With brightly strummed acoustic guitars leading the way, the video starts with images of San Francisco and her self-proclaimed “love song to that city and the literary culture there.” Celebrating the beat poets and in particular Lawrence Ferlinghetti, (whose street sign she proudly poses next to) quick cut images move rapidly towards her opening vocal lines. “You said maybe love is fiction, an obsession an addiction, in a life plagued by insignificance” is impressive both in literary ambition and the ability to embed those words into musical vocal phrasing. Equally appealing are her youthful good looks, wandering around the streets of that city in bright yellow leather jacket, cap and sunglasses with her long braided blonde hair.

The chorus hits sweetly with double harmony vocals that feature a deep resonant voice complimented by a higher register delivery. “But if your feeling right – I got a ticket to the Friday night reading. We could shake off our spikes – roll our bodies down the city lights – and stop ourselves from momentarily bleeding.” There’s hope for this new generation when you see them immersing themselves in a culture that is not present day, but rather on historical pioneers that came before them. Apparently this artist spent long hours reading the works of these beat poets at that influential bookstore.

Her lyrics continue to show depth with lines like “but you move about your sadness like a dog chasing a rabbit, so much running and nothing to eat.” The subtle (but noticeable) electric guitar on the end of each chorus line shows more thought in the songwriting and recording process than simply “a girl with an acoustic guitar.” Again, like all great 2 and a ½ minute songs, a lovely change section emerges with the lines “oh what did I do to deserve this silly little life like the one I have here” and “these simple little sorrows that always keep me near.” As powerful and gorgeous is this vocal rendition, the images of her smiling along in the video seems sincere.

On a personal note, that she is also wearing a Jesus and Mary Chain shirt in a number of the alternative cut images (while having nothing to do with the actual subject matters) is one more indication we are on to something special here.

Check out this captivating song and video here:

PRE-ORDER ‘made it!’

Follow lucky break on Instagram - YouTube - Spotify - Bandcamp

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Another presenter of interesting new music periodically winding up in this writers mailbox comes from Robert Vickers and his Proxy Media. A recent notification about a new album on the way from storied creators The Monochrome Set was most definitely welcome news. With an over five decade career still unfolding, their latest release “Lotus Bridge” comes out on Tapete Records. That label has been the band's home for the last twelve years and six studio albums. Thoughts and analysis on all ten new songs follows below.

Opening with the albums title track, “Lotus Bridge” offers an invitation to “come and join us” via big high register harmony chorus. In fact, band lead vocalist, songwriter and overall mastermind Bid uses female backing vocalist Alice Healey for maximum effect both here and throughout the entire recording. This song bounces along with Bid’s storytelling accompanied by acoustic guitar, electric piano touches and quick snare drumming. Lyrics are dense with stream-of-conscious imagery where “leaves are floating,” and then “skipping – to the other place,” successfully putting to words what one often sees and feels in a dream. Returning to the big opening “come and join us” vocal harmony brings to mind the great prog-rock band Yes, with it’s similar style major-to-minor chord changes and paired bold voices. It’s sophisticated folk-rock with moments of busy drumming (very un-folk like) and a twee, playful ending.

Listen to this charming track here:

Follow-up cut “Diaphanous” adds just the right touch of orchestral strings to the mix without overpowering it’s live-in-the-studio charm of clearly stated vocals, acoustic guitar, electric piano and energetic drumming established previously. “A ghost came forth and took my hand and made me walk with her silently” Bid sings, emphasizing this translucent moment. Additional musical passages emerge, where “spirits are wandering” even while “people are squandering.”

“The Abominations Of Hubert” continues this lucid dream with vibrant narrative character development. “Up in the attic there are seven cages and in each of them dwells a bad dream that he has,” is how it begins. While acoustic guitar continues to give off a folk music feel, the accompanying band adds punch and color at essential moments. An unanticipated electric guitar solo emerges midway through, further confirming this musical (and not just poetry) adventure.

“Jenny Greenlocks” is quicker, with quick cut turns from the band, lead by it’s drummer. “Jenny cries – from the deep – don’t let me – fall asleep – and sing me a new song,” is how the enchanting chorus goes. This time an instrumental solo is delivered by the keyboardist, with prominent bass guitar standing out. “Arcadia” serves up a brief one minute and twenty seconds instrumental meditation of resonant female vocals and acoustic guitars. An upbeat chugging rhythm that feels like going down railroad tracks provides the musical foundation for “Athanatoi.” “We don’t need nobody” is the catchy vocal hook sung in male-female harmony tandem. Referencing the Greek and Persian “immortals,” lyrics tell about how “they fall, and they float, and they dance and enjoy all alone, and they sing.” Once again a delightful musical passage is presented with synthy keyboards giving it all a prog-rock (prog-folk?) feel.

“Leander” emerges out of light jazzy percussion and treble toned keyboards. “Eyes wide open – and staring – at what – I don’t know,” is the initial vocal hook. Further in, additional questions are asked, “Do you ever sleep? I don’t know. Do you ever dream? No, no no.” Another train-on-the-tracks shuffling percussion rhythm ushers in “Map Of The Night Sky.” Employing the now-familiar blend of rich sonic textures via organ, acoustic and bass guitars, one more whimsical story unfolds. Where this “map – draws itself around my naked feet” and allows one to “skip across the night, I will follow your outline.”

“Polaris Aa” is another quick-strummed acoustic guitar and bright keyboard note enhanced composition. “Meet me in the graveyard, it’s the safest place I know” are the amusing opening lines. Focusing on the North Star as a critical navigational tool, repeated chorus lines “bright it calls for you” exhibits it’s essential purpose. Chiming bells at the tracks end adds a delicate closing touch.

Final entry “Our Sweet Souls” appears to thematically address the songwriters self-described “opportunity” to “leave behind” the present “civilization” and “accept an unknown future.” Contrasting opposing lines of those left behind stating that “we will stay, we were born for yesterday – do not weep for history, we will keep it company” are answered by a bold chorus of “farewell – farewell as we told.”

The full album is set for release on the 13th of March with a UK tour to follow.

Follow the band at their Official Website

Tapete Records can be followed here: Facebook - Instagram

Proxy Media can be found here

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Comprehensive Exposition on Innovative New Music Releases

noreply@blogger.com (DaveCromwell) — Tue, 20 Jan 2026 16:35:00 +0000

As the calendar rolled-over to a new year, the desire to make 2026 the best one yet is still a fresh possibility. Pointing towards all that are four unconventional new musical releases given the DaveCromwellWrites deep-dive review. Each entry here challenge the listener to go on a journey with them through sonic labyrinths. The overall emphasis is on creative use of ambient, ethereal, dream-pop and drone.

The always busy Tom Lugo does not let much time pass before releasing new music. Running his own label Patetico Recordings out of a home base in Pennsylvania, a variety of collaborative and solo projects arrive frequently. The latest is a seven-track EP “The Edge Of Everything” from his Panophonic moniker. Having tragically lost the recordings fully polished, finalized tracks, the artist was fortunate to still have carefully preserved rough mix bounces (the pre-production) to work with. Impressed with what has been salvaged here, a full track-by-track analysis commences below.

EP opener “Oblivion” commences with rapid-strummed gazey guitar, soon met by a steady snare drum beat and deep-tone bass guitar rhythms. Tom’s voice floats in, creating one more sonic element to the structure. While overall feel is a more forceful dream-gaze, the vocal cadence leans closer to Mick Jones’ delivery in The Clash. At midpoint a tasty percussion lead breakdown adds an unexpected melodic rise. “Cosmic Intent” rises out of an ambient halo, nudged along by layered electronic beats. The pace is leisurely, wrapped in a glowing sheen. Clocking in at over five minutes, the records longest song provides plenty of space for contemplating the universe.

Syncopated guitar figures, melodic descending bass and complimentary drum beat are the forces powering along third cut “Starless Skies.” Tom sings with passion, as his quick-strummed guitar aura lifts everything up into the stratosphere.

“Near Horizon” comes on at a measured, more deliberate pace. Washes from the void flood the soundscape, as tandem note guitar and bass lines create melody. Cymbals accentuate the beats under this echo-laden guitar and voice presentation.

“Lasting Echoes” drives along at a quicker pace, with a throbbing bass guitar progression as it’s engine. Tom alternates fully sung-out lines with whispered near spoken word ones. Guitars ebb-and-flow over fragmented time drum beats.

A shearing, horror-movie squall kicks off penultimate track “So Out Of Reach.” Rubbery bass and churning guitar chords set the tone for Tom’s melodic vocal delivery. That soft delivery runs opposite of the musical chaos churning all around.

Reaching the EP’s final entry, “Starlight In Your Eyes” encompasses all the uplift and romanticism this dream-gaze genre is defined by. There’s a distinct Slowdive feel to it all, and that’s a good thing. The perfect ending to an overall rewarding listening experience.

Check out this glorious recording, including how to acquire it here:

The Edge Of Everything by Panophonic

Find out more about Tom's entire music catalog and his independent music label Patetico Recordings here.

Two previous DCW features on Tom’s music (among many) can be found here and here

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It was exactly three years ago this month when multi-instrumentalist Matt Catling’s experimental music project Under The Sun received a detailed review here at this site. That three track EP “Ocean Breeze” was an impressive display of ambient instrumental explorations. The artist is now back with a soon-to-be released full length album “Slow Motion Water” on world class Shore Dive Records. With two singles already released, a deep-dive analysis of latest work commences below.

Opening track “Drone F#” picks up where the previous record left off, with it’s gradual moving, meditative instrumental-only offering. A measured back-and-forth between two distinct tones set the initial pace, before a third element of three rising chimes enter in. Other sonic textures soon enter the mix, including steady, sharp singular intonation and percussive strike. Three quarters in, shredding guitar noise joins the fray along with lower register textures adding depth to the overall sonics.

The albums first single “Precious” follows, building off a shimmering flow and distant clack percussion. Under that haze comes vocals buried in true MBV “Loveless” fashion, where being “confident in your heart” leads to happiness and “feeling so beautiful – like you’re in love.” Matt delivers these lines with William Reid-like tonal register on his more psychedelic entries.

Precious by Under The Sun

Another more recent single release is the albums third cut “Dream.” What sounds like icy keyboard strikes leads the listener into another lyrically driven composition. Much clearer in the mix, the near-spoken-word story serves as a travelogue of sorts. Name-checking NYC, LA, Turkey, and an Indian Parade, the dream to live and dance in these locales is expressed. A strong percussive undercurrent is enhanced by buzzing guitars and a positive wish for society overall.

Dream by Under The Sun

Fourth cut “Summer” combines a back-and-forth rhythm laces with bell chimes and more ghostly vocals. A rising hissing texture weaves its way into the mix, along with harsher sonic washes that push everything further, before drifting away into fadeout. Fifth entry “The Outrun” emerges out of percussive beats and less-distorted, more defined singular notes. The heavier FX’s come on ethereal vocals that float in and out of view. It’s an effective combination of rhythmic clarity and celestial voices. Layered guitars accentuate the overall composition with (first) noise and then softer ambient outro.

Gentle strumming and deep thump beats introduce sixth track “Slight.” Twangy guitar notes emerge along with now-familiar ghostly voices. An undertow of swells rise up throughout, mixing unintelligible vocals within this wafting soundscape. A brief pause at the midway point resets everything momentarily, before it starts up in full once again. The albums seventh entry “A Midnight Oddessy” also served as the b-side to first single “Precious.” Opening with chiming guitar-string-strokes and industrial percussion, softer elements emerge as the song progresses. Coming with a complete lyrical story where one is “walking along feeling lost,” the liner notes indicate it’s dedicated to recently deceased film-maker David Lynch. Sonic waves of full-on gazey guitars lift everything further, on out to its conclusion.

Modulating pulsing provide counter-melody for the shimmering guitars on eighth cut “Shining Smile.” Voices float in on gossamer wings, only to disappear into the void shortly thereafter. Ninth and second to last track “Soft Focus” combines upfront guitar strumming, wind rushes and steady beats with a return to William Reid-style vocals. A warbly sonic element emerges on top for additional texture. The tenth and final entry “Never Forget” builds around a clean, FX-free beat, clarion chimes, distant vaporous vocals and intensity levels that ebb and flow with the tide.

With a few tracks already releases, the full album is expected at the end of this month.

Connect with Under The Sun here on Facebook and Instagram.

Connect with Shoredive Records via their extensive LinkTree

A previous DCW feature on this artist can be found here

Along with a recent Shoredive review feature here.

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In 2025 Andres Alfonso Lugo Cruz released two separate pieces of work under his solo Los Dientes Hundidos en la Garganta project, that received full reviews here at this site. This ever creative musician is now back with a new five track recording “TRANSFIGURACIONES.” Once again playing everything on these recordings (drums, guitars, synths, noises, bass, and everything else) some significant samples also appear. The artist has put a lot of intellectual thought into these pieces, noting the difference between traditional music’s emphasis on time, while textural drone compositions explore space. The intention is less about entertainment, but rather explorations into our doors of perception.

As if to drive home the intellectual inspiration for these works, it’s opening piece comes with what has to be the longest song title ever for any piece. “Them, they will attain immortality as they will be able to being anyone back to life by exactly assembling atoms to match the same structure that a body possessed before its death” is the paragraph long single sentence title. What we initially hear is slow and ominous, with a subtle mechanized undercurrent. The movement is deliberate as it carefully reveals itself in a delicate progression and form.

Follow-up entry passage “Dialogues” draws inspiration from cybernetics visionary writer Stanislaw Lem. Over 60 years ago this sci-fi writer predicted the internet and our current evolution of synthetic minds created by humans. Andres musical explorations here build around a steady drum beat, indecipherable voices and deep sonic washes. Despite the infinity loop feel in the repeated sequences, illusive flowing changes keep the listener engaged.

Third cut “Intellectronics” delves further into this artists fascination with capturing that audio “state of waiting and suspension.” A rough-scratch underlying pulse provides a hint of solid matter to grab on to, while that infinite reserve dissipating all around converge simultaneously. It’s a transcendental feeling “where any point may connect to any other.”

At ten minutes in length, the albums longest track “Lost Illusions” opens (and closes) with a backdrop of rain and distant thunder amid ambient overtones. This audio journey into the void exemplifies how creative fluid music is free from linear design constraints. Based on the concept of a rhizome philosophy there is no distinct tonal center or primary melody, allowing for a continual reconfiguration. Like an impressionistic painting, it opens one up to a meditative state of mind that provides both refuge and space to ponder the cosmos.

Final piece “Theoretical Reasons” builds around a spoken word sample mixed within spacious wind rushes and agitated percussion. There’s an urgency embedded inside this composition that separates it somewhat from all the tracks previously heard here. An interesting way to bring this fascinating album to conclusion.

Listen to and find out how to acquire this music here:

TRANSFIGURACIONES by Los Dientes Hundidos en la Garganta

Follow this artist on their Social Media - Facebook - Instagram - Bandcamp - YouTube

A previous DCW feature on this artist can be found here.

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It’s always a pleasure to discover new music from an email sent directly by a band or their label. Such is the case with the Italian recording imprint I Dischi del Minollo, and the news of progressive instrumental artists Northway latest EP “Impulse, Surrender!” Working in a genre they self-confess is influenced by artists like Mogwai and Godspeed You! Black Emperor, this Italian 4-piece have crafted an impeccable recording of delightfully nuanced material. With both compositions coming in at seven to seven-and-a-half minutes in length, there’s much to explore and experience.

First entry “Impulse” sets the tone with a steady bass drum “heartbeat” while open string guitar chords ring out like a clarion bell. Behind that comes chugging rhythm and bass guitar that halts for a split second, before launching into the progression in full. A fluid lead guitar melody line steps out in dominant form, while the rest of the band surge forward with precise rhythmic counterpart. A shimmering guitar undercurrent gives a subtle gazey feel, and exemplifies how a dual guitar powered band can be working on separate levels simultaneously. Two minutes in and a switch is thrown, as hard-edged distorted power chords suddenly command the arena. While that burst of rhythmic power unfolds, a distinct lead guitar melody rides over top.

The mood shifts once more, and a dreamy Pink Floyd-like slow-groove dreamscape unfolds. Descending keyboard lines and guitar melodies criss-cross each other with a gentle touch. One more movement takes hold, and it’s atonal guitar textures have a Sonic Youth quality to them. That morphs into further distortions where the now current guitar tone is slightly off-kilter and warbly. The final passage is clear, clean and spacious, allowing for emphasis on bass guitar, drums and singular lead guitar notes.

The second track on this EP “Surrender” begins with stark piano notes over top of long-held synth pads. The melody is vibrant and tugs on the heart with it’s emotional feeling. Guitars soon enter in, creating a melodic counterpoint to the sentimental piano notes. At two minutes a sonic shift occurs and all goes quiet except for a military-style snare drum pattern. A single tone guitar figure starts on top of that, followed by another guitar weaving filigree textures around it. That continues to build into a fuller movement where uplifting shimmer is held together by the firmness of bass guitar. With everything progressing forward, elements of dreamy distortion emerges underneath, along with pitch-bend guitar figures. A final movement of percussion-accented power chords, dominant guitar figures and keyboard twinkles lead to it’s conclusion.

Check out these two incredible instrumental pieces (including how to acquire the EP) here:

Impulse, Surrender! by Northway

Follow Northway on their Facebook, Instagram and TwitterX

Connect with the bands label I Dischi del Minollo via their Social Media as well: Official Site, Facebook, Instagram and TwitterX

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Best Of 2025 Year In Review: New Music, Interviews and Live Show Coverage

noreply@blogger.com (DaveCromwell) — Mon, 15 Dec 2025 17:10:16 +0000

As the year 2025 comes to a conclusion, the time to reflect on the music reviews composed and compiled on this website is once again upon us. Each month's entries are covered here in chronological order, featuring the best of the best artists who put out compelling new recordings. Significant live shows attended and associated interviews conducted are highlighted here as well. Before we move on to a new year, dig in to the 2025 Best Of DaveCromwellWrites Features.

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The above June review included two more song reviews from Sueno con Belugas album "Ataque con rayos electronicos." Reviews here added "Love Evolves" and "Flying High" to the previously covered "Velocidad" and "Mil Recuerdos." Now four wonderful new tracks "Portal," "Sombra," "Colores" and "Trasciende" complete the album. They continue the ambient spirituality of what came before on this dreamy collection. The link below will take you there.

Read Here

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Since the release of Sophie Ellis Bextor’s album “Perimenopop” in September, there is now a Christmas remix of the track “Time” re-imagined as “Christmas Time” (so appropriate for this time of year!) Adding gentle touches of jingles and bells, it also arrived with an emotional official video. In it we see Sophie and her family through the years in Christmas photos, including images of that one period when Sophie hair was entirely blonde. The video closes with a home movie of her grandpa leading the family through the Christmas pudding song and conga line tradition. Very British and all so wholesome.

Check it out here:

Read Here

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Bewitching Reviews of Enchanting New Music Releases

noreply@blogger.com (DaveCromwell) — Tue, 28 Oct 2025 14:35:00 +0000

It’s always fun at this time of year, no matter your age or where you may be living. Everyone seems to love the Halloween Season, and this current DaveCromwellWrites music review features two releases focused on this universal theme. However, never far from this websites realm are bands that focus on gazey, propulsive indie rock, released via trusted labels. The binding element between them all is a motivation to create attention-worthy recordings.

Rhythmic fuzzy-gaze rockers Phantom Wave are back with a new full-length album “Echoes Unknown.” Still boasting the creative forces of Ian Carpenter (guitar/vocals), Rachel Fischer (drums) and Yanek Che (bass), songwriting is credited to everyone, with Ian providing all lyrics. Contributing to the overall sound design was engineer Ryan Dieringer and Ringo Deathstarr’s audio master Elliott Frazier on mixing. With Shore Dive Records releasing it on their well-respected, like-minded label, a full track-by-track review follows below.

A squall of feedback and noise create the entry point for rhythmically propulsive opening (and title) track “Echoes Unknown.” While guitars create a solid wash as backdrop, thundering drums and bass guitar deliver all the forward motion. Vocals come layered on top with minimal (if any) enhancing studio effects. This clean vocal reading stitches together poetic thoughts of things being “damaged and zoned . . . fever stoned” and “follow down to the bones.” The chorus keeps things simple stating these “echoes” are “for you,” adding more emphatic vocal phrasing and fuller background sonic force. A second verse keeps the poetry flowing, with matching couplets “say now split the sorrow - what wishes can we borrow” and “here comes another remedy - all the skies, you and me.” It’s vague, yet somehow universally understandable. A midpoint section adds a layer of percussion accents to the churning back-and-forth two chord break. The tracks final moments combine metaphysical lyrics – “all in all unknown – echoes on, unknown” with one more layer of higher register guitar textures.

Follow-up cut “Splashed” comes on quicker with forceful drumming powering along bass and guitar sounding like early-era Cure. In fact, the unadorned vocals seem right out of that time period as well. Lyrically playing off a water theme (“hazy fog . . . don’t you capsize”) it’s the emotionally charged heavy-noize-gazer chorus that compares “getting splashed” with “breaking free.” One could picture themselves relaxed on a beach where “swollen skies are here, blankets aglow - somewhere else is burning, got nowhere to go.” Additionally the lyric “take it away, the crash and wonder” references leaning IN to it, rather than removing it. Reaching it’s explosive sonic peak and definitive final word “Free,” comes a quiet 30 second ambient fadeout.

Third entry “Hologrammer” features higher-register “icy” guitar textures and four chord progression locked together by bass and drums. Vocals are delivered in breathy whisper on lines “exquisite you, along the streets - tell me now, beauty replete.” Eloquence of expression continues through loosely connected lyrical thoughts where “all the tones – they begin – praise the saints – don’t give in.” When the chorus is reached, sharp turn accents add punch to essential phrase “burn on hologrammer.” Bass guitar plays a central role out front during an extended instrumental midsection.

A slower, more measured bass guitar and drums groove provides the pacing for next cut “Woozy.” Guitars are angel-stroked chime-y, floating in from the clouds. The chorus hits hard (like one always hopes) with the lines “now what you got? Drifting forever. Now what you got? (and this is clever) “forever endeavor.” Only reading the lyrics would reveal that, as listening to it sounds like “forever and ever.” This writer and eternal student of word craft appreciates the subtlety. Perhaps this attempt to achieve or gain begins with “solace,” “trails” and “desires” to “want everything good.”

Check it out:

Reaching the albums midway point, “Breakaway” plays with tempo shifts that pivot from standard progressions to more angular rhythms and leveled-up speeds. It’s a technique you sometimes hear in the songs of album mixmaster Elliot Frazier’s own band Ringo Deathstarr. While the chorus implores you to “breakaway – what do you say,” deeper clues emerge via lines “open the old maps and all the spinning tops - back to sonic beach, paradise in reach.”

Deeper album cuts exhibit subtle variations on what has already come before. “Collider” blends a Cure-like gothic rock progression with gazey guitars and lyrical views from “the atmosphere.” In contrast, “down here” (on earth) “we all know how it goes.” Open note arpeggio guitar plinking gives seventh entry “Wanton” it’s unique sonic quality. While that singular title adjective has a few definitions, a lyrical reference to “endless pleasing” gives a clue into which one it is.

This one comes with an official video:

A deep bass guitar groove drives the deceptively titled eighth track “High Halcyon.” While essential title word and subsequent lyrics reference blissful, carefree moments of peace, instrumental accompaniment resides closer to traditional noisy gaze. Penultimate cut “Memory Swerver” hearkens back to the “new wave” era (somewhat) with it’s defined chord progression, clarion-chime guitars and emo-angst vocal delivery. Along with the now-expected harsher instrumental elements is a final twenty seconds of Sonic Youth-like ambient fadeout. Final track “Sirens” leans all the way in on breathy, urgent vocals. With a pace and sonic texture close to fellow local gazer band Dead Leaf Echo, clever lyrics emerge, like “seasons cresting into shape – playing all the Sunday tapes.” While the drums on the entire album elicit a live-in-the-studio feel, it’s even more pronounced here. Bass guitar continues to pop and rumble throughout, under the glorious wash of soaring ethereal guitars.

Check out this entire albums multilayered distorted dreamscape here:

Echoes Unknown by Phantom Wave

You can acquire the album from Shore Dive Records

Follow Phantom Wave on their Instagram, Facebook, YouTube and Bandcamp

Stay up to date with Shore Dive Records via their Facebook, Instagram, Bandcamp

For vinyl editions, go here.

Previous Phantom Wave features on this Site can be found Here and Here.

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The DCW universe has been keeping up with The Suncharms since first being made aware of them six years ago. A significant amount of reviews on their musical output have graced these digital pages since then. Along with prominent full track-by-track album reviews, both single releases and compilation contributions have also been included. Now arriving just in time for the “spooky season” are two tracks serving as the first taste from their coming album “Darkening Sky.” A careful listen to these new songs commence below.

Featured cut “Monster to Me (Halloween Version)” comes along at this appropriate time of year. An ambient wash rises up quickly, soon followed by the primary easy shuffle groove. It’s essential melody is delivered by a buzzy guitar riff, with secondary guitar chords, on-point bass and a relaxed percussion backbeat. Vocalist Marcus Palmer gets right to it with the opening lines “you became a monster to me, I had a fear of going home - one look from you could turn me to stone.” With those chilling thoughts laid out, the tracks gorgeous hook emerges out of a power chord and rim-clack drumming. “It wasn’t always like this” the singer presents, as the most unexpected but perfect-for-it muted trumpet joins in adding pathos to the moment. Where “a teenage love affair – the stars seemed to shine – so bright.” That brightness began to fade when a “dark soul” took over, building “a temple to yourself.” This compact 2 minute, 30 second song closes out stating “this is no – Torture Garden – Vault of Horror - House that Dripped Blood - Friday Night Double Bill.”

The paired second track “Tuesday Afternoon Seance” picks up the pace a bit and extends it’s overall length by a minute. That extra time allows the band to stretch out more instrumentally throughout. Leaning in to a psychedelic vibe with repeated vocal “I know” (7 times) a more dominant bass guitar moves about as distorted guitar melodies flow. Marcus tells the tale of this “séance” where “the lightning lit the room” and “the glass moved, the table shook.” Drums become more active alongside bendy guitar accents as Marcus asks “how could I know?” Rushing synth pads emerge underneath expansive bass and guitar explorations. Returning to verses place strumming guitar chords out front as Marcus ponders a “staircase” with “70s swirls on the carpet” asking “If we go upstairs would we talk?”

Check out these two seasonably cool tracks here:

Monster to Me by The Suncharms

Follow The Suncharms on their Social Media - Facebook - Instagram

Previous DCW features on this artist can be found on this site here, here, here and here.

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Long-time favorites of this site Big Stir Records are always working on new ideas for the music and artists they represent. The Burbank, California based label have been releasing select singles during the month of October off of their Halloween themed album “Chilling, Thrilling Hooks And Haunted Harmonies: The Big Stir Records Halloween Grimoire.” Laid out as a continuous program containing audio tales and sound effects in-between the songs, the vinyl LP version includes a gatefold jacket that folds out into a playable board game. The compilation was curated and produced by Michael Simmons, Rex Broome and Christina Bulbenko.

Spinning the wheel of choice to select a noteworthy track to review, the needle falls on The Armoires entry “Full-On Witch Mode.” Coming complete with it’s own official music video, elements of magic and witchcraft are woven in with the bands performance. The track comes to life via a mysterious bass guitar driven groove, supported by steady percussion, slashing guitars and deep toned violin. Lead vocals sing about being “connected to the things that move beneath the surface.” Images of candles, powders and potions appears as those practicing these ancient arts devote serious attention to their craft. There’s humor woven in as well, with the verbal spelling of “hell” as “H E double hockey sticks.” As the track continues to build with intensity, a pivotal vocal line states “and when the world wont align with what we want to see . . . we go full on witch mode.” The whole video is shot beautifully, frequently bathed in a purple hue, with dark shrouded close ups of each band members faces.

Check it out:

You can pick up the album here.

Follow Big Stir Records on their Official Website - Facebook - Instagram - YouTube - TwitterX - Bandcamp

Previous Big Stir Records features on this Site can be found here, here, here, here, here, here, here, and here.

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Acute Examination Into Dramatic New Albums and Associated Live Shows

noreply@blogger.com (DaveCromwell) — Mon, 29 Sep 2025 14:34:00 +0000

Detailed track-by-track reviews have been the noticeable hallmark here at DaveCromwellWrites. When full new albums arrive from beloved artists, the desire to investigate every note and word attached to those records remains strong. Additionally, live concerts in support of those songs (which include classics from their entire catalogue) are eagerly attended, with an eye on capturing the mood and feel of that event. What results is an informed literary opinion on the artists intentions, as they present this music to their audience and the world.

The “before” and “after” explosive event surrounding international pop icon Sophie Ellis Bextor’s career has been nothing short of remarkable. Always a consistent hit-making singles and album creator in both her home country of England and throughout Europe, the worldwide success of re-released early single “Murder On The Dance Floor” has been a game changer. With the combined forces of that “wind in her sails” and a never wavering determination, we are now treated with the release of her 8th full-length studio album “Perimenopop.” This self-created word for her record serves as a testament to women’s strength and ability in remaining vital at every stage of their development.

The albums lead-off track (and second single after the advance release “Freedom of the Night” last October) “Relentless Love” has already become the current live show opener, complete with video imagery of Sophie’s whispered intro “all that I wanna be is by your side.” Once the synth, percussion and bass guitar groove commences, Sophie’s declared “fairground ride in a song” is fully underway. Working with production and songwriting pros Jin Jin, David Wrench, Karma Kid and Baz Kaye, her lyrics and vocal performance are what everyone is here for. The pre-chorus delights stating “the city is waiting to see a miracle,” concluding with “wherever we go it’s so immaterial – ‘long as it’s you and I.” However, Sophie’s continual love for 80’s era Michael Jackson disco shines through on a chorus that goes “if we're the sum of all we feel, then I'm forever on this Ferris Wheel,” where “we found relentless love.”

Second entry (and third single) “Vertigo” finds Sophie working with frequent writing partner Hannah Robinson, as well as producer James Greenwood. With no intro at all, vocals start immediately while accompanied by a steady dance-floor pulse and video game bleeps. At a tight 3:31 in length no time is lost getting to a pre-chorus of “swirling, whirling” and “mercy of the rush” via rising progression and disco-beat drumming. The culmination comes in the form of a chorus that is part robotic voice (the repeated song title after each definitive line) and lush two line declaration “all of my senses right from start, orbit the pull of my heart.” There’s even a musical bonus via a bridge where “Hurricanes” are rhymed with “jet planes” that “scrape the sky.”

Third cut (and fourth single) “Taste” comes accompanied by a clever animated lyric video that playfully accentuates the songs lighthearted nature. Collaborating with song writers Jon Shave (who also produced) and MNEK, musician/husband Richard Jones bass guitar playing is noticeable throughout. Even more concise than the prior track with it’s under 3 minute time, chirping synths and Sophie’s “You’ve got it” cycled punctuation line hooks you in. A descending, measured syllable voicing on verse lines “bay-by-I-don’t-know-what-goes-in-to-your-recipe” becomes a second sing-along earworm. As is pre-chorus “just-like – cit-trus – on-my-tongue” which ultimately leads in to the downward spiral title line chorus, fully harmonized and enhanced. Some serious cowbell joins into the overall fray of synths, funky bass and cascading background vocals.

Going full throttle into fourth album track “Stay On Me” (the sixth single, with symmetrically fifth cut and single “Dolce Vita” put forward earlier), Sophie penned this with a songwriting team of Caroline Ailin, Thomas Hull (a/k/a Kid Harpoon),Selena Gomez (a/k/a “worldwide superstar”) and Julia Michaels. Sonic Production was handled by Karma Kid, Kaye and Richard. Going all in on this one, longtime video collaborator Sophie Muller was enlisted to direct a lavish music video. Set against an opulent backdrop of Irish seaside landscapes and quaint indoor locales, SEB revisits her Eastern European storybook look first shown during the “Wanderlust” period. Vintage cars, stone slabs and Sophie flipping through paperwork create visuals for the smooth 60’s era soul chorus “you can have your pick here in this room.” That vibe continues with plinking guitar, descending keyboards and definitive chorus lines “everyone’s got their eye on you,” but “his eyes stay on me.” Bonus video inclusions are the adorable donkeys waiting by the door.

As previously mentioned, fifth entry and single “Dolce Vita” serves up what Sophie describes as her “summer holidays, escape.” Leaning heavily on American Philly-soul and early 80’s disco, it’s no surprise then to see former Atlantic Records staff songwriter and current Temptations member Ron Tyson involved with it’s creation. Karma Kid, Kaye and Richard produced, while a 14 piece string section provides all the necessary swirl. While Sophie’s lyrics for the most part stick to beach relaxation mode: “sand on my skin like cinnamon” – “move my body to recline” – “nowhere to go so I just take it slow,” there are touches of current events. The lines “like a phoenix from the ashes – my story’s starting to appear” seems like a nod to her resurgence in popularity. That revival now offers ample opportunity for this “good life” where “the air’s forever sweeter.”

Sophie opts for minimal production on the vocally intimate “thoughtfulness” with her Jon Shave/MNEK collab “Time.” Gentle keyboards and simple beats support vocals delivered with sincerity that prioritize personal connection over material accumulation. The Chorus once again emphasizes the SEB/Shave song-hook construct that accentuates precise vocal phrasing. “Time (stop)-I-can-give-you-all-of-my-time” followed by “and-there’s-nothing-more-precious-than (pause) – Mine.” A second hook immediately arrives after that with the “why don't we let it run, let it run, let it run - run away with us” dreamy vocal line. Synth bass is prominent, but used sparingly as a point of emphasis. A third movement comes via a bridge that finds Sophie following her first lines with an ethereal response.

Ghostly voices open seventh track “Glamorous” with a distant preview of the eventual chorus (“hard, fast, silk, cool”). Writing this time with Norway’s Sigrid and Britain’s Finn Keane, Sophie touches on how the music industry can seduce you. Lyrics like “sweet on the tongue,” “deadly . . . dance with your heart” and “paradise – made of thinnest ice” all point in that direction. All that glitters is not always gold, as the chorus points out “I'm drawn to his light, getting burnt by the flame, playing with fire's a losing game.” Musically wrapping around this lyrical cautionary tale, however is a solid dance floor banger.

Back in October of 2024 Sophie released this albums first single (now positioned as it’s 8th track) “Freedom of the Night.” A full review of it was given at that time and can be found here.

Reaching the albums “deep cuts,” ninth entry “Layers” is another collab with James Greenwood, who helps bring Sophie’s lyrics to light via a smooth subtle-funk production. Bathing her words in a slick sheen similar to what a band like Duran Duran does, Sophie explains how a longer experience with someone can be key in getting past difficulties. Once again there are multiple hooks to grab on to, like the keyboard driven “under the skin, we’re letting it in – keep reaching out, silence can shout.” Followed by the smoother, descending chorus “so lay on down, lay on down, lay on down with me.” Recognition comes through the power of being “always in my bed – under the covers.”

Closing in on the albums final three songs, tenth entry “Diamond In The Dark” comes from a writing session with her previous albums colleague Ed Harcourt and none other than living legend, CHIC creator Nile Rodgers (talk about Duran Duran, plus Bowie and Madonna)! As expected, there IS the signature funky rhythm guitar, along with that 14 piece string section and some bubbling moog bass from Richard. It’s classic 70’s disco on this one, and a real homage to the era that featured The Love Unlimited Orchestra. Sophie puts her own personal stamp on it with the dreamy “all of my, all of my, all of my, all of my senses” vocal line. Bonus points for the cheeky inclusion of the lyrical reference to “river deep, mountain high.”

Penultimate album track “Heart Sing” emerges out of a throbbing bass-synth and steady 1-2 percussive beat. Written with the team of Sigrid and Keane again, Sophie draws on her past memories to conjure feelings of melancholy and longing. Vocal techniques emphasize rhythmic cadence, like on the line “pulling me out – out – out – out” and “we had a sound – sound – sound – sound.” An initially subtle David Arnold arranged string section begins on the second verse, growing in intensity as the song progresses. The highlight (as always) is the chorus where Sophie’s vocals shine on lines “the echo of you haunts me – now I’m a lost melody.”

Reaching the album closer, we’re treated to the nostalgic “Don’t Know What You’ve Got Until It’s Gone.” Once again writing and recording with Luke Fitton and Hannah Robinson, electric piano stabs, softer synth pads, plinking guitar and Jackson’s steady four-on-the-floor beat moves everything forward. Verses feature Sophie’s vocals up close and personal, while a quicker delivery on lines “and they say never look back - It doesn't happen like that - sometimes the memories attack” add rhythmic weight. Introspection provides solution through a chorus that states “just be glad you had it, now (that) it’s gone – gone – gone.”

Order Sophie Ellis-Bextor's new album 'Perimenopop' Here

Join the Sophie Ellis-Bextor mailing list

Listen to more from Sophie Ellis-Bextor

Follow Sophie on Social Media - Instagram - Facebook - TwitterX - Official Website

A multitude of previous SEB Reviews and Features here on this site can be found below:

Sophie Ellis-Bextor in Concert at Plaza Live Orlando, Florida

A Complete Review of Sophie's Full-length Album "Hana"

The Song Diaries - Album Review - Familia - Album Review

Wanderlust - Album Review - Make A Scene - Album Review

Sophie - Live In New York - Sophie – Interview

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The long history of American based, Scottish fronted alternative rock band Garbage has been a lived-every-moment experience here at DCW. Every one of their albums has been owned and obsessed on since they began releasing them in the mid 1990’s. One live show highlight was catching the band in October 2015 during their 20th Anniversary of 1995’s debut album (lovingly chronicled here). With life’s changes and southern relocation, it was a thrill to discover Garbage was putting out an eighth studio album (symmetrical 8’s here in this Feature) “Let All That We Imagine Be the Light” in 2025. Their “Happy Endings” tour was announced in support of the record, with a stop at The Hard Rock Live in Orlando, Florida as an opportunity to catch them live once again. Both that show and the album’s songs are now reviewed below.

Opening both the record and their recent live shows with "There's No Future in Optimism" showcases Shirley Manson and the band (her “druids”) at peak performance. Released as the albums first single, a repeated intro line “if you’re ready for love” sets up the quintessential slick Garbage production and vocal hook “future, future, love, love, future.” Despite the title and some lyrical references to world unrest, positivity shines through on lines “you and I, we have a chance - we could leave this place and rewrite our romance.” Similarly, the lyrics “there is no future that can’t be designed - with some imagination and a beautiful mind” is the definition of optimistic.

Here’s the dramatic opening with this song at their Orlando show on Wednesday, September 3, 2025

The title to second track “Chinese Fire Horse” references Shirley’s birth year in the zodiac cycle. A forward charging guitar, bass and drums fueled rocker, the caustic lyrics deal with aging and fighting back against stereotypes related to that. As the vocal hook “wait a minute, wait a minute, wait a fucking minute, wait a minute” repeats throughout, live show bandmates Shirley and bass player/backup singer Nicole Fiorentino join together on it with enthusiasm. The definitive line “I’vе still got my power in my brain and my body, I'll take no shit from you” puts an exclamation point on it all.

Third cut “Hold” was given it’s live debut and bonus treat for those of us in attendance at this Orlando show. The synth/bass heavy start-stop rhythm supports emotional lyrics referencing both current global chaos and personal intimacy. A one-two punch of hooks that name checks the songs title along with lines “don't let me go - just hold on tight - for our dear life” is followed by “we keep running, running, running.”

This clip captures that performance at our Orlando show

A modulating synth pattern introduces fourth entry “Have We Met (The Void).” Low-key near whispered vocals present an unwanted visitation “in the dead of the night” where “I don’t know who you are – all skin and bone.” The chorus (as expected) is bigger and bolder with the title line question followed by “I think you've mixed me up with somebody else.” Piano temporarily emerges as solo musical accompaniment, with vocals revealing a destructive relationship betrayal. While this overall instrumental performance is orchestral, the mood and groove stays ominous and accusatory.

Fifth track “Sisyphus” dips down into the smooth electronic realm with sequenced pulses as it’s driving force. The songs title and descriptive lyrics initially echo the mythological figure doomed to push that rock up a hill. However, it pivots quickly to overcoming obstacles with the dreamy chorus “this little body of mine is going to make things right.” Along with cautionary lyrics (“they’ll try to hoodwink you – don’t look away, take in everything whenever possible”) is a highlight sugar-coated hook that simply goes “On and on. On and on and on.”

Moving into the back half of the album, sixth cut “Radical” opens with off-kilter toy piano before the full band joins in. With sultry vocals from Shirley and a noticeable backbeat from Butch Vig, the hooky chorus “all you got to do is save a life” instantly sticks in your head. This song is also where album title “let all that we imagine be the light” are part of the lyrics. Swelling synths and trip-hop percussion underscores seventh entry “Love to Give.” While Shirley readily acknowledges “everybody's a little crazy, I'm no exception to the rule,” it’s the descending progression chorus that clarifies with the simple (and sincere) phrase “I've got a lot of love to give.” A dreamy bridge section expands on opening “proverb from a cookie” lyric with the celestial “breathe, let me breathe” refrain.

A second single was released from the album with eighth track “Get Out My Face AKA Bad Kitty.” Twangy guitar serves as the musical focus between and around vocal lines. A song about fighting back against controlling powers, the chorus hits hard with guitars supporting lyrics “get out my facе, don't mess with me, we're exhausted” followed by Shirley’s ghostly background vocal “get out.” Flipping a well known phrase, “if you can't join 'em, you gotta beat 'em” becomes the ultimate rallying cry. The albums penultimate entry “R U Happy Now” builds off a deep drums-and-bass rumble. Descending synth lines eventually join the mix, supporting biting lyrics which are the opposite of any sincere question of “happiness.”

Clocking in at nearly six minutes in length, closing track “The Day That I Met God” could arguably be the best on the entire album. Certainly the most ambitious, a Pink Floyd-like sequential synth pattern provides the initial audio base for Shirley’s lyrical revelation. Written while recovering from surgery, the fever dream where “my life fell apart” and “I thought I’d lost my mind” is recounted against a driving rhythm. The backing drops out and only piano remains on the chorus that intimately states “and so there I was, face to face with God - It was everyone I'd еver loved . . . еverything I'd ever wanted.” A David Gilmour-esque guitar solo follows, played by Steve Marker, with the previous piano sections played by Duke Erikson (though each play both instruments).

Second time through the chorus has the full band accompanying, then switching back to just piano on an introspective bridge stating “all around and everywhere - all at once and anywhere.” Because of the severe pain associated with Shirley’s hip replacement and recovery, strong medicine was required. Hence the songs final musical passage referencing painkiller Tramadol with repeated lines “Tramadol, Tramadol - I found God in Tramadol.”

Check out the live debut of this song at the attended Orlando show:

Overall, this live show was an extra special treat as it was the first show on the final leg of the "Happy Endings" tour, and Shirley posted a lovely message about it.

The Hard Rock Live venue and it's attached restaurant is a great place to see a show, with so many artists memorabilia on display.

The attention to detail on things like this suspended from the ceiling instruments display below adds a stunning visual aspect to the experience.

As one would expect, the live show also included many classic songs from all their previous albums.

"I Think I'm Paranoid"

"Vow"

“Only Happy When It Rains” from their 1995 self-titled debut album was the shows first encore.

Followed by “When I Grow Up” from 1999’s multi-platinum second album Version 2.0

The setlist of everything played.

Opening the show was newer dynamic rock band Starcrawler who put on an excellent show of their own.

Over three decades in, still happy concert goers.

"Let All That We Imagine Be The Light" 8th Studio Album from Garbage can be streamed or purchased HERE.

Connect with Garbage via their Social Media - Facebook - Instagram - YouTube - Fans Message Board

A previous Live Show Feature on Garbage can be found on this site Here

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Intricate Diagnosis of New Full-Length Albums and Video Releases

noreply@blogger.com (DaveCromwell) — Mon, 25 Aug 2025 15:40:00 +0000

As the summer month of August wind down and slouch towards Labor Day, DaveCromwellWrites heats up with reviews of exciting new releases. Long-time friends return with a brand new album, while more recently reviewed artists receive completed and updated focus. Full albums are analyzed with track-by-track priority, while adapted video releases serve to further heighten their associated tracks.

Fellow Sunshine State expats and long time friends of this site The Stargazer Lilies have a brand new album they’ve just unleashed on the globe. Having covered their prior release here exactly 3 years ago (as well as numerous other features for the better part of the last decade) its always a cause for investigation when this bands new music arrives. “Love Pedals” now adds to their strong catalog of heavy ambient gazey psych-rock. A deep-dive review here will now uncover the treasures within.

Opening track “Ambient Light” comes complete with a dark purple-hued psychedelic video treatment. With the opening strains of John Cep’s distorted guitar bouncing around in a rubbery pattern, vocalist Kim Field delivers angelic lines as if floating above. The title line comes up quickly with the phrasing “we’ll drone in harmony, in the ambient light,” where they also “psych out.” Its associated video depicts the principal members arriving home and engaging in tripped-out activities. As the grunge-heavy groove trudges forward, the individuals can be witnessed dancing around in animal masks, pouring drinks and playing favorite albums. Noteworthy classics spotted include The Velvet Underground and JAMC’s seminal “PsychoCandy.” As John chokes out an acid-rock solo over that buoyant bass rhythm, cat familiars appear in appropriate places throughout the video, along with those “pedals” that are “loved.” The final ambient light act is to “do some bedroom pop,” and we’ll just have to use our imaginations as to what that actually refers to.

Follow-up track “Love Radio Show” (which also comes with a “radio edit” at the albums end) takes a romantic pop motown feel and immerses it in MBV “Loveless” elements. A nostalgic ode to radio signals both cosmic and real. “So tune in the magic hour, to the signal up above” is how the chorus begins. “Beaming from the broadcast tower, sending frequencies of love” completes that passage. There is even references to the albums (and record labels) overall thematic imagery via lines “transmitting with flower power.” Careful production avoids constant guitar camouflage as verse 2 opens space for bass and drums and lyrics “My world spins only for you.” The guitars make great use of phase shifting to approximate radio waves static.

Third entry “Perfect World” also benefits from an associated video that juxtaposes current colorful AI trend interiors with self-shot black and white performance images. The audio opens with a Spector-esque singular bass drum beat and similarly minimal bass guitar. As the chord progression continues its slow liftoff, you are soon plunged into a David Lynchian experience in both image and sound. Kim's goth-meets-breakfast-at-tiffany’s styling swirls as she delivers thematic lines where “poverty would be no more, as would disease and making war.” For now this “perfect world” only exists in our hopes and dreams, but perhaps someday it will come true.

Check out this Utopian dream here:

Digging deeper, “By Your Side” continues the stark, moody ambiance previously established with added twists. What sounds like muted French Horns initiate a subtle melody before Kim’s voice presents lyrics with measured pace. It’s a story of redemption where one goes from being “all alone,” “companionless walks” and “partnerless talks” to the “only one who needs to be found.” The drum beat is forceful, providing foundation for Kim’s vocal delivery. As bass guitar continues it’s steady pace, John’s guitars wax and wane, with occasional dive-bomb strikes. Midway things get weirder, with a total ambient foray of propulsive guitar textures, along with Kim’s angelic voice returning for a final chorus.

“Shining Yellow” delves into that easy mid-tempo groove and feel, giving off fellow-associates Ringo Deathstarr vibes. Big shuffle percussion, downward drive progression and soft sensual vocals complete an uplifting sentiment. “Looks like the skies are changing, the sun shining yellow. Now that it’s looking lovely, we’re both feeling mellow.” A modern suburban Alice In Wonderland meet Nuclear Armageddon inspired video comes along with this song, encouraging you to find your own “Shining Yellow” utopia:

Sixth cut “Heaven Knows” finds John Cep covering all the instruments and vocals on a dreamy, gazey confessional. It’s soulful progression and out-of-phase guitars underscore lyrics about a “bizarre life I’ve lead.” Creating his own high-register angelic vocals, the title line takes that often used expression and attaches the question “why it’s the path that I chose.” “Trans Med” builds off a slinky bass line, growly distorted guitars and Kim’s sugary vocal delivery. John provides a variety of squalling guitar textures, blurring the line between “Transcendental” meditation and “medication.”

The albums final track (before LRS radio edit) “Hold Tight” dips into the Beatles “White Album” era for sonic comparison. Open note arpeggio chords and its associated progression along with Kim’s whispered vocals conjure up the mysterious feel of a song like “Dear Prudence.” Guitar leads are pitch shifted and distorted in places, clean and unadorned in others. The final end-out is a series of vocal “ahhhhs” and wirey guitar lines over steady bass and thumping drums. As previously mentioned there is a “radio edit” of “Love Radio Show” included at the end, which shaves off about a minute and boosts the lead vocals a bit.

Listen to and find out how to acquire this amazing album here.

Love Pedals by The Stargazer Lilies

Follow this artist on their Social Media - Facebook - Instagram

Distribution Labels: Little Cloud Records (US) - Shoredive Records (UK)

Previous Features on The Stargazer Lilies can be found on this site HERE - HERE - HERE and HERE.

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Earlier this year DaveCromwellWrites revisited California visionary synth artist Matthew Nowhere’s work, reviewing his collaborative song “Transforming.” Prior to that was an in-depth breakdown of the track and video for “Love Is Only What We Are.” Both cuts are included on the recently released debut full-length album “Crystal Heights.” With this complete collection that includes 11 other tracks fully available to acquire and digest, DCW now dives in to these recordings for a thorough analysis.

The album opens with “Transmission (Intro)” which offers up a one minute plus ambient texture piece that combines pulsing synths with robotic voices and celestial elements. That leads into the previously reviewed standout track “Love Is Only What We Are.” Next up is the chime-bell enhanced, synth-pad and bass note driven “Echoes Still Remain.” This instrumentation serves primarily to support a lyrical story whose chorus states “Immortalize - A lonely whisper. I hear it now - where echoes still remain.” A touch of electric guitar on the outro provides further depth to it all.

An Official Video comes with this song that adds a nuanced visual element:

The albums title track “Crystal Heights” comes on with a triumphant feel, capturing what those of us (who were there) loved about 80’s alternative synth-pop. There’s bits of Duran Duran (the percolating synths) Flock Of Seagulls and Depeche Mode all rolled into one original composition. A lovely electric piano coda enhances the final 15 seconds. Another just over a minute instrumental follows with the arpeggio synth progression and percussive “Aquatic Envelopment (Interlude).” From there its on to the also previously reviewed cut “Transforming,” featuring vocals and co-write from Lunar Twin’s Bryce Boudreau. Shortly after that review was published, an official video for the song emerged, and is well worth checking out here.

Moody bass and deep percussion provide foundation for the synth melody enhanced, singular mantra voiced “Have You Ever Known.” Alternately, guitar features prominently on the nostalgic romance of “Ruby Shards.” Tapping into the alternative rock vibe of twangy guitar and synth combos, the chorus hits home with the lines “I found the pieces of your heart - ruby shards of perfect art - and I can only stand in wonder.” It’s a perfect homage to an era that gave us songs like Modern English’s “I Melt With You.”

Check out this beautiful sand and sea video that accompanies this song:

Another minute and change instrumental serves as a bridge link between fully formed tracks with “Stellar Enfoldment (Interlude).” Despite it’s relatively short length, a complete melody emerges by the end. This leads into the piano augmented, lyrically optimistic “Everything’s True.” With pacing and tone moving closer to a David Bowie/Peter Murphy precept, the chorus declares “Lovers and mystics sigh - raising our hands up to the sky - everything's true.” Thirty seconds of meticulously crafted synth and guitar figures just past the 3 minute mark elevate the track further. “Silver Glass” comes on more gentle, with tubular bell keyboard textures providing audio appeal. There’s a subtle Caribbean Island feel to its underlying rhythm, as Matthew sings “O midnight sky, burning with electric light - but no one seems to see.” Additionally, the hook line “seven years have passed - pieces of silvered glass – rejoin - bringing us together at last” add focus to the songs title and overall intent.

Reaching the penultimate track, “Persist3nce” features Lunar Twin band and The Antonio Family Singers. With lyrics and lead vocals from Bryce Boudreau, additional synths are provided by Chris Murphy. Those keyboard swells compliment bass and percussive pulses, as Bryce presents his lyrical themes with familiar soft-sandpaper delivery. Extolling the virtue to “give into art” in “isolation,” the additional background singers enhance lines “into the night . . . stars . . . sun” and “sky.” A lively drum pattern comes forward under later lines where “the midnight sun” becomes “midnight lust – after the rain.” Final entry “Crystalline Emergence (Outro)” closes out the album with a buoyant keyboard melody over bubbling arpeggio notes and steady whip crack percussion.

Check out this incredible album here (with all the ways to acquire it):

Crystal Heights by Matthew Nowhere

Follow Matthew Nowhere on Social Media – Linktree – Facebook – Instagram – Bandcamp

Follow Lunar Twin on their Social Media – Facebook – Instagram – X/Twitter – Bandcamp

Previous DCW features on Matthew Nowhere can be found here and here.

An in depth Feature on Lunar Twin can be found on this site here.

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At the beginning of this year DCW reviewed the introspective, slide guitar infused Sueño con Belugas track "Mil Recuerdos" (A Thousand Memories). Audio only format at that time, a brand new video has dropped for this dreamy song with an amusing take on two people and they day they are having. One is experiencing frustration at all the challenges and pitfalls being thrown their way. The other appears to be sailing along in a happy state of mind, enjoying their good fortune.

Check out this fun video here:

Follow Sueño con Belugas and 3 Robots Records on their Social Media - Facebook - Instagram - TwitterX - Bandcamp – Linktree

A previous DaveCromwellWrites feature on Sueño con Belugas can be found here (which includes links to many other associated collaborations).

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Deep Probe of Admirable New and Recently Released Albums

noreply@blogger.com (DaveCromwell) — Mon, 28 Jul 2025 17:20:00 +0000

Two full-length, track-by-track album reviews are the featured output this time here at DaveCromwellWrites. An overdue return to greatness comes by way of legendary creators and long-time friends of this site. It’s always satisfying when one can reignite feelings of excitement and admiration that an artist initially stoked in you. These moments are what you live for, and should never be taken lightly. Equally important is a brand new album from more recent contributors (to this site, anyway) who’s timeline of productivity mirrors the first entry. There’s a starting point for everything, and the focus here is on these latest works.

When the original “Pe'ahi” album was released by The Raveonettes in 2014, an in-depth review of it was conducted at this website. That actually served as the ninth full-length review of this bands work here spanning a time period from January 2009 through September 2014. The review writing done earlier (which goes back as far as 2003) is now lost to the wind and dead sea scrolls of now defunct hyperlinks. Post Pe'ahi (1), an epic 3,744 word review of their “2016 Atomized” album was published here in January 2017. Following that was an August 2018 one-on-one interview with the bands mastermind Sune Rose Wagner. After a long hiatus The Raveonettes recently released a much anticipated follow-up to Peahi, simply titled “Pe'ahi II.” DaveCromwellWrites now digs into every essential aspect of each track with recharged purpose.

True to the opening tracks song title, the album starts with horror movie sounding plinking toy piano notes on “Strange.” It’s a 1950’s style stroll progression before the primary forceful guitar chords commence to chug along with bass guitar in tandem. The familiar Everly Brothers-style blended Sune and Sharin vocals deliver opening lines “Whenever we try it's a waste of - my time – yeah. Whenever we fight do you feel it? You bring me to my knees and tears.” Melodic guitar figures follow, immediately underscoring what gorgeous songwriting this is. Wagner laments about losing someone to “a boy who looked like me,” pointing out how “strange” it is “to go from the other side to this.” It all leads up to an angelic chorus that states “when we try – can we feel it’s ok” – “and it feels just like love.” That euphoric moment is ultimately countered by sparser instrumentation and comedown sentiment “it’s a waste of you and I.” The tracks final minute is an ambient dreamscape of metronome clicks and hisses over a simple keyboard rendition of the melody.

Check it out:

Follow-up cut “Blackest” starts out just as mysteriously, this time approximating a jazz combo with busy free-form drumming and soft reverberated electric guitar. Pulsing bass notes soon begins and spoken word as if from a radio broadcast can be faintly heard. All of that is obliterated when forceful buzzing guitars burst into the mix, soon joined by a power-thump drum beat. One more layer adds on with a descending “detective story” guitar melody. All of that suddenly drops out leaving behind changeover “ooohs” and a stark rendition of the songs lyrics. “When I rise on my wave - the moon shows her face. A lonely dot at sea - a lonely girl coming straight at me.” The trademark Wagner long slithery guitar groove is never far away, and the one here is everything you could want. Cycling one more time through the lyrical passage, Sune’s guitar follows with a flurry of melodic lines against moody backing instrumentals and an eventual thump-n-bump drum beat outtro.

An official band lyric video accompanies this one:

A syncopated rhythm between driving guitar and stutter-stop drum pattern immediately kicks off third entry “Dissonant.” Harmonized Sharin and Sune vocals jump in, delivered quickly at one more alternating tempo. “Come and get beside her - just pretend you like her - this love is all yours to fake” is the opening, disillusioned sentiment. “I tend to harden up when our love is set to go - I wanna give it up for someone I don't know” completes the hit-and-run encounter. A musical callback to “Attack of the Ghost Riders” follows to much surprise (and delight). With that initial verse/bridge progression cycling though again, a quick stop deep bass buzz plateau is reached at the minute-and-a-half mark (and lasting over a minute) before it’s percolating build-up launches back into one more verse.

A classic, straightforward drum beat leads in the official lyric video enhanced track “Killer.” Melody kicks in by way of a tinkling bell sheen on its descending chord progression. Rough guitar chords slash underneath as dual sung vocals commence. While the verses are catchy in their own right, it’s the chorus that hooks you in immediately with the battle-scarred relationship lines “Kill for love, and make it so I don't care. Most of the time, I felt so alone.” After a second pass through it stops abruptly, with elegant piano notes and finger snaps in it’s place. Percussion returns, adding a steady current under the extended piano melody. Another subtle change halts that progression for brief arpeggio guitar notes, before returning to that relentless forward march. It’s an unusual (and unexpected) coda that measures half of the entire songs length.

A steady hard-edged guitar riff is the opening force driving next cut “Lucifer.” Motorik percussion joins in with measured pace, offsetting the guitars urgent nature. Softer higher range vocals spell out what appears to be a demonic fever dream. Bass guitar and more bottom heavy drums usher in the next passage adding a bit more grit and a touch of funk it it all. That is emphasized even further once the original hyper-drive guitar riff returns. Another more spacious audio section change includes lyrics indicating “Lucifer” is a woman who “never felt love” is “tired of all the fighting” and “wants to walk alone.” Cinematic in scope, the primary driving guitar hook once again moves out and open spaces emerge in its place. The tracks final minute is a blend of softer alternating guitar riffs, scratch-buzz percussion and ultimately deep buzzing synths.

Distant, chiming guitar ambiance is the deceptive fade in on forward charging rocker “Speed.” Sune’s vocals are pitched into a slightly higher register as he delivers loosely related strung together lyrics alternating between hope and defiant resignation. “My hope died down I can't explain” (negative) “Somewhere I know that I belong” (positive), “Don't sell your soul you're young not old” (positive), “Don't waste your time you're one of a kind” (more of a pep talk). True to the song title, it’s fast paced, tasty guitar lick driven, and while the percussion is hissy and somewhat buried, there’s lots of angelic background voices floating all throughout.

The percussion stops momentarily leaving only guitar fuzz to emphasize lyrics “Got hit by a car and emerged unharmed” (well that’s good) “A failure in life means a winner in hell” (what?). Other lines that stand out, like “I don't wanna die without having tried” (good advice) and “You're jealous of me for what I've done” (that seems rather personal and one wonders who that is aimed at). The final verse let’s it all hang out, with the lines “I belong to this generation of filth” (self realization), “I was pushed into life entertained by war” (we’ve talked about this directly interviews and related song reviews), “we're pretty and blessed to have met with death (?!), “cause I know when he comes I'll take his hand” (yeah, I suppose, but don’t wanna think about that now – or ever – when it happens it happens – nothing you can do about it).

Reaching the albums penultimate track, “Sunday School” emerges in full motion from the get-go as a quick-breeze ditty. With emphasis on vocals and lyrical story telling rather than instrumental depth, it’s the perky, harmonized chorus that instantly connects. “What if you met him on a rainy day, he wouldn't get a word you say. This ain't no darling little Sunday school, cause he'd kill for love but not kill for you.” Bonus points for adding bell-chimes on the bridge section “and all the things that break you down, he never cared at all. Another time another place, he never cared at all.” That is follow by single throbbing tone, with distant voices as if coming from a far off radio. The final verse include lyrics too intriguing to ignore, with “fucked dates go to their graves” (!?), “young men end their lives” (negative), “young girls become wives” (positive).

Final cut “Ulrikke” brings back the harsh distorted guitars and thunderdome drumming for it’s abrupt shock-to-the-system intro. All that drops out quickly on opening verses that culminate with the line “make me indestructible as I am.” That intro noisy instrumentation returns, now sounding like an approximation of a train chugging down railway tracks. The second verse (same as the first) benefits from trip-hop style percussion and distinct, stylized recitation (and pronunciation) of the words. “Make me feel like finding someone - who can never do right and can never go wrong” becomes the catchy (if somewhat puzzling) refrain.

It's a wonderful album overall, and a reminder of the seemingly effortless ability Sune Rose Wagner has in writing, recording and bringing a record to fruition.

Connect with the band and find out how to acquire the album via this link.

Follow them on their Social Media at Facebook, Instagram and YouTube.

A full review the first “Pe'ahi” album (along with links at the end to 8 other Raveonettes reviews) can be found here.

An interview with Sune Rose Wagner on this site can be found here.

Finally, at full track-by-track review of all 12 "Atomized" song can be found on this site here.

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Around two and a half years ago this site did an extensive review of Canadian indie rockers Star Collector’s 6th studio album “Attack, Sustain, Decay . . . Repeat.” That was the result of being impressed by their (and subsequently reviewed here) video single “Green Eyes” from fifth recording “Game Day.” Now the band is back with their just released seventh album "Everything Must Go!" Expecting nothing less than another power-pop masterpiece, DCW digs down into this latest output.

The album opens with overall title track “Everything Must Go!” along with a full video production. This title name is something you would see on retail stores looking to move all their merchandise in one last blowout. That doesn’t seem to be the case however with this band, as their meaning is more universal as in letting material things go (“cause you can’t hold on to it”). The track (and video) comes into view initially via mix-master drummer Adrian Buckley’s subtle backmasking followed by a propulsive beat. Slashing guitar chords jump in, delivered by Vic Wayne and Steve Monteith with Tony Kerr’s bass locking to this progression that echoes The Who’s “The Real Me.”

Vic’s vocals are less Roger Daltry and more Alex Chilton in timbre, as he calls out for you to “come along for the show.” There’s an early “easter egg” for classic film buffs with the lyrical reference “Warriors, come out to play” (if you know the scene, you never forget it). Continuing it’s anti-materialism theme “we ain’t any richer than our memories,” “can’t put a price on feelin’ this way” and “you can’t buy tomorrow” leave no doubt as to what “must go.” In classic power-pop fashion, a blistering lead guitar break by Steve at the two minute mark is tasty indeed.

Check out this song and video here:

Second entry “Victory Dance” builds around wiry slide guitar and hand-clap-style percussion. A chugging mid-tempo groove, lyrics tell a tale of “we” (us) vs “they” (everyone who isn’t us) with an unconcerned “And we laughed” hook resolution. Big chiming guitar chords and fluid bass propel third track “Shining Example.” A higher-register backing vocal harmonizes with Vic on verses, while the change is solo voice intimate. The overall feel is closer to Neil Young and Crazy Horse than traditional power-pop.

Stacatto percussion, slithering bass and open note guitar figures lead in the subdued “Queen Bed.” Gentle female vocals (courtesy of Renee Suchy) join Vic on the understated “fight or flight” segment and following chorus. Those essential backing vocals become more prominent as the song progresses through this tale of returning to single life. Angular prog-rock accents provide instrumental change hooks for the torn memory saga “Black Nostalgia.” A particularly busy bass guitar line runs throughout, and especially stands out on the ethereal “Ah – Ahh” chorus. Vic drops his vocal timbre down low for the emphatic final verse where “the brutal truth” is addressed once and for all.

Referencing the Greek myth of Sisyphus, “Roll That Rock (Up That Hill)” bounces along briskly with contributions from guest musician Adam East (guitar, bass and vocals). Each lyrical burden is met with a definitive “And I don’t mind.” A soft plateau mid-song change section indicates that even if you “scream into the vacuum, everyone’s [still] a critic.” “Overblown” is an easy, breezy groove with lyrical focus on interpersonal turmoil. The question is asked “would you really be better off alone?” Frequent references to “the devil you know” describes multiple outcomes.

“Heavy On You” comes into focus via distorted buzz-fuzz and a-cappella vocals. When the mid-tempo cruncher rhythm comes in, a cautionary tale spells out how “a special kind of fresh hell - when you look at yourself - heavy on you and your mirrorball.” Bonus points for the thoroughly savory guitar lead running through the center. Bright acoustic guitar and melodic bass guitar melodies usher in the merseybeat tinged “The Best Thing.” Clever wordplay combining descriptive terms “bushwhacked,” “ransacked” and “gobsmacked” focuses on a spirited literary approach. Essential statement “the best decision you ever made was doing nothing at all” rings ultimately true.

Light touch drumming and prominent bass guitar provide instrumental backing for the vocally intimate “Static.” There is a simple yet inventive nod to the songwriters plight with the line “searching for a chorus in a never-ending verse.” Quick paced chunky guitar rock returns for the lyrically opaque “Section 8.” Ostensibly about the rental housing assistance program often referred to by that name, a penetrating guitar riff adds necessary melody between each line of the verses. Jungle thump drumming, slashing guitars and a hyperactive bass guitar pattern propels penultimate track “Shakedown The Breakdown.” As hoped for, a smoking lead guitar solo rips n’ rolls at multiple points throughout. Because when you come down to it, “We all need a gang in this cold town.”

The album closes on an adventurous direction for the band, breaking from their signature power pop style with “Your Version Of Me.” Written as a collaboration between Vic and long-time friend of this site Jody Porter (most recent review on his music here, with linkbacks to numerous others) the groove echoes Pink Floyd’s “Wish You Were Here.” Building off an instrumental demo Jody presented, Vic’s lyrics build from original intentions with the lines “You were banking on a new religion - a grift you kept on the sly.” The songs title refers to how everyone we come in contact with has their own personal “version of you” and how that differentiates somewhat among all of them. No one can know everything about you, as such only have their own impression of you. “Now, I’m free… and not your version of me,” becomes the definitive statement. It’s a gentle and introspective way to end an album that overall is loaded with one fine song after another.

Dig in to the album here:

Everything Must Go! by Star Collector

Find out how to acquire this groovy power pop album at their Bandcamp

Follow Star Collector on their Social Media - Facebook - Instagram

A previous DCW feature on this artist can be found here.

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Scholarly Musings on Laudable New Audio Releases

noreply@blogger.com (DaveCromwell) — Mon, 30 Jun 2025 13:50:00 +0000

Four captivating new and recent musical releases are the focus here for this summertime DaveCromwellWrites. Extensive deep analysis is given to all aspects of songwriting, sound design and (where necessary) lyrical storytelling. The styles covered this time around include indie rock, nugaze. postpunk, ambient, dream pop, drone, ethereal and minimalism-experimental. Creating new works inspired by the pioneers in those genres that came before them, thoughts flow here from what is now being heard.

It was little over a year ago when this site became aware of an exciting new band based in Nashville, Tennessee named Hushhh. Following the release of their debut EP "Summer Medication," the group dropped a video for their track “In My Head” which garnered a detailed review here. Now they’re back with a brand new five track EP “Poison Glass,” surpassing expectations in every way. A focused DCW review is now given to this explosive new recording.

Opening the EP with the run-on-sentence titled “Youwon'trememberme,” a tone is immediately set via hyper-precision composition and recording. Speed-strummed guitars and locked-tight bass and drums support clear vocals riding over top. The spirit of early aughts power pop is imbued (think Simple Plan, Third Eye Blind, Good Charlotte) throughout both musical rhythms and lyrical theme. “Down in the pits, I could not see, I hid low and lived in misery” is how the chorus goes. Concluding with “I’d hate to have to leave - You won’t remember me.” It’s tough emo-boy angst set against harder edged sonics with near prog-rock like riff breaks.

Title track and single “Poison Glass” bursts forward via syncopated drums and power riff guitars. There’s an industrial buzz and sharp angularity on the chord phrasing that bears similarity to a band like Helmet. Vocals are different though, emphasizing smoother tonality and an elongated diction. Ruminating on the “waste” of carrying around sadness and “hate,” the distinct rhythmic change to a slower pace accentuates the inability to “find a key out of this dream.” At midpoint one more change occurs that suggests a revelation underscoring the prior request to “wait for me (that I hope to) crack these feelings that blind what I see.” The final minute is an ambient plateau that further implies resolution.

Third entry “A Passion For Sadness” starts out more sparsely with subdued tempos. Chime accents are place on key lyrical line ending words “take,” “stay” and “break.” An emotional build continues until just after a minute in, when a big dynamic music and vocal wash takes over. “Put me back together like you always do” is the plea. While this soft to frenzied style does tap the self-professed Smashing Pumpkins style, the vocals come closer to the alternative metal style of the Deftones.

Penultimate track “Stone Path” combines angular hard-edged rhythms with busy chord changes and punctuated lyrics. Pausing before the last word of lines is an effective composition technique. “I let myself - - - drown; Waves of - - - doubt; More lost than - - - found; I let myself - - - down.” Extended instrumental segments showcase cohesive skill among the traditional two guitar, bass and drums lineup. While the big hook “We lose all hope when gravity comes down” is what you’ll ultimately sing along with, the actual caution comes the title line included “Don’t step off the stone path, where heartache is found.”

The EP’s closing song (and single) “Tainted” begins with solo voice backed by simple guitar strums on the opening lines. Bass and drums slide in for the second round through, before full sheering buzz guitars soar in for emotional punch. The sparse instrumental and introspective vocal cycle returns, before lyrics “I’m going down the drain with you” trigger another gazey guitar burst. Despite the self-effacing song title, there’s hope in essential lines “Heaven’s a leap – Heaven’s a dream.” The songs final minute serves up an uplifting instrumental passage as a fitting end for this impressive release.

Listen to this high quality EP and find out how to acquire it here:

Poison Glass by Hushhh

Follow the exploits of Hushhh via their Social Media on Instagram - Facebook - and through their Linktree.

A previous DCW feature on this artist can be found here.

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Never one to let too much time pass between releases, Patetico Recordings label boss Tom Lugo is back with a new track “Loyalty & Blame” via his Heliocentric Overdrive project. A truly collaborative endeavor, Tom’s guitar and vocals are joined by Ian Falcon on bass and Lem Pidlaoan on drums. Recorded at his Studio in Havertown, PA, Tom produced, mixed, and mastered everything at Laboratorio Soniko Studio in Middletown, PA. DCW now commences with a careful listen and serves up inspired thoughts on this tracks essential contributions.

Rising up out of a shimmering ambient wash, drums and bass soon lead in a majestic chord progression. Moving at a slower, more deliberate pace, the overall vibe would not be out of place on one of The Cure’s more cinematic albums (like “Disintegration”). Tom’s obscured, buried-in-the-mix vocals however, moves everything closer to My Bloody Valentine’s genre. One minute in and the first lift off is achieved via powerful layers of guitars, quicker change chords and slithering bass. Continuing the emotional rise, a plateau is reached where the instruments suddenly stop and only ambiance remains momentarily. Soon drums and bass lead it back to the songs fuller structure, with verse and chorus sections revisited with even more purpose. A powerful musical segment follows with bass guitar and drums providing sharp accents within the sonic swirl. One more fade (as if ending) before everything kicks in once again for a triumphant final minute coda.

Check out this grandiose track here:

Loyalty & Blame by Heliocentric Overdrive

Follow Heliocentric Overdrive and Patetico Recordings via their Social Media.

Facebook - Instagram - Official Website

A previous feature on the band can be found on this site here.

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It was a mere four months ago when Sueño con Belugas band leader and 3 Robots Records indie label boss Héctor Caolo Alvarez introduced the first two tracks from latest record “Ataque con rayos electrónicos” (“Attack with electronic rays”). At that time those two songs “Velocidad” and "Mil Recuerdos" were given a focused DCW review. Now the dreamers of white whales are back with more cuts from this evolving recording. Once more into the fray, a deep listen sparks descriptive thoughts on what is being heard.

New entry “Love Evolves” opens the record with drone and melodic guitar figures overlaid on top. A driving bass emerges underneath, creating a counter-rhythm to the continuing guitar notes, before the full band joins in on this primary progression. Rising keyboard notes and wah-wah guitar enters the mix before powerful vocals commence from María (Malow) López. Two minutes in and a sharp turnaround finds the tempo shifting quicker as Hector joins in on vocals for tandem harmonies. A minute later, another tight turn accent bridge ushers in one more passionate Malow vocal segment. Precise instrumental breaks create momentary space before launching into a two minute vocal chorus and bold driving conclusion.

Another new entry “Flying high” is an easy flow groove instrumental that builds intensity via traditional guitar, bass and drums. Subtle layers are added on with each pass through the progression, and the overall feel is sunny and optimistic. Along with Hector’s obvious guitar work throughout, special mention goes to Gardy Pérez for his additional contributions on guitars and delays. Third new track (and fifth overall) “Portal” is a heavenly ambient piece that is solely built around atmospherics. In true Brian Eno fashion, the overall form is merely suggested, while still containing dense layers of sound. The album that comes closest to mind as a point of reference in the brilliant 1983 release “Apollo: Atmospheres and Soundtracks.”

Check out all of these song currently available on this album here (including how to acquire it)

“Ataque con rayos electrónicos" Lado A by Sueño Con Belugas

Follow Sueño con Belugas and 3 Robots Records on their Social Media - Facebook - Instagram - TwitterX - Bandcamp - Linktree

A previous DCW feature on Sueño con Belugas can be found here (which includes links to many other of Hector's various collaborations).

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At the top of this year, experimental ambient artist Andres Alfonso Lugo returned to this site for a deep dive review of his Los Dientes Hundidos en la Garganta project. Those eight total compositions dubbed “DRONINGUITARFEEDBACKS” was fully covered here track-by-track. The musician is now back with a new lengthy piece “Posthuman Multiverse.” Although a fully instrumental work, the title suggests ruminations on theoretical and philosophical perspectives. With ears “wide open,” DCW digs in to the nuances of this sprawling ten minute audio formation.

A swirling hiss introduces the composition, as if rising out of an alternate dimension. Additional textures flutter in (and then out) of focus adding elements of movement within this overall shapeless form. With everything created out of (only) guitars, bass and loops, the sensation is not unlike Lou Reed’s controversial “Metal Machine Music,” although no where near as harsh. A minute in and the ambient wash pulls back, allowing a more structured, calming guitar figure as primary focus. The sensation now is calming, as if meditative. One could imagine floating slowly on a river, staring at clouds and losing all sense of time.

Andrés provides liner notes that speak of an “existence and identity” that is “no longer confined to a single reality.” These audio waves of sonic serenity here provide an expressive soundtrack to this conceptual theory. After five minutes in, lower tones begin to emerge underneath, adding harmonic structure to the floating sensation on top. As subtle elements gently cascade into focus, the vibe is very much Eno, Budd and Lanois (see the 1984 classic collaboration between those three “The Pearl” as reference). Approaching the final minute, a distinctive whooshing textures boldly enters the mix, joining an ever expanding guitar tones and voicing cacophony, as sound equivalent to “multiple planes of existence.”

Experience this multi-layered sound design here:

Posthuman Multiverse by Los Dientes Hundidos en la Garganta

Follow this artist on Social Media:

Facebook - Instagram - Bandcamp - YouTube

A previous feature on this artist can be found on DCW here.

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Incisive Live Music Reviews and Provocative Interviews

noreply@blogger.com (DaveCromwell) — Wed, 28 May 2025 14:11:00 +0000

It’s been a minute since DaveCromwellWrites covered a live show (well, last November to be precise). While all too true that the recent focus has been predominantly on recorded works (not always the case as densely covered live event were a common occurrence on this site, not that long ago), this current feature celebrates a dazzling, multi-performance show. Also included are two distinct interviews (something else that was once as staple here) along with some studio recording reviews as well. It all adds up to yet-another thoughtful and detailed probe into this thing we call “rock music.”

When it was announced that Live Nation was putting on an “Eighties Goth Prom” at House Of Blues in Orlando Florida earlier this month on May 3, the opportunity to catch this event was there for the taking. Headlined by world renowned Depeche Mode tribute band Strangelove, the lineup also included The Cure tribute Lovesong, Not Nine Inch Nails tribute to NIN and The Electric Duke tribute to David Bowie. Having established a prior working relationship with the multi-skilled Julian Shah-Tayler via his solo work, the occasion to see him do his Bowie show and as an essential member of Stranglove was too good to miss. In addition to the performance, an interview was arranged with Julian and all the members of Strangelove. That full discussion follows below, along with a review of their recently released album “Rendition.”

Based out of Los Angeles, STRANGELOVE-The Depeche Mode Experience is a dazzling concert event. Bringing to life the very best DM songs, they draw from the artists 40 plus year career with accuracy and authenticity. Under the guidance of Brent Meyer (a/k/a “Counterfeit Martin”) his portrayal of DM mastermind Martin L. Gore on stage is a joy to behold. Frontman and vocalist Leo Luganskiy (a/k/a “Ultra-Dave”) is both a visual and vocal dead ringer for the charismatic Dave Gahan. Julian Shah-Tayler (a/k/a “Oscar Wilder”) is no stranger to this site, having reviewed a number of his albums here previously. James Evans (a/k/a "In The Fletch") is the bands Andy Fletcher in every similar way possible. Chris Olivas (a/k/a "Chris-tian O-gner") is the quintessential drummer every band would love to have.

The Golden Ticket

Necessary item for a smooth experience

Sitting down with the band an hour or so before they were to perform on this Saturday evening, the Q + A flowed in a professional yet-casual fun filled exchange.

DCW: Getting right to the heart of the matter, where do you see your place in this huge rock and roll music landscape?

Brent Meyer: The Question is do we have any back story beyond being a tribute band entity, because everyone views us in that light – in the context of coming to these shows. I started this project 18 years ago, and some people who’ve followed me from those early days only see me in this context are surprised to discover I do other things.

DCW: It’s the “onion” concept where there is more to an individual than just what you see on the surface.

Julian: And much more to make you cry (laughter all around).

DCW: Leo, what else do you do when not at this? Do you have a solo project?

Leo: Yes, I do my solo work and also a couple of side projects. Something I’ve been pursuing over a decade. Coming from a teenage dream to be the next alternative metal artist. Combining the elements of songwriting and being inspired by bands like Deftones, Korn and an archetypal teenage angst. Other influences are more sophisticated such as the Swedish progressive metal band Katatonia. Focusing on a heavier writing style with the music, but the vocals are very song oriented. As an artist you kind of want it all. To be equally appealing to the common show business factors, but you want it to be beautiful to anybody. It doesn’t matter if it’s techno, synthpop, rock or metal, sometimes you get lucky and discover a band that makes you overlook anything you ever thought you might like. When I was growing up I was in to more electronic music, which is completely opposite to something that is post-punk or heavy music. Then I discovered the band Placebo and it changed how I think of any of that. It was so completely out-of-the-box and it was the right time to discover it. They’re all stylistically different but there is a mood that you feel. For me, it’s the mood and the atmosphere that the band is bringing that matters more than what style it is. So when you are creating something of your own, you end up taking bits and pieces from all of that, while still trying to be tasteful if you can.

DCW: It’s been well-documented that keyboardist Alan Wilder left Depeche Mode due to the lack of credit he was given for all the work he did in the band. Would you agree with that assessment?

Brent: Absolutely. He was basically uncredited at least as co-producer on every album he was involved in. The quintessential Mode albums that defined their sound for most fans.

DCW: When I listen to his solo project Recoil, I hear so many of those distinct audio qualities.

Brent: The sound had all the Depeche Mode signatures, but it moved away from a pop sensibility, that melodic songwriting core, it was more about the atmospherics and sonic landscape. He chose to explore that, and who knows what Alan’s songwriting capabilities might have been in the band, given the chance.

DCW: James, your role as “Fletcher” in the band has playing keyboards and singing back-up vocals. Which do you feel more accomplished at.

James: I think I sing better than play keys. My vocals keep me going while I’m playing one handed Fletch lines. The ironic part was that he had more keyboards set up than any of the other guys, while playing fewer lines.

DCW: I saw Depeche Mode play Giants Stadium in New Jersey back in 1990 with the Jesus and March Chain as support. That was an incredible show, and I believe it was right when Martin started playing guitar with the band.

Brent: It was pretty much right then, that tour and the one before, the “Music For The Masses” one.

Leo: Arguably that might never have happened if “Black Celebration” and “Music For The Masses” didn’t lead up to what they did there. You can hear that stuff in songs like “Behind The Wheel.” If you reverse engineer some of their songs – their callbacks – and what they ended up doing in the future – the melody of “Pleasure Little Treasure” is basically “Personal Jesus” in a way. It’s re-conceptualized with an entirely different impact.

DCW: Do you think that’s intentional, or just a natural occurrence?

Leo: It’s both. Coming from their integrity and style and some of humor about it. Sometimes they’re really mopey and dark, and sometimes they’re really ironic. There’s beauty in that, and keeps you kind of wondering.

DCW: Have you ever met any of the DM band members?

Brent: Yes, absolutely. Martin is a big supporter.

DCW: He likes you?

Brent: He’s spoken very favorably about us in press and print. In a fairly recent press junket in New York Dave was kind of ‘taking the piss’ about how much time he spent watching our videos online.

Julian: Leo and I both worked indirectly with Ava, who is Martin’s daughter.

Brent: I have as well.

DCW: That’s cool. I caught a show by Dave Gahan’s daughter Stella Rose way downtown in NYC a year or so back.

Leo: I’ve seen some of her shows and met her briefly.

Brent: We’ve seen her in tiny clubs.

DCW: And she knows what you do?

Leo: She doesn’t exactly what I do, because it was more of an accidental meeting after one of her shows at Pianos. She’s more involved with her peers and the new generation of younger musicians that might not know about all the older stuff.

DCW: Some do, some don’t. I was always curious about what came before I was alive. There was a period of immersion into 1940’s and 50’s jazz, inspired by Kerouac’s “On The Road.”

Julian: Brent’s degree is Ethnomusicology. He’s the nerdy center of all this.

Brent: We’re both kind of the conservatory of things, with Julian and his Classical Music background.

Julian: We’ve occasionally done shows with a U2 band and they’ll bust out the Passengers song “Miss Sarajevo” and when Brent does the Pavarotti opera solo there is not a dry pair of knickers in the house! (Much laughter all around).

DCW: At one time you were training to be an opera singer?

Brent: I never had any illusion that would be something I could make a living at, but I did want to pursue the training that afforded and follow the through line in terms of symphonic composition. It benefits in terms of arrangement, even though it’s all midi and electronics, it still all directly affects this. Alan Wilder, very much a classically trained musician himself, even stuck little sampled bits into the recordings. The chords that start “Never Let Me Down Again” references Carl Orff’s “Carmina Burana.” There’s also Wagner samples, there’s Mozart Requiem, there’s all kinds of little easter eggs that he’s placed there in Depeche’s music. In fact they had a b-side of him playing Beethoven’s “Moonlight Sonata” straight up on piano, and I think that’s pretty cool.

Julian speaks to the audience

DCW: Let’s talk about your Strangelove recordings, specifically the “Rendition” album. Were you all in the same room when you recorded this?

Brent: Never! (laughter) Our original track and the Depeche songs were all done separately. The only one’s that had any of us physically together were when Julian and I did a live stream of all Martin songs and a couple of those are on the album.

Julian: “Sublime” is the song that Leo and I wrote. I had sent him a couple of tracks and he came up with something fabulous, vocally. We then threw it back and forth continuing to develop it, and then everyone put their parts on.

Chris: That track wouldn’t have sounded as good if I hadn’t gotten my drums on it the way I wanted.

Leo: That’s true. The ideas and construction were because of the combination between a very modern drum sound and a very live one. That’s why in certain moments you notice we kept the drums “naked” – a dry and clean sound.

Chris: When I got the general track, there was no vocals on it. There was maybe only the verse part, and a few other tiny parts to it. I got the vibe though, and put down a John Bohnam-esque beat. A similar feel to what I play on DM’s “Useless” and “Never Let Me Down.” There was a point where I wish I would have added a little bit more later on and do things a little bit different, but overall it worked out well. Eventually they started to cut things up and Leo added his elements of new electronics stacked on top.

Leo: Right. For instance some of Chris’ drum samples are more like a room sound, while others are from places that were bigger. You always want to go back and forth with the blending. Even back to the demos, where you like the original consistency, and combine that other sounds to make something truly unique. You don’t want it to sound like anybody else, and that’s what takes more time. When it clicks with everyone, is no longer distracting and it’s working, that’s when we say “yeah, this is us.”

Julian: I have to give a lot of credit to Darwin Meiners who mixed what we sent him, which was a lot of stuff.

Brent: A herculean task.

Julian: He did such a good job with it and made it sound like we might even be in the same room together to record it.

Brent: Which was definitely not the case. He had to craft all that together.

DCW: “Sublime” is positioned as the album’s tenth entry (with two remixes of it after that). The primary version is a guitar-centric, buzzy ambiance affair with forward drive drumming in support of Leo’s heightened vocals. The “thoughts of loving you/hating you” express universal relationship turmoil. “Let me in - I will disappear with out a trace - when i get what i want” becomes the emotional center. While “The pleasure and the pain - cuts me right out” suggests a release of personal ego, when experiencing the “sublime” of immersing yourself in the one you love. Heavy, chugging guitar leads a bold sonic conclusion that includes soaring vocals and elevated percussive elements.

DCW: Leo, do you write a lot of songs?

Leo: I think it’s safe to say “yes.” It’s an ongoing process for all of us. I can’t really call myself a “musician” (at this point) because you kind of have to be more well-known, but definitely ideas are happening all the time. Ideas, concepts, side projects – until something really clicks with a lot of people – this is when you become an artist. This is where people start putting you in a category “oh he’s a rock artist or a goth artist.” I think of those labels as something like winning an award. You can’t really give it to yourself, it has to be assigned by other people.

Digging deeper into the bands "Rendition" album reveals a treasure trove of audio delights. It opens with a wonderful re-interpretation of “Useless,” this time with emphasis on Brent’s sharp guitar figures coupled with Leo’s surprisingly fluid bass playing. The expressive lead vocals and precise harmonies from Brent and James are of course there. Julian’s keys and Chris’ drums also deliver at the exact levels the song calls for.

Ultra’s “Sister Of Night” leans on keyboards and electronic percussion to support Leo’s passionate vocals (with Brent and Julian background vox). “In Your Room” is essentially a solo track from Julian Shah-Tayler. He plays everything on it and does all the vocals. Having reviewed a number of his albums outside of this band already, the familiarity is not only in the song, but it’s overall production.

“Insight” comes from those “live lounge session” Brent referred to, and features his expressive vocals and Julian’s piano and backing vocals. The ability to bring this song to life in an intimate live setting is most impressive. Fifth entry “Mercy In You” flips the script with a solo piano and vocal performance from Leo. The “Songs of Faith and Devotion” entry becomes even more poignant in this stripped down form. “A Question Of Lust” comes by way of Julian back in his studio, building a solo version of this classic with all the tools and talents at his disposal.

Dipping back into their “live lounge sessions” Brent and Julian serve up an electric piano and synth extravaganza with the recent (2023) DM song “Soul With Me.” Brent’s powerful and expressive voice reflects the original’s beauty with resonance and reverence. Moving over to earlier era DM, 1985’s “Shake the Disease” features all the bandmembers (minus drums) with a stripped down entry. A near acapella version from all four vocalists, the minimal instrumental backing is all that seems necessary.

Final “rendition” is a solo vocal and piano entry of “I Am You” from Leo. Subtitled “Audition Version,” and given the short 1 minute in overall length, one wonders if this was an actual submission to gain entry into the band. Regardless, it’s beautifully done. The first “Sublime” remix comes by way of Julian Shah-Tayler’s recording studio laboratory. Extended in length, all the instruments from the original are stripped away and replaced by an array of synths and electronic percussion. Ambiance abounds with plenty of open spaces, allowing for Leo’s vocal track to stand out a bit more. Final entry is the second “Sublime” remix – dubbed the “Entre Nous Remix.” Stripped once again of all previous instrument, new keyboards and percussion tracks provide a bed for Leo’s lead vocals and the remainder of the bands backing voices. Both remixes are decidedly dance-floor ready.

Strangelove continues to tour throughout the summer and beyond. Check their Official Site for all the dates.

Follow the band on their Social Media - Facebook - Instagram - TwitterX

* * * * *

In addition to the Strangelove interview, a second one was conducted on this night with no-stranger-to-this-site solo artist Julian Shah-Tayler, shortly after his opening performance as The Electric Duke Bowie Tribute show. Numerous recorded works of his have already been reviewed here previously, and now the opportunity presented itself to interview the multi-faceted man in person.

DCW: Watching you play piano in your videos (outside of this band) you are very accomplished. Did you have classical piano training?

Julian: Yes, I was classically trained.

DCW: Yes, you also mentioned in a recent video interview that you were also on a path to be a doctor. At the same time as this, were you also getting piano lessons?

Julian: Strangely, my Grandmother was a music teacher, and she was very proud of my uncle who was a doctor. My mother is a lawyer, but she is also very musical. One year she won a Welsh music competition, and was very proud of that. So she would encourage me with music all the time. However, my family would have all liked me to be a doctor, but it just wasn’t my path.

DCW: When did you first start playing piano?

Julian: I was 5 years old. I loved playing instruments and doing musical things, but I didn’t particularly enjoy practicing.

DCW: Could you read the musical notation charts?

Julian: Yes, of course I read music.

DCW: At some point with the emergence with the 80’s synth sound and morphed over to playing these electronic keyboards?

Julian: I’m a little younger than that, so I didn’t really get into synthesizers until I joined this band here, Strangelove. Everything I did up till then was about recording studio work. Brent was previously describing how Alan Wilder would take pieces of orchestral works and include them. I did that as well, without any prior knowledge of what he was doing. I would take Beethoven or Stravinsky or Benjamin Britten and I would stretch my selections to make an orchestral sound for the stuff I did. I didn’t have any synths, only pianos so I would improvise in other ways. Like I would take the sound of a squeaking door, sample it and use that as a sort of keyboard sound.

DCW: At one time were you on a path to be a classical piano player?

Julian: I would have never been a classical concert pianist. I was, I wouldn’t say mediocre – I was good but not great. When you listen to Lang Lang you hear how spectacular and brilliant they are. I was always interested more in composing, and if you want to do that, you don’t become a classical pianist.

DCW: Early on you had the songwriter bug?

Julian: Yes. I wrote my first piano piece when I was nine years old, and my first song when I was 14. I needed to be self-expressive, that was very important to me.

DCW: When did you first make the move to the United States?

Julian: I came over with a band named Whitey, who I co-wrote a lot of stuff with. We had songs in “The Sopranos,” “Breaking Bad” and we did very well. We went on a tour with Peaches that was really good. So, that’s how I ended up in the USA.

DCW: You originally grew up in Leeds, UK?

Julian: I was born in Leeds, but didn’t grow up there. I went to boarding school in Durham, which was the basis for Hogwarts in the Harry Potter world. I then went to University in York and later moved to London when I was old enough to do the whole thing with music.

DCW: You’ve been a solo artist from your earliest days, but you also do these other projects.

Julian: I like collaborating with people, and especially with very talented writers. If something like Whitey comes along, it helps me learn. The same thing with Leo here in this band. Another I’ve worked with is Tiki Lewis who has really spectacular stuff. If I find people I like working with, that is a welcome diversion. However, it will never be my focus beyond what I do – it will be just another thing.

DCW: It sounds to me like you’ve gotten a number of songs in films, television shows and/or video games. Is that something you put out there to be found, or do you have people contacting you for specific projects?

Julian: Both – all of those things. Currently I’m working on a tv script based around my music. It’s my story, and is a written 13 episode arc. The pilot is fully written, and the next 12 episodes have synopses.

DCW: Do you have the people in place – the contacts, to bring this to life?

Julian: I had all that before the global shutdown of 2020. A couple of production companies were interested in making it. I currently have one production company who is now interested and I’m collaborating with over the next couple of months to bring it to fruition. We will make it happen because I’m fairly confident the person I’m working with has the means to do it.

It was truly a pleasure to finally meet Julian in person, as well as all the other wonderful musicians working on this night.

With Julian on left and Leo on right

The most recent piece of writing on Julian Shah-Tayler (a/k/a The Singularity) can be found Here (along with links to all previous features this site has done on him, within).

* * * * *

Also performing on this night was an amazingly accurate The Cure Tribute show by the mesmerizing band Lovesong.

This show was the closest thing to attending a Cure live show, without it being the actual band! Frontman Rusty has got his Robert Smith down in not only sound, but all the physical movements diehard Cure fans have come to know over decades. In fact, the whole band is a precise, well-honed machine that reproduced every song brilliantly.

Even before details were hashed out with contacts in Depeche Mode Tribute Strangelove, a spot at this event was secured via Lovesong’s “win a ticket to the show” contest running on social media leading up to the event.

- - -

Even though ultimately not needed, the gesture was most certainly appreciated (and told them so in a brief chat after the show).

The unanimous consent among anyone who has experienced their show is they are the premier Cure live show out there (other than the actual Robert Smith and company).

Listen to this clip of "Just Like Heaven"

Who doesn't love the achingly beautiful "Pictures Of You"

Or the sheer uplifting joy of "Inbetween Days"

Perhaps it's time to go for "The Walk"

Or get lost in "A Forest"

Nothing captures the balance of doomy wonder than the instrumental passages of "Fascination Street"

I'm glad I got to see "The Cure" this year!

Lovesong continues their tour throughout the upcoming days as well.

Find out more about this and everything else with the band via their Official Website - Linktree - Facebook - Instagram

* * * * *

One more band performing at this show was Not Nine Inch Nails who blasted everyone in the face with their NIN Tribute Show.

Ripping through a set of NIN classics, the view from down in the heart of the audience was the place to be.

Check out their version of "Wish"

and "Terrible Lie" here

A show worth checking out if you get the chance!

Follow NNIN on their Social Media - Official Website - Facebook - Instagram

Also check out this sites review of the actual Nine Inch Nails here.

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Profound Reasoning on Extraordinary New, Upcoming and Recently Released Music

noreply@blogger.com (DaveCromwell) — Tue, 29 Apr 2025 14:20:00 +0000

Genre defining artists from formative years still putting out high-quality new music is always a cause for celebration. While some musicians may be content to rest on their laurels and ride the wave of their greatest hits, the ones breaking new ground are to be applauded. More than just that (the applause) a close listen and detailed analysis of their latest efforts are a must. This site recognizes these already established “rock stars” for their drive and ambition in creating brand new works that rival the best of anything else they’ve ever done.

Peter Murphy is one of those artists who continue to defy the odds of remaining relevant throughout multiple decades. Having witnessed his early days fronting breakthrough gothic-rock band Bauhaus (barely of age, catching them in 1979 at a downtown NYC club), his development throughout the following years remained a priority. MTV’s heavy rotation of US No. 1 single “Cuts You Up” from his 3rd solo album “Deep” (1989) lead to catching a brilliant live show at the notorious Manhattan night club “The Limelight.” More recently attended was Peter’s live show at the East Village venue Le Poisson Rouge during his Tribute To David Bowie Residency (meticulously detailed here). With the recent release of select singles over the last few months, Peter is now ready to unleash his first new studio album in over a decade “Silver Shade” on May 9. Produced by the impeccable Youth (Killing Joke bassist Martin Glover), who did a wonderful job on this comeback Jesus and Mary Chain album here, we now dive into Peter Murphy’s latest.

The album opens with one of three previously released singles, the driving bass and drums propelled “Swoon.” Relying on groove and mood over literal storytelling, ornamental lines like “I talked to the water loom” serve end-of-line rhymes along with curious thought. Well placed ‘Wa-Chung’ guitar chord bursts amplify the pre-chorus bridge and lyric “Preachers up to taste the fruit.” However it is the single word song-title chorus that emerges as the most creative studio sonics. Using his voice as an instrument, extended vocalizing under each repeated single title-line generates an additional hypnotic effect. More upfront and intimate lyrics “I am whoever who” followed by “What else can I do?” sheds possible insight on Peter’s sense of self and continued motivation to create.

Listen to this mesmerizing track here:

Follow-up “Hot Roy” churns along rhythmic electronic pulses that mimic sweaty dance floor grooves while maintaining a sense of foreboding. Lyrically telling of an emerging leader to a group – “our boys game was on – soon would be killer sounds.” While this descriptive imagery may be personally direct, it’s universal enough to apply to multiple topics. It’s essential hook states “we’ll march from the hollow – from glitter to gold” and “we catch silver bullets – we’re saving our hero!”

Static electronic pulses, tom-tom drums, angular synth notes and crunchy guitars lead in next cut “Sherpa.” Most know that single word to mean someone who guides people on mountain-climbing expeditions. Since Peter is a known world traveler and has been a resident of Istanbul, Turkey for some time now, it’s not surprising for him to delve into this type of subject matter. “Workers looking for the day, looking as they say – looking for the mountain” are the opening lyrics. The rhythms are driving and straightforward, with Peter’s dramatic vocals exquisitely placed.

A slithering, near menacing groove provides the undercurrent for album title track “Silver Shade.” Also mirroring the name Peter calls his own personal record label, created last year to release rare live performances and previously unreleased material. “You got me throwing glitter in the lake” the singer implores. “Time to take a chance to jump and float” he continues, ultimately declaring “you’ve got me in the glitter river.”

Another advance single release is the bass-synth pulse and percussion driven “The Artroom Wonder.” Autobiographically revealed as inspired by “mysterious” and “cool intelligentsia” at school, “pretenders apart” give way to the “super smart.” Peter’s vocals are nuanced on each recited line, morphing from intimate delivery to full throat howl. With guest musician Justin Chancellor of Tool contributing to it’s deep bass undercurrent, well-placed guitar figures between individual vocal lines adds melody to mystery. Synthesized Orchestral movements add a grand scale in the middle, while references to “The server the Prophet- peace be upon him” suggests something more spiritual. Ultimately the song tile itself is briefly broken out as “the art of wonder” summing up this journey of self-expression.

Listen in right here:

A middle eastern rhythm runs through the electronic throbbing “Meaning Of My Life.” Triumphant crunchy guitars, icy synths and advanced-level drumming contribute significantly, as Peter passionately sings “I want to tell you!” The contrast between controlled verses and emphatic chorus creates a satisfying tension and release. Elongated voice-as-instrument segments coupled with otherworldly ambiance lifts everything further.

There’s a sense of foreboding and menace on the albums seventh entry “Xavier New Boy.” Continuing with less pop oriented song structures and extended lengths (with the last three all well over 5 minutes long) subtle piano notes add new sonic elements. Along with it’s bold, orchestrated chorus, protracted movements away from the main structure allow for experimentation, before returning to the dominant progression.

“Cochita Is Lame” moves away from the electronic based instrumentation for what sounds like a 1970’s era rock band. The synths used appear more as topical enhancements, again mimicking those classic late 70’s recordings. With it’s structure and vocal delivery, it’s as if Peter brought back Bowie’s Spiders From Mars bandmates for one more go at it. Lyrically touching on themes similar to Mr. B’s “Jean Genie,” a creative use of the studio pits voice against crunchy electric guitar for maximum effect.

Now fully into the albums deep tracks, “Soothsayer” shares a similar musical approach with the previous track. Coming on as a traditional guitar, bass and drums hard rocker, Peter’s vocals play along with a more shout-y, raspy style. Hooky background “whoo whooo” voices underscore Murphy’s warning to “never turn your back on” the oracle of the songs title.

Classical flamenco acoustic guitar opens the albums penultimate track “Time Waits.” Middle eastern strings and rhythmic percussive claps lay a bed for Peter to present his vocals over. “You’ve heard that time waits for no man” he sings with deep, elongated vocals. The combination of those hypnotic strings blended with elevating vocals and inspired drumming make for a truly gratifying listening experience.

Reaching this studio records final (and longest) song, all attempts at concise pop song are cast aside for the grandiose “Sailmakers Charm.” Moving from gentle piano driven chords to full dramatic presentation, there are parallels to Mr. Bowie’s later period work. Such as the adventurous song design and delivery of “Bring Me The Disco King,” Bowie’s “Reality” album closer. “So you get to the core,” Peter sings – “to show that you know – your eyes are blizzard – no white rain, no snow – as you tear apart – the sailmakers charm.” It’s poetic – mysterious – both understood and misunderstood as well, and fitting closure to this ambitious album.

Included on the album as a bonus track is the surprise duet with Boy George, “Let The Flowers Grow” which was released as a single at the end of last year. Written in collaboration with Boy George and Producer Youth, Peter imbues the song with a spiritual nature in both lyrics and soaring orchestration. “I’ve been changing” they both sing in harmonious tandem – “and mama don’t know. Let her tears fall, and make the flowers grow. I am changing, now daddy can see - his reflection, in the mirror of me.”

Listen to this majestic composition here:

With those three previous singles mentioned out now, the full album will be released on May 9 via Metropolis Records. Order the album here.

Connect with Peter via his Social Media: Official Info Website - Facebook - Instagram - TwitterX

A previous Feature covering this artist can be found on this site here.

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Every once in a while a new album slips under the DCW radar due to a multitude of distractions. Such is the case with this sites already beloved band Night Crickets, who released their latest long player at the end of last year. Having previously written about them both here and here, there really is no good excuse for having missed their latest “How It Ends (?).” That omission is now being rectified presently, with a review of this latest recording. It’s well past time to see what this collective of David J (Bauhaus, Love & Rockets), Vincent DeLorenzo (Violent Femmes) and Darwin Meiners (mult-instrumentalist, mixmaster, manager) have been up to.

Opening cut “Red Mist White Knuckles” emerges out of an easy groove drums and bass guitar progression. Funky wah-wah keyboards and guitars layer on, followed by David J’s unmistakable vocals. Delivered in a spoken word, poetic recital manner, “your daddy was an angry man – you’re angry too” he begins. Leading up to the first song title reference “when they read the final will – a vial full of rest mist, and the urge to kill.” A bright tambourine rattles over 70’s soul keyboards as the story continues “you practice TM – it dials back the road rage.” The titles remainder comes in view, stating that “you tend to still white knuckle it.” Buzzy electric guitar power chords slash down as the thematic mantra is repeated.

Angular patterned tubular bells and subtle matched percussion introduce “The Story of War.” Spoken word sentiments spell out the grisly truth, with “rape of the innocents – plunder of riches – scorching the earth – dying in ditches.” It continues, “the oligarchs grow fat, and spit on the corpses. They fill their coffers with stolen gold, indifferent to fallen horses.” A well placed, mournful violin plays, as if at a funeral procession. Pointing out the atrocities going on in present times, “it’s richer to rich, and poorer to poor – the children are fodder – that’s the story of war.” An unexpected field recording coda is placed at the tracks end, describing one use for “crickets.”

Lively, vibrant drumming and descending guitar chord progression kicks off the quicker paced “Should Be Heaven.” With vocals sung out in full (moving away from the previous spoken-word approach) bass guitar joins in behind lyrics “should be heaven, but it’s only about the win.” Each subsequent title line is answered by changing follow ups: “but it’s only where to begin,” “but it’s all down to if and when,” “if we could only let it be.” A soaring orchestral chorus elevates the musical landscape, while voices overlay and cascade together.

The gentle acoustic guitar, violin and mandolin driven “Don’t Be Afraid” comes accompanied by a meditative video produced and directed by Ramzi Abed. You may recall his previous work with Night Crickets on their video for “A Free Society” (fully reviewed here). Depicting an initially relaxed atmosphere of rural life (cat strolling by, morning coffee in flannel shirt) prismatic images shift to military men as the songs dreamlike refrain “don’t be afraid” floats with surreal quality. With featured guest vocals by Jason Lytle of the band Grandaddy, the videos protagonist is seen staring at apocalyptic fireballs. Spoken word soon follows, and the heart of the matter states “the world seems like a sewer – an insane crazy place – with innocents names on bullets – and the executioners face, is that of a child.” Off-kilter synths provide a midpoint break, alongside more visuals of the man going about his normal routine in his home. Up against that come additional apprehensive words. “When the viruses are thriving – and hospitals are full – and the nurses burn from overtime . . . when the bells of your mortality – are ringing on a hill – the reaper and the weeper – two sides of the kill. Well all politics are divisive – never the twain shall meet - but the forests, they are burning – and all sides feel the heat – that’s cause for pause.”

Check out this cinematic video and thought-providing track here

Vibrant echo-y drums, electric piano and “Ohhhh” backing vocals set “Where’s The One?” in motion. “Love is just a word they say” the lyrics begin, “some will hear it everyday. I could hear it over again – maybe once or twice, I’d listen then.” Along with horns appearing under the chorus for added audio support, a tempo change occurs and bluesy organ riffing accentuates the essential “big, bright baby blue moon” lyrical hook.

Low buzzing bass tones, ticking time percussion, shaking tambourine and descending bass guitar notes roll out the mysterious “Like An Avalanche.” Verse lyrics are delivered in a quick linear cadence with a hint of knowing sneer. The title line chorus alters vocal tone and background ambiance, using guitars and drums for emphasis. The downward bass progression returns in a more dominant manner, accompanied by those now signature booming, sonorous drums. Creative spaces are carved out for inserting odd synth textures. The verse/chorus cycle repeats adding psychedelic layers on its final pass through.

Mystical atmospherics and throbbing bass guitar lay framework for the spoken word “I Am Dead.” “I have levitated – floating through the forest at night. In the distance is the witch house – fading faces watching through the glass” are the primary poetic lines. An additional voice runs in tandem with these words, repeating them but doing so in a slower, more elongated cadence. Distant deep boom drums and reverse looped guitars further support what seems like a “Grimm’s Fairy Tale,” where the “house is approached as a full moon rises in the sky.” Those contrasting dual vocals (where the title line eventually emerges on that slower track) hearkens back to early Velvet Underground experimentation.

Mournful strings are used on the gentle dual voiced “What Is This Love?” Plucked harp notes and minimal percussion contribute to this meditation. “I smiled at you and you smiled at me, what is this love to you and me” is the universal question.

Opening with feedback and pitch bendy guitars, “Sunflowers And Starlight” tone poems lyrics “it’s dark outside – whether cold or bright, there’s pain out there.” Soon morphing in a more traditional song structure, vocals are now sung “still snow on the ground and now it’s raining.” A quiet pause happens at mid-point, before resuming with sparkling tambourine and the vocal sentiment “turn off the noise of the world for a while.”

Based around the phrase “The World I See Is Not The World I Want,” this co-write with actor Willem Dafoe emerges via measured tribal drums. Steady keyboard pads and fluctuating synths provide additional musical backing for alternating line “what in the world is the way of the world.” Midway the overall atmosphere seems to be floating away on clouds, before returning with defined drum beat and violins.

Find out how to get this album at their label here.

Follow Night Crickets on their Social Media - Facebook - Instagram

Previous DCW Features on this artist can be found here and here.

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It was the latter half of last year when this site became aware of recording artist Matthew Nowhere. Tipped off by Lunar Twin songwriter and vocalist Bryce Boudreau (whose own masterful work has been reviewed here numerous times) a detailed review was given to Matthew’s track “Love Is Only What We Are.” That cut was an initial taste of Matthew’s soon to be released debut full-length “Crystal Heights.” Another album cut has now been dropped in the form of a collaboration with lyricist/vocalist Bryce Boudreau with the mesmerizing “Transforming.” A deep listen and the thoughts that produces follows below.

Accompanied by a soothing YouTube visualizer, modulating synth patterns in that bright buzzy horn sound kick everything off. Percussion joins in alongside that recognizable Bryce vocal that name checks both the song *and* album title within the first 9 words. “Late at night” Bryce sings – “dreams alive – in crystal heights – transformed before our eyes.” The first instrumental break features synths echoing similar nostalgic 80’s sounds The Human League used on their hit “(Keep Feeling) Fascination.” The chorus continues to paint a picture of “palm trees bend the breeze” and “a child’s minds alive transformed before our eyes.” Everything pulls back leaving a standalone undulating synth pattern, soon joined by buzzing bass-synth running a counter figure, before percussion and thematic melody returns.

Bryce vocals continues “been awhile . . . the years go by – you know you can’t go back – or sooner learn to fly” he muses. A subtle shift in pace emerges here, with bubbling electronic backing and dominant guitar note strokes ushering in the next round of vocals. Bryce continues to croon “I’m not hypnotized….growing old to die… half awake the wind and waves late at night in crystal heights.” One more angular, cascading electronic note break leads to the lyrical resolution “to touch the heart … to touch the sky … we only seek … transformation … the highest peak … transformation … the highest peak.”

Listen in to this trance-inducing song here:

The “Crystal Heights” album - now available for pre-order - will be released digitally and on Limited Edition transparent blue vinyl on May 23.

Follow Matthew Nowhere on Social Media – Linktree – Facebook – Instagram – Bandcamp

Follow Lunar Twin on their Social Media – Facebook – Instagram – X/Twitter – Bandcamp

A previous DCW feature on Matthew Nowhere can be found here.

An in depth Feature on Lunar Twin can be found on this site here.

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Discerning Study Into New Album and Video Releases

noreply@blogger.com (DaveCromwell) — Mon, 24 Mar 2025 13:40:00 +0000

Track-by-track reviews of full-length albums and a new video release provide the creative focus for this month of March springtime DCW Feature. Previously covered artists from trusted recording labels have released brand new work that justify attentive listening, followed by deep dive analysis. With the literary details of this review now fully completed, one is encouraged to read along and experience the sights and sounds of these musical artists latest creations.

North Carolina based singer-songwriter Chris Church is no stranger to this websites musical realm. When first introduced by the inimitable label Big Stir Records, the album “Darling Please” garnered a glowing review here. That was followed up a year or so later with a full analysis of the brilliant “Radio Transient.” Now Chris is back with a brand new album “Obsolete Path” which is once again released on the Big Stir label. Exploring the elements of power pop, Americana, hard rock and new wave, a proper listen and analysis of the music created follows below.

You can’t help but set the correct thematic direction by opening your album with it’s title track. Surrounding that proposition with boldly strummed, resonant acoustic guitar chords serve the stated lyrics well. The defiance of concrete and sensible decision making (“refusing to do the math”) is a fork in the road wisdom choice for those who’ve lived enough decades to recognize it. The albums first single release “Sit Down” trades the acoustic for some big time electric guitar work. The drums are loud and forceful and hooky riffs abound all around. Chris adds a processed sheen to his vocals as he ruminates about being “older” and “out of the frame” as a veteran journeyman rocker surveying the current music landscape. The ultimate rebellion in stating “I’m not going anywhere” sits well next to the catchy repeated title line vocal harmony.

Check out this super fun video created by Lori Franklin, featuring Brian Beaver (drums), Lindsay Murray (backing vocals) and some cool mini-instruments!

It’s hard not to think of classic era Fleetwood Mac when listening to what Chris already admits is “perhaps the Lindsey Buckingham-iest song [he’s] ever written” with the reverse-logic romantic “I Don't Wanna Be There.” In fact, with such a prominent, driving bass line, perhaps it’s actually John McVie who deserves some credit as well. The clever lyrical turn is that no matter how enticing a locale, it’s not worth being there without the one you love along as well. Fourth track (and follow-up single) “She Looks Good in Black” is one of those titles that’s so good, you wonder if it came first and the rest of the song then built around it. A slice of almost-country meets Americana, the lyrics make you chuckle. “I had to let go of her hand, She left to see a satanic band, The devil’s got me beat again” is how the opening strains go. Her knowing “exactly what to wear” (along with the obvious black clothing there was “dead flowers in her long dark hair”). Ultimately hoping “she had a real good time” and that at the very least “the evil was sublime” the track itself is a riff and harmony loaded toe-tapper.

There’s a wonderful balance on the lyrically caustic, musically angular alty-rocker (and focus track) “Life On A Trampoline.” The instrumental motion (a churning back and forth) suggests the up and down movements of that bouncing device. However, the lyrics come down hard on those always “saying the same thing,” who’ll “say anything” because “you’re just dying just to be heard” and “live to be seen.” In the end “it’s all the same – no matter what you think you mean – you’re saying the same thing” (over and over). The first co-written track (with his wife Lori Franklin) “Running Right Back to You” emphasizes big electrified power chords, pummel-hard drumming and prominent bass guitar. Sweet harmonies lace the title line chorus, while new-to-this-writer word “limerance” (it means “obsessive infatuation”) provides an opportunity for vocabulary expansion. Bonus points for the heavy metal guitar solo towards the end.

The only non-newly written track comes just-past the albums midpoint with initially penned 20 years ago “Tell Me what You Really Are.” Initially acoustic guitar, singer-songwriter driven, the full band comes in on the second verse and remains throughout. A love song in it’s purest sense, although written from a second meeting years later point of view. Once again, a sinewy electric guitar solo just past the bridge adds musical weight to it all. Old western twang is the order of the day on country-tinged “The Great Divide.” The overall vibe is Glenn Frey fronted Eagles, easy-groove California rock and roll. Even the harmonies roll in like a long lost relative to mega hit “Take It Easy.” A noticeable descending bass guitar line stands out the title explained lyrics “even if it’s the great divide, I’m on your side.”

Another Church/Franklin ("Chanklin?") co-write comes via the first-wave 80’s era computer fascination “I’m a Machine.” The fidgety interplay between bundle-of-nerves guitar chords, bass and drums suggests what a band like The Police did in that time period. This couplet “nothing is too far, nothing is lame, slaying and ghosting, re-earning the shame” sums up the overall lyrical turmoil. The albums third co-write (with celebrated musician Bill Lloyd) “Vice Versa” opens with a gentle mandolin breeze. That quickly morphs into busy prog forms, emphasizing angular guitar figures, tom-heavy drums and counter-melody bass. A song about universal changes summed up with these lyrics “the seasons flow and time is running in a circle (and vice versa).” The gentle mandolin returns for a brief coda, complete with at-that-recording-time incidental studio chatter.

A lumbering noisy guitar and drums stoner-rock progression serves late album (and longest) track “Like A Sucker.” Instrumentally similar to those maniacal live-in-the-studio jams Neil Young & Crazy Horse get up to, the vocal delivery is more contentious. Vowing to be “fooled for the last time,” and not be “just another sucker.” Choosing to close out the album the way it started, the acoustic guitar driven “What Are We Talking About?” is a musically sparse, lyrically focused rumination on – everything. Questions for the universe, delivered with sincerity and perhaps a glimmer of hope for the future.

The album is out via CD and Streaming worldwide on March 28, and can be ordered here at Big Stir Records

Follow Chris Church on Social Media: Facebook - Instagram - Bandcamp

Follow Big Stir Records on their Official Website - Facebook - Instagram - YouTube - TwitterX

Two previous reviews on this site of Chris Church can be found here: “Radio Transient” and “Darling Please.” Which also qualified for each of those particular year's annual DCW Best Of.

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It was less than a year ago when this site did a thorough review the Julian Shah-Tayler (a/k/a The Singularity Music) brilliant recreation/tribute album of David Bowie’s “Diamond Dogs” on it’s 50th Anniversary. The previous year his full-length record of original songs titled “Elysium” was dissected via studious listen and analysis, as well as follow-up single “Fall Apart” six months later. Now Julian is back with a brand new album of all original songs with the curious title “Honne/Tatemae.” Those Japanese words emphasize the duality of life, with the former revealing our true feelings and desires, and the later being what we choose to display in public. A complete track-by-track review of each songs essential offering follows below.

Opening with the album’s brief introductory title track, ambient backward loops rise slowly from the mist as Julian delivers poetic spoken word musings. He states: “In the Isthmus between birth and death, let us illuminate the world with the dance of our brief candle.” That merges into the next (and first full length) track “ForEva,” which initially floats into focus on fluttering wings before stronger percussion, synths and violins provide classical music vibes. Julian’s well-honed Bowie-esque vocals always stand out, while a very active bass guitar powers it all forward. Positive idealism shines through on it’s chorus: “If it takes forever and a day, we’ll watch this world burn away. If it takes forever and a day, you are still my destiny.” Listen here:

A uniquely processed harsh-slap percussion track, prominent bass, metallic-stringed acoustic guitar and an extended note melody serves up third entry “Sufferation.” Vocals are delivered with that romantic croon the aforementioned Mr. B (along with acolytes like Cy Curnin of The Fixx) have done for years. Julian puts his unique touch by adding original ambiance on line endings (“through nowhere,” “life mare,” “foreverywhere,” “this love affair”) and on the dreamy chorus. “We’re lucid in our daydreams, suffocate in moonbeams - our separation . . . dislocated through our sufferation.”

Fourth entry “Malicious Intent” adds buzzing synth behind previously established high production values focused on quick keyboard stabs matched to sharp percussion and violin textures. A scathing warning at a “second rate mediocrity” who “started a war” to “make it stop” before this reciprocal “intent” will be forced to “burn it all down.”

Check out this Darwin Meiners mixed, Kaiber AI video for this song here:

A mechanized robotic undercurrent shares space with sheering guitars on fifth track “Bleed.” Although static in it’s forward progression, there are touches of electric funk (in that way Kraftwerk sometimes does). Especially on the chorus, which goes “Cause I don’t want to see you bleed no no no, don’t want to see you bleed.” A studio recording allows for creating vocal arrangements, which at times finds the singer taking alternating lines, approximating a duet with oneself.

Just past the records midpoint is the tom tom drums driven, slower burn groove “Turn To Stone.” Julian’s vocals are much less Bowie-styled, but instead closer to Simon LeBon in pitch, register and phrasing. In particular when going to falsetto on bridge sections that go “and those colors turn to grey, and these words have nothing to say.” The chorus “In the dead of night on the long way home, you suffocate and turn to stone” approximates the aforementioned SB’s mid-range. A lovely ambient change towards the end features unique keyboard textures, acoustic guitar and original repeated vocalizing on the words “You ARE.”

As previously mentioned, a detailed review of initial single (and this album’s seventh track) “Fall Apart” was presented here on this site at the end of 2023. Read all about (and listen to) this classic 80’s style keyboard-synths driven song of heartbreak right here.

Mysterious vibrations and plucking dulcimer sound usher in eighth entry “Fisk.” Open space allows vocal phrasing to flourish, while classical violins provide necessary emphasis. The chorus dabbles in electro-funk, with poetic lines “of all the fish in the sea, the biggest is me,” and “of all the birds in the sky I swoop and I dive.” Essential repeated line “I’ll turn the pressure on” leads everything out to it’s ultimate conclusion.

Angular synth figures dance in mathematical sequence on the cleverly titled “Buds an the Bes.” As suspected, that title gets fleshed out to it’s universally understood meaning on a chorus that states “Before you get down on your knees - How do the birds and the bees?” The answer to that comes in the form of two more questions, “Do they sing when they sting? Do you still sing?” An unanticipated distorted electric guitar enters the fray, counter-balancing the prior electronic rhythms.

The albums penultimate track comes with the creatively vocalized “This Charming Life.” Rolling out stylized “do do do do do’s” (sounding like otherworldly children), a David Sylvian-esque instrumental groove moves everything forward. Julian frequently moves his voice into a falsetto register, both solo and harmonized with himself. “You know I can light up the sky with fire,” stands out as essential repeated sentiment.

Julian brings in heavyweight Bowie-band instrumentalists Mike Garson and Carmine Rojas, as well as the prolific David J for final (and albums longest) song “Lights Out.” Moody and piano sprinkled, a busy calypso-like percussive and rhythmic undercurrent is just one of numerous unpredictable elements. Garson’s jazzy piano and the overall willingness to expand traditional song structures is reminiscent of Bowie’s own later period work. David J is a master at dropping in a simple, yet so effective standout bassline (like the one that powered “So Alive” via it’s catchy-hook end-out on that hit). Busier bass guitar segments may also be the result of Carmine Rojas’ inclusion. This post-apocalyptic story turns on it’s hook “after all the love is gone, will the last one on this world, please turn the lights out?” Doubling down on this sentiment, Julian concludes with the spoken word narration “we will be erased like a face drawn in sand on the edge of the sea.”

Listen to this Epic Composition here:

Follow Julian / The Singularity on their Official Website, Facebook, Instagram and YouTube

Previous DCW Features on this artist can be found here, here and here.

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A recent notification that one of Sunday Records finest bands The Proctors had put out a new video was certainly motivation to investigate. It was only last August when this site reviewed a number of tracks from their most recent album “Snowdrops and Hot Air Balloons.” Revisiting one of the standout songs from that album, a full video treatment is now given to “You and me and the sea.” A new opportunity to give full attention to both this recording and it’s fresh imagery inspires the words below.

As the band is shown walking around world-famous “Brighton Palace Pier” (an English amusement park with similar historical qualities as Brooklyn’s Coney Island or New Jersey’s Asbury Park) the songs opening strains chime into focus. Female background vocals are the first voices heard, gently singing about how “it’s just a reflection in the water.” Shots of the band playing their guitars are intertwined with footage of the ocean, seagulls and carnival rides. Male lead vocals seek out a “rescue remedy” for “broken hearts.” Poetic seaside lyrics continue as “castles in the sand built by hearts of stone that could not understand” are remedied by an offer to “close your eyes and take my hand.”

Capturing the adventurous joy of a day at the beach and arcades with your friends (or in this case, your band), emotional feelings are also present too. The heart-tugging pre-chorus bridge displays this perfectly with the lines “we listen to that song, it felt like we belonged, something felt so right that day how could it all gone wrong?” When that chorus hits, its title-line simplicity is all that is really needed. However, a second line (and repeat from the intro) “it’s just a reflection in the water” acknowledges how these memorable moments are often fleeting and ephemeral. Just past the mid-point allows for a layered acoustic, electric and bass guitar instrumental segment. Footage of the band in front of the Pier’s many sights (graffiti walled walkways, telephone booths) and attractions (mini-duck games, exotic ceramic cats, the crazy mouse ride, merry-go-rounds) add fun to this guitar, synth and vocal hooky composition.

Check out this wonderful song and video here:

Follow The Proctors via their Social Media on Facebook and Instagram

Engage with the dreamy Sunday Records via their links - Official Site - Facebook - Instagram – TwitterX

A previous DCW Feature on this artist can be found here.

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Broad Scrutiny on New and Soon to be Released Albums

noreply@blogger.com (DaveCromwell) — Mon, 24 Feb 2025 14:41:00 +0000

Friends old and new plus their independent labels provide the incentive for this months extensive DaveCromwellWrites reviews. The artists covered here have provided ample amounts of inspiration, allowing sentences to flicker and discharge from a rewarding listening experience. Newer, still-emerging artists creating work that fascinates find their way into this month's feature as well. With some of the tracks out now, fuller length releases are expected within the next few weeks.

Returning to the DCW fold is an artist and musician who’s previous full-length album received a detailed review at the end of 2021. Nick Frater is now back with his twelfth studio album titled "Oh Contraire!" While possessing the talent and skill to write, perform, record, mix and produce his own work here (masterfully one would add) additional musicians for select enhancement are also included. The sheer weight and detail of all the instruments used (and played mostly by Nick) is an eye opener, yet all sounds necessary on the final output. Guest guitarists play essential leads and licks, and the array of drummers and bass players used all make indispensable contributions. With that we dive into a detailed track by track review of this new album.

The album opens with the brief minute and a half “Fanfare” showcasing a number of instruments featured throughout the entire record. Opening piano chords are quickly met with French Horn and lush strings wrapped in a melancholy forward march. Once the percussion arrives you can’t help notice a “Sgt. Peppers” influence. That segues into the album’s first full vocal track “My Heart’s In Stereo.” A chugging straightforward rocker, guitars featured prominently on this no-frills, concise (once again) under two and a half minute offering. “Call up the radio, wake up the world” is Nick’s opening salvo. Desiring a “song with the name of a girl,” it fast progresses to a background vocal enhanced change into the repeated song title line. Moving on to “calling in favors and falling in line” eventually gives way to “eyes are telescopes as we search horizon skies.” Notable sonic additions like oddball synth twiddles in places add to the overall fun.

Third entry “I Know You Know I Know” comes with an official video release that plays on vintage video game imagery. With the words “Welcome to Teletext” showing in simple pixel writing on the screen, a full-on powerpop song commences. While intro verses leading with “Love is a line,” and “Love is a time” set the stage, it’s the first change “Happenstance will find yourself a second chance” that drives home it’s rhythmic cadence. When the hook chorus with all those “I know’s” emerge, one can’t help think about songwriter Gregg Alexander’s explanation as to why he included multiples of those same words on Sophie Ellis Bextor’s smash hit “Murder On The Dance Floor.” Having been told you should never repeat words, he defiantly did the opposite (and proved them all wrong). Nick appears to be successfully taking the same tactic here. The video amusingly poses the question “more cowbell?” at the exact moment that famed percussion instrument is being employed. All good pop songs needs a smokin’ guitar solo and one emerges here at the 2:10 mark of this perfect 3 minute instant classic.

Check it out here:

A booming drum intro and descending electric guitar progression leads in next cut “Song For The One Eyed City.” Vocals commence stating “there’s no trouble” and “no bother,” that there’s “no worry” and even “no money” as key reference points. “No telling as I’ve heard it allll (in pure Beatles elongation) tonight.” The immediate change is magnificent as the lyrics “on the hill” draws the same emotional impact as The Kinks “it’s your life” segment in their classic “Tired of Waiting for You.”

There’s a near doo-wop vibe in the progression and background voices on next cut “Final Reminder.” Once again eschewing the songwriting “rule” of not repeating words, Nick doubles down with repeated “yes I know’s” and “yet again’s” for hooky rhythmic balance. A seemingly sad song about being reminded of someone you lost, is kept afloat by it’s driving melodic guitar hook. With vintage telephone sounds introducing “Seraphim Called” (seems appropriate) a classic “stroll” progression gets right underway. Those familiar 10CC/Supertramp reverberated electric piano chords serve as primary instrumental force behind Nick’s questions-to-the-universe vocals. A tasty repeating electric guitar melody riff emerges just past the midway point, adding grit to the proceedings. Running behind that is a distant “celestial” pad of seemingly “angelic ahhhs” and locked-on-rhythm drumming. One more alternately descending/rising guitar figure emerges later on within the mix as well.

“One Minute” also comes with a video treatment for this instantly appealing pop song. Opening with the image of that little girl staring into a TV screen from iconic 1982 film “Poltergeist” who famously says "They're here" (and cleverly displaying the labels logo on there). Quickly moving to another room where vintage 80’s stereo equipment and shelves of vinyl albums are showcased as the song kicks into gear. As one might expect, Nick himself (with his band) shows up on a TV playing in an elaborately wallpapered “grandma’s” living room. Professors explaining scientific equations appear, as do a group of 4 men looking into a bag with a small cute cat in it, which suddenly morphs into a giant feline killer! The song itself is a forward charging guitar chugger that ponders the passage of time as each minute goes by. The essential vocal hook goes “Godspeed my deadbeats - could it be we’re in luck again?”

Check out this fun video (and song) here:

A twangy guitar riff sets the initial tone for mid-tempo groove “Steal Away.” With a sentiment centered around making time for yourself, the lines “I know – said it all before – I think it’s time to smile” ring true. Clever wordplay on the chorus rhymes the album’s title word with common household appliance “Frigidaire.” Additional points given for the buzzing and clinking percussion instruments running throughout. “All Roads Lead To Home” is a McCartney-esque piano ballad in that “Long and Winding Road” form. 60’s style castanets add a Phil Spector vibe to the production as do steady synth/string section running throughout. The universal sentiment “I guess it’s now or never – been way too long” as always, rings true.

“Welcome to Hollywood – welcome to looking good” are the opening sugar processed vocal lines of “Dreaming Of A Wonderland.” The vocal production and lyrics themselves seem to both be celebrating the joys artificial pursuits. References to “Xanadu” and “Shangri La” drive home the quest for beautiful imaginary places. An ear-tickling tambourine-focused percussion track and well-placed guitar riffs add counterpoint to the overall vocal smoothness. The ultimate reveal is this “wonderland” is actually about becoming a big time arena rock star. Welcome to the show, indeed. If you write song titled “Goodnight, Goodbye” it only makes sense to end your album with it. One more piano ballad, this time enhanced by what sounds like real violins and such. “This lullaby will send you on your way” serves as the perfect close out to this meticulously detailed record.

Follow Nick Frater on their Official Website - Facebook - and Instagram

Pre-order the album "Oh Contraire!" here and here.

Connect with the label via their Official Website - Facebook - Instagram - and TwitterX

A previous DCW feature on this artist can be found here.

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Héctor Caolo Alvarez runs indie label 3 Robots Records which focuses on music delivering ambient, ethereal, dreamgaze, pop, electronic, and psychedelic styles. Many of their releases have been reviewed here on this site over the past few years. Always producing high quality material, the output delivered is never disappointing. A new release by the project Sueño con Belugas (Spanish language meaning “I dream of Belugas” - which are white whales) shows the band exploring interesting new directions. Two tracks are currently available, and will be included on an upcoming fuller release “Ataque con rayos electrónicos EP” (“Attack with electronic rays”).

First single release “Velocidad” (“Speed” in English) comes with a full video treatment, which (as often does) enhances the overall listening experience. With gently strummed guitar chords shifting from major to minor, the image of an eye (up close) is overlaid with floating effects and band members at their instruments. The lovely voice of María López (Malow) begins, singing in Spanish “Cielos yo me quedo” which translates to “Heavens, I'm staying.” Hector’s chiming guitar work fills the audio field and is impressive, since his previous work reviewed here emphasized his bass playing. The rhythm section of drums and bass guitar are fully locked in, providing accents and emphasis on the vocal story being told. All about those Cielos/Heavens, and not wanting to leave, but to stay and laugh. The vocals continue to rise with intensity and emotion as overall meaning reveals a pursuit of truth, of my and in your “Velocidad” (speed). The tracks final two minutes is an epic instrumental sequence of two synchronized guitars, powerful bass and drums (with an ambient coda for good measure).

Check out this emotionally dreamy song and video here:

A second track released from the EP is the introspective, slide guitar infused "Mil Recuerdos" (A Thousand Memories). Slowly strummed acoustics and extended note slide guitars conjures up the sensation of floating on a lazy river. Hector takes the lead vocals this time, calling out to the universe with lines “Hola como haz estado” (Hello, how have you been?) Malow returns to provide backing vocals on the essential line “Tu y yo mil recuerdos” ( You and I, a thousand memories).

These two tracks are available right now, with the full EP dropping on March 31, 2025.

“Ataque con rayos electrónicos EP” by Sueño Con Belugas

Follow Sueño con Belugas and 3 Robots Records on their Social Media - Facebook - Instagram - TwitterX

A number of previous DCW features on Hector and his various collaborations can be found here, here, here, here and here.

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Good friends of this site the Kool Kat Musik label has been dedicating their energies towards spreading melodic pop music from around the world. They’ve marketed thousands of releases by bands and artists including over 160 releases under their own label imprint. The label has now announced an upcoming release, “Snowy Chloe” by the power pop band Bur. The album drops in full on February 28, with an advance listen inspiring a review taster down below.

Featured track “From The Top” kicks off with an ascending four chord progression via brightly toned electric guitar. Bass and drums join in after the initial pass through, leading into a steady revolving verse progression. Tandem voices in reedy, mid-range register evoke a power-pop urgency that is timelessly familiar. With well placed background vocal “ahhh’s” and quick-turn rhythmic accents, the spirit of MerseyBeat pioneers like The Beatles, Gerry and the Pacemakers and such can be felt throughout. Clocking in at a brisk under two and a half minutes, musical hooks are abundant. The opening rise chord sequence is mirrored via bold single note guitar riffs a minute in. The songs title eventually appears as a reference point for “where you should start.” More sinewy guitar riffs make their way into the mix, along with waves of cascading voices. The overall sensation is one of fast paced exuberance wrapped in pure pop joy.

Check it out right here:

Snowy Chloe by Bur

Set for release on February 28, you can Pre-Order it here right now.

Follow Bur on their Social Media - Facebook and Bandcamp

Follow Kool Kat Musik on their Official Website and Facebook

A previous DCW feature on the KoolKatMusik label can be found here.

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Penetrating Observation of Recent Singles, EPs and Album Releases

noreply@blogger.com (DaveCromwell) — Wed, 29 Jan 2025 15:00:00 +0000

Another full circle around the sun and a new year commences full of hope and promise for the days ahead. With that comes new recorded music from both trusted and previously unheard sources. Equal emphasis on both noisy experimental rock and more traditional singer-songwriter contributions occupy this early 2025 DaveCromwellWrites Feature. Plunge forward into these audio creations and the words inspired by them.

The motivating force of Philadelphia-based Patetico Recordings chief Tom Lugo offers a nearly endless stream of new music discovery. Having reviewed numerous releases of that labels various collaborations, prior full-length album by “From the ashes” Stellarscope stands out as a highlight. That pairing of Tom and drummer Bob Forman are now back with a new EP “All That Remains.” Written and performed entirely by the pair, Tom produced, mixed and mastered everything at their two studios in Middletown and Havertown, PA. The Cromwell force now digs into each track in search of it’s sonic core.

Opening track “As I Lay Dying” is introduced by a harsh buzzing riff that sounds like a swarm of bees. It’s urgent pace is soon shattered by a lumbering drum pattern that commences at seemingly half speed. It’s a deep, hammering pulse that creates a solid foundation for the “bees” swirling above. As drum fills intro an even deeper, slithering bass guitar line, Tom’s ethereal vocals begin and further amplify the mood. One minute in and a driving chorus is reached, combining walls of sheering guitars, voices and an overall sense of urgency. As the next verse progresses, those live-in-the-studio drums are a welcome change from much of the carefully digitize percussion heard lately. The bass guitar riffing is fast and furious, creating a subtle bouncing movement throughout. The pace quickens halfway through with a rising progression before reaching it’s crescendo and intro-mirroring fadeout.

Follow up cut “All There Is” builds off of multi-layered, downward stroked distorted guitar chords in that revered MBV style. Rough and tumble snare-roll heavy drumming also taps into the Colm Ó Cíosóig bag of rhythm for a pleasantly noisy trip in to the void. Tom’s sneering vocals sound as if delivered through a tin can, but that’s ok (in fact – perfect). Soaring musical passages glide through the middle as drums bash away to 747 jet engine guitars. Third entry “Some Other Day” keeps the buzzing guitar out front, with some unexpected chord selections in its progression. With the drumming still on the busier side, new elements such as clacking stick sounds enter the fray. Vocals are somewhat more intelligible, with references to “voices in my head” and the songs title line clear enough. Warbling effect runs parallel through some of this, adding a subtle, unsettling element. Halfway through, things align a bit more as a traditional guitar melody emerges over top of downward driving chords. Quick cut stop-start rhythms feature in the final verse, while the sludge takes over to its conclusion.

Next track “Devour all” captures Kevin Shields pitch-bend guitar chord churn on it’s opening flurry before low booming drums rumble in underneath. A sheering swarm of quick-strum rising guitars soon give way to single note melody lines as Tom’s vocals appear in a whispered, floating style. The chorus is big and bold, resembling the heavier output of a band like The Sisters Of Mercy. Headphone listening makes you aware of how well produced this wall of sound actually is. The separation of instruments is fully on display making for the perfect balance of controlled chaos.

A dramatic single pounding drum thump leads the way into final cut “Consumed.” With alternating cymbal crashes for emphasis, center melody guitar-churn flows forward, as fluid bass throbs throughout it all. Vocals are softer and near buried at some points, while harmony-doubled in other places. There’s an almost orchestral feel to the rising guitars, soaring above the heavier clatter below. While momentary quieter plateaus set up subsequent verses, a full force sonic assault “consumes” the tracks final minute.

Check out this blistering new EP here:

All that remains by Stellarscope

Follow Stellarscope and Patetico Recordings on their Website and Social Media

Facebook - Instagram

A previous DCW feature on this band can be found here.

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Mutual friends and associated bands are the frequent pathway to discovering new music groups. Such is the case with New York City based female rockers Killdeer. Having grown up in musical families that stamped early influences on them, these four women write, record and perform live music combining punk, pop, and alternative into an appealing garage-rock sound. With three EP’s already under their belt, the band has now released a new single “Generic Break Up Song.” The DCW audio-scope turns it’s focus on sorting out this songs contribution to the rock music canon of anti-love songs.

Descending guitar note phrasing opens the track with alternating textures, before climbing back up the scale to start the downward spiral again. Cymbals woosh and bass guitar enters space before everything momentarily comes to a halt. That’s when the drums kick in and a chugging rock n’ roll progression takes off fully. The motion reverses to an upward rhythm, then another split-second halt before vocals commence with playful solo voice and harmony coated follow ups. As the song title implies, this isn’t a new story, but one of time honored tradition. “Seemed so fine” starts thing off solo before “boy I must have been blind” comes layered in harmonies, as trouble is revealed as “a storm rolled in – grabbed a bottle of gin – where’d our love go?”

You can’t help but chuckle at the cheeky lyrics “you walked away – saiiiiid you’d stay” (in full harmony) “now I’m broken wing – busted feather – thought we were forever!” One can’t help recalling the similar romantic angst referenced in Cameron Crowe’s feature directorial debut “Say Anything” and the still hilarious song “Joe Lies.”

However, Killdeer brings the guitar crunch, and drum pounding gets heavy on lines (thought we were) “forever together!” Quick-turn drum breaks and single cymbal accents are impressively built into the songs structure as are those multi-voiced harmonies. An anticipated fuzzy guitar solo hits just after the midpoint, accompanied by a driving melody-echoing bass pattern. The band is now in full charge forward mode, with slashing guitar chords, fluid bass and pummeling drums. One more pass through the “master of deception” and “you’re nothing but trouble” lyrical put-down, because “its plain to see, you were never meant for me.”

Check out this clever take on a universal theme on their Spotify right here:

Follow Killdeer on their Official Website and Instagram.

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Friend to this site Phil Wilson has had a number of his brilliant The Raft albums reviewed here with much deserved accolades. His ability to compose, produce and perform songs with such a beautiful quality has always been impressive. Much of that production also included the lush placement of dreamy female vocalist who’s contributions lifted the track to ethereal heights. Now Phil is back with a more stripped down project called Indigo Twinn that is a duo partnership with vocalist Claire O’Neill. The four song EP “Someone Else” (titled after it’s lead off track) features Ms O’Neill as equal contributor with songwriting and featured vocalist on all four cuts.

The record opens with the aforementioned O'Neill/Wilson dual penned title track “Someone Else.” Gentle three-quarter time guitar chords lead the way with a lovely jangle. Claire’s clear, straight-forward vocals commence with a gentle sincerity and we’re on our way. The first chord change soon hits as the lyrics implore you to “come down and wash by the water,” and to “wipe the tears from your eyes – and cry.” Comparisons to the legendary band The Sundays once again come to mind (having made mention of that in some of The Raft’s earlier work). Claire take the emotion further with hook lines “cry like a baby – wish you were someone else.” After a minute and half, drums and bass join in giving everything a fuller band feel. The production is impeccable as is everything else leading to the songs emotional denouement.

Follow up cut “Supergirl” is the first of two solo written songs from Ms O’Neill here. Against a four chord acoustic guitar progression, lyrics question “why does it always seem to be that you’re on my right side, but not on my good side?” The bridge change comes on bolder with the lines “but you get wiser, when I get nicer” ultimately leading to “I’ll be eager to be your supergirl.” Fuller instruments once again enter the mix, with special mention to J Pedro on bass (+ entire EP production) and Paul Keelan on drums, playing brilliantly throughout. Along with Phil’s nuanced guitar work, there’s a strings sound of sorts adding one more dreamy sonic element.

The second solo penned track by Claire “Come Away” reduces the chord structure by half, with only two needed for it’s impact. Phil layers melodic electric guitar tones over top, while vocals implore you to “leave all your monsters” and “come away with me.” Vocals are doubled at key junctures, with harmonies placed for emphasis. “So let’s review the situation” begins a dramatic midsection that comes with well-placed “Ahh Ahh” backing vocals. It all builds to an emotional peak of voices and instrumental sections, until the final coda floats away on a cloud.

Final entry serves up the Phil written, sentimental and heart-tugging “Sarah.” With deeper bass notes marking out a counter-melody pattern against jangly finger-picked guitar, Claire delivers the vocals with equal aplomb. “Look behind our heel walking, didn’t mean that much to me back then” is how the innocent lines begin. The single word title is given it’s gravitas by repeating it with differing vocal emphasis and varying background enhancements. The story captures an innocence of place and time through everyday living, where the simplest things can become magical from a looking-back point of view.

Listen to this gorgeous recording here:

Someone Else by Indigo Twinn

Find out how to acquire this EP here.

Follow the band on their Social Media - Instagram - Bandcamp

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It was exciting news to hear that frequent contributor to this site Andres Alfonso Lugo was back with a new 8 track album “DRONINGUITARFEEDBACKS,” under his Los Dientes Hundidos en la Garganta name (the teeth sunk in the throat). Recorded at his Where are we going studio lab in Baltimore, MD, Andrés plays all the guitars, drums, programmed drums (with a little help from his AI friends), percussion, loops, and everything else. It is an experimental tour-de-force that garners an essential track-by-track reaction below.

The 54 second opening snippet sounds like a field recording of an outdoor jam percussionists often entertain themselves with. That launches into the 5 minute “Cosmicomics” which emphasizes motorik drumming and unnatural sounding wind-wooshing seemingly pumped down echo-heavy tunnels. Expanding track lengths, the 9 minute “Trantor Yuba” takes the initial drum-circle conga-fueled percussive elements and lays the groundwork for extended guitar drone over top. The patterns are consistent, yet move organically in subtle changing directions. A distant siren emerges as the piece slowly fades out.

Snare drum makes a prominent appearance on the six and a half minute dream-gazey meditation “Onoe Matsusuke.” Low end textures (sounding like cello’s) share space with higher-pitched ambient explorations. Moody floating movements are held together by way of the simple drum beat that fades in and out of focus. Pushing the sonic lengths further, an over 10 minute “Kebra Nagast” goes full-on slow, introspective dreamscape, emphasizing the twilight moments that exist somewhere between heaven and earth. A single drum thump appears at intervals throughout its continuous shimmering audio field.

Bandcamp featured track “Bene Gesserit” (the albums longest entry at over 11 minutes) emerges with full-throttle force. While the droning elements hover above everything, mad-crazy jazz-style drumming thunders, rolls and ride cymbals with frenetic energy. Droning elements slowly change patterns, marking out a recurring melody (of sorts). The combination of longer held ambient textures with the hold-on-for-your-life roller-coaster ride drumming creates a uniquely fascinating soundscape.

“Bezdomni” features an electronic hand-clapping like percussion, ominous long-held ambient backdrop and wailing voices that sound like what you might hear in a jungle. A subtle melodic movement emerges, adding another element to lock on to, between those recurring vocal outbursts. Final entry “Omni Poetics” leans into a rapid paced single snare drum shot, long held center drone and horror-style voices placed wide in the left and right channels (heard on headphones). It’s a fitting way to end this hallucinogenic album.

Check out this creative recording here:

DRONINGUITARFEEDBACKS by Los Dientes Hundidos en la Garganta

Follow this artist on Social Media:

Instagram - Bandcamp - jakjonsontapes - YouTube

A previous DCW feature on this artist can be found here.

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Best Of 2024 Year In Review: New Music and Live Show Coverage

noreply@blogger.com (DaveCromwell) — Sun, 29 Dec 2024 16:00:00 +0000

The final month of 2024 offers an opportunity to highlight the best works presented over the whole year. For this music site, its annual “Best Of” collection celebrates the most significant artists written about since the beginning of this time period. Studio recorded music and video continued to dominate the bulk of analysis, with a significant return to detailed live show coverage included as well. Compiled here in monthly chronological order is the “2024 DaveCromwellWrites Best New Music Reviews and Live Show Coverage.”

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Sophie Ellis Bextor in Concert at Plaza Live Orlando, Florida

noreply@blogger.com (DaveCromwell) — Tue, 26 Nov 2024 15:40:00 +0000

As Sophie Ellis Bextor commenced her first ever American tour here in the year 2024, she worked her way across the northern cities (and a few Canadian as well) with triumphant results. Those of us in the southern regions of the country wondered if we would eventually get our chance to experience this glorious show. That concern was alleviated when we spotted an announcement in August that she was coming to Orlando, Florida. Having moved to Florida from New York a year ago, my daughter and I felt a twinge of “FOMO” following Sophie’s tour on Social Media. Now we had our chance to see her perform live at last, and quickly snapped up tickets. The fact that the show wasn’t going to happen till November didn’t matter, and actually gave us something to look forward to.

The show was at a storied Orlando concert venue that opened in 1963 (one of the cities oldest) now called The Plaza Live. Like many theaters spanning that timeframe, it went from a cinema, to a theatre space and finally the current music venue. Having already mapped out our route there and prepared what to bring in advance, the day of the show was problem-free and smooth sailing. On arrival (a bit early) we chatted awhile with those fans camped out in front hours before entry time who *have to be in the very front!* I’ve always found that location is not really the best spot for overall sound quality. Yes, you are *as close to the performer* as you can be, but you’re also often just under the stage monitors that provide the vocals and overall sound. A few rows back (which is where we wound up) is always the best for perfectly balanced audio.

Choosing to spend the time between sound check (which we heard snippets of from outside) and when they started letting people in (was around 7:30 pm-ish) my daughter Heather and I headed off to find a good place to eat. Since Heather loves Japanese culture, the second she spotted a restaurant to her liking we headed in. The Kyoto 5 Colonial Sushi & Grill was the right choice and we spent the leisurely pre-show hours dining like like connoisseurs of fine Asian dining.

Arriving back at the venue, the crowd was starting to grow and the line to get in getting longer. As someone who has a long history with Sophie, first as moderator of her official website and message board back when that was a thing (pre Instagram and all that) we have communicated from time to time. Discovering she was coming to Orlando, I reached out to see if we could meet once again, however briefly. The last time was over 14 years ago (!) at an event meticulously chronicled by this writer here.

Heather being a life-long fan (with her dad having been playing Sophie’s music to her since she was a very young child) would certainly be thrilled at the prospects. To my utter gratitude Sophie wrote back and said “let’s make it happen!” With all intentions well and good, my experience has been these things never happen *all that* smoothly, but we proceeded with confidence. The ticket venue rep handed us our comps (even though we had already bought tickets) as this was the only way to get access to some kind of “after show” access. I was hoping for the traditional sticker pass that gets you through the gatekeepers, but settled for a handwritten note on the comp ticket.

Meanwhile a beautiful moon had risen over the venue, adding another sign that this was to be a glorious experience.

Fellow fan friends on the internet from points far and wide (it’s wonderful how this connects us all) were almost as excited for our attendance at this show as we were.

The warmup act for the night was a popular local DJ calling himself Hulian who got the crowd movin’ n’ groovin’ and all warmed up for the main event. Special mention has to go to his clever “re-appropriation” of an iconic soft-drink logo to his own name.

With his set completed, the anticipation for Sophie’s appearance was buzzing through the crowd with electricity. I observed how the crew efficiently set up the equipment and silently tested out their tunings and audio levels. The drums were already set up, and both lead tech Josh and Jackson himself came out in the dim lighting to sit behind the set and make sure everything was right. Suddenly the lights changed and out came the full band, and then Sophie herself. The crowd burst with excitement as she launched into her now traditional opener “Crying At The Discotheque.”

Sophie dazzled instantly with her purple frock trimmed with feathery plumes at the sleeves and skirt line. The band starts the show wearing those now famous animal masks first introduced during her Kitchen Disco shows. As the crowd of adoring fans sing along, you can really notice how bass and drums sound so much fuller during a live show. It's one more reason why you need to be there.

The second song (met with delighted squeals and applause) was her first completely solo single release "Take Me Home." Having received the blessing and permission from original songwriters Bob Etsy and Michelle Aller, Sophie added lyrics and have made this song her own (sorry Cher). Masks now off the band, the leggy, glamorous stars joyfully slinks her way through it all.

As Sophie has been known to do throughout this tour, she engages with the audience of whatever particular city she is in, talking about some of the interesting things unique to their area.

Her mention of Orlando's very first "theme park" - the now personally beloved Gatorland - even impressed iconic "gator queen" Savannah Boan.

Next up was the ever popular fourth and final single from her debut solo album "Read My Lips" - the uplifting "Music Gets The Best Of Me." Co-writing this one with the perfect-match-for-her-at-that-time songwriting team of Gregg Alexander (who's big hit with his band The New Radicals "You Get What You Give" is still played frequently on Alternative Rock channels) and Matt Rowe, is still one of her best. Of note on this particular live performance is how much joy you can see in Sophie's face when singing this one. She's literally beaming at points when dancing along with it. Also noted is how the bass and drums really stand out (again, the benefits of being there live).

Next Sophie played one of the most popular tracks from her third album, 2007's "Trip The Light Fantastic," with the playful "Me and My Imagination." This came by way of of selection from her now famous "wheel spin" where songs are listed on her spinner. Wherever it lands is the song she will play. It's a fun way to keep each live performance unique to that night.

The song is a product of her at-that-time collaborations with hitmaker/vocalist Hannah Robinson and Producer/songwriter Matt Prime. Having reached top 20 on the UK Singles Chart, the chorus lyrics ask "try to keep me entertained," This particular live performance emphasizes keyboard chords between Sophie's verse lines.

After playing a spirited version of her song "Hypnotized," an early highlight of the night was when Sophie and her guitarist Pablo stepping out front for a heartfelt acoustic version of "Youngblood." Calling it "the most romantic song she's ever written" the lyrics are touching and the performance equally breathtaking. Originally appearing as the lead single off her fifth studio album "Wanderlust," it served as the beginning of her co-songwriting and production partnership with musician Ed Harcourt. It served as a “comeback success” of sorts for Sophie as it was her first single to enter the UK Singles Chart since 2011's “Bittersweet.” It peaked at No. 34 on the UK Singles Chart (spending three weeks there) and at No. 3 on the UK Indie Chart, making it her fifteenth best-selling song in her home country.

As Sophie scurries off stage, the band begins playing an instrumental version of Hana's "Hearing In Colour." The diva soon returned in a costume change from her purple outfit to a sleeveless yellow mini dress to complete the vocals on this synesthesia themed song. That lead to her launching into this next song.

"Ready For Your Love" came out of a 2024 collaboration with award-winning electropop German DJ and producer Felix Jaehn.

Returning to give the "wheel spin" another go, Sophie landed on this next song, much to the delight of the captivated audience.

The wheel selected the best song from her troubled (and transitional) second album "Shoot From The Hip" with the single "Mixed Up World." A particular favorite of Heather's (and one would assume most young women) the final foray with songwriting team Alexander and Rowe emphasizes resilience over confusion, reminding oneself to "remember you're a real tough girl."

Next up was a wonderful Sophie leading sing-along rendition of "Get Over You." Who can resists the sheer joy of vocalizing those "Ai Yi Yi Yi" segments.

Reaching the "medley" portion of the show, the highlight of course is Sophie's first ever hit song "Groovejet (If This Ain't Love)." Created out of a collaboration with DJ Cristiano Spiller, who himself sampled his contribution from the Vince Montana Jr. and Ronnie Walker written and Carol Williams sung Salsoul Orchestra song "Love Is You." Sophie penned all the lyrics, with subtle enhancements from co-writer Rob Davis.

The back half of the performance features funky guitar strumming, Ciaran's electric piano melodies and a heavy emphasis on percussion. The hits just kept on coming now, with the latest single "Freedom Of The Night" followed by a near religious experience via a cover of Madonna's "Like A Prayer." Both wonderfully done with Sophie recreating her video ribbon twirl, and cathedral lighting on the later.

Then it was time for a number from her fourth studio album "Make A Scene'" and it's first single "Heartbreak (Make Me A Dancer)." Initially released as a dual release between Sophie and English production duo The Freemasons (James Wiltshire and Russell Smalls). Songwriting credits were shared equally between all three as well as the inclusion of Richard ("Biffco") Stannard. It was a pretty successful hit for each of the separate artists albums, with some decent play in the USA. Reaching No. 1 on the MTV Dance Chart, it remained there for 13 consecutive weeks.

Of course the most anticipated song was set to close out the main portion of the show. Sophie told the crowd to "do what you will with Murder On The Dancefloor," so Heather and I did, dancing and singing along with everyone else there.

With this celebratory revival and stunning 2024 success for this track first released over 20 years ago, the song became a viral phenomenon after providing the soundtrack for a pivotal scene in Emerald Fennell's film "Saltburn." That lead to it re-charting globally and marked Sophie's first entry on the US Billboard Hot 100. The track now has over 800 million streams across all digital streaming platforms. Co-writer Gregg Alexander has said that he's reconnected with Sophie after the song's recent success, and that he realizes things worked out as they were meant to be. He's happy that new people are discovering the song and is content with riding the rollercoaster of the song's new popularity.

With the band now back in their animal masks, Sophie leads the crowd in a final sing-back-to-her celebration. At the songs conclusion they all wave goodbye and head off the stage. Most of us are pretty confident there will be an encore, but we clap and chant to bring her back all the same.

Not to be disappointed, Sophie and her band came back out on stage and launched into one of her most popular hit songs "Bittersweet." Another dance floor success and third single from "Make A Scene," Adding Hannah Robinson again to the songwriting team (which included the three others who helped shape "Heartbreak") succeeded again in creating a universal theme most anyone could relate to. This performance here tonight continued the sultry dance arm movements and overall joy of the live event.

As the band continued to play, Sophie disappeared once again until we suddenly heard a gasp from the crowd as she appeared in radiant light at the middle of the room. Being helped up onto a riser, she sang an intimate, acoustic guitar accompaniment rendition of her best known song from her original band Theaudience, "A Pessimist Is Never Disappointed."

Watch and listen here.

Taking Sophie back to her very beginning as a recording artist, the Billy (Paul) Reeves penned song serves as an acknowledgment to her earliest days. As the 19 year old lead vocalist (and image) of britpot band Theaudience, this third single release from that bands debut album peaked on the UK Singles Chart at No. 27. Sophie has been performing this song from time-to-time over the years at live shows, and including it here was a perfect touch. Sophie's rendition here is note perfect, including all the “charm” alluded to in these almost too-sophisticated-for-pop music lyrics. Reeves was certainly a gifted songwriter and one wonders what he could have accomplished if he had gone as hard at it as, say someone like Gregg Alexander (or for that matter, Sophie herself) has. Nevertheless, THIS song is still a marvel after all these years, and would have been the perfect lead song to any of the numerous “coming of age” Hollywood movies that have come out over the last 20 years. Coming full circle, it was "Saltburn" that did it for her.

With that the show came to it's conclusion. As previously mentioned, there had been some communications with Sophie about meeting up to speak after the show. However the venue staff were firmly in a get-everyone-out-of-the-venue-asap mode and it took some fast talking from myself to convince them that "no really - Sophie said it was ok to meet us!" Fortunately, the staff member I chose to pitch my appeal to (I tried to pick the most friendly face) said she would investigate. After a nervous moment or two, she came back to say "yes" - the communications chain she began the process through reach the right people and we were quickly escorted over to some chairs near the stage door. As I observed instrument-tech and overall backline provider (and would later discover a surprisingly good wall climber to enter locked out of rooms) Josh Beanz break down the stage equipment, we were told someone would get us to head back.

That someone came in the form of tour manager Dominic, who was a friendly fellow that made sure we made it through the labyrinth of passageways leading to the stars dressing rooms.

Dominic to the right of Jackson there

As we continued to wind through the passageways that lead to our destination, I asked Dominic about all the world traveling he'd been doing lately as tour manager of Sophie and her band. He had a cheerful attitude about it all, and I must admit that getting to visit all those places while working has to be quite an experience. We were sat outside the dressing room door and told to wait for Sophie to appear.

As we waited, taking pictures by the dressing room door signs seemed like a good idea.

Before we knew it, Sophie emerged from said dressing room, walked over to us and said "hello." She had changed out of her performance costume and was now wearing a more casual t-shirt with patterns on it, and an angle length skirt. She still had her stage makeup on and of course looked stunning. After the obligatory 'how are you's' and "good to see you's' I introduced her to my daughter Heather. Sophie was under the impression that she had met Heather before, but this was actually the first time. We both agreed she must have seen her picture on social media and that's how she knew her. Never one to waste an opportunity, I asked if we could take a picture together and of course she agreed. Road Manager extraordinaire Dominic offered to take the photo and we commenced to that.

Happy times with Dad, Daughter and Idol

We continued to chatter about the show, her music and the fun things she puts on social media all the time. For instance Heather wanted to know if she had named the three kittens that were recently born. Sophie said she had not, because other family members had already claimed them, and she wanted to let the new owner name the kitty.

While we continued to talk, the bandleader, bass playing legend and super dad himself, Richard Jones emerged from his dressing room and joined us. The talk became more animated now and I reminded him of a conversation we had 14 years ago, when I first met him in New York (at that pier show with The Freemasons I mentioned earlier). I asked him if she still felt that Paul McCartney was his bass playing role model and he said yes he still was. I saw Paul would be playing at the Corona Festival that Sophie and crew would be at soon and they were excited at the prospect of seeing him play again. Once again not wanted to miss out on a photo op, I asked if we could take a picture with Richard.

Richard sporting his Loup GarouX t-shirt

We chatted some more and then Dominic asked if we would like a picture with all 4 of us together. Never one to turn down such an opportunity, we commenced to take the best picture of all.

As we chattered on further, Sophie graciously secured tour t-shirts for Heather and I, and we joked about how we would walk side-by-side down the street to display all of the shows. That, if fact is what we did a few days later.

Instagram searches on various Sophie-related hashtags provided surprisingly positive results as well.

Sophie and Richard were so friendly and down-to-earth - No star tripping here. We talked about so many different things in the however-long-it-was (having lost complete track of time) we were allotted. We said our goodbye's as they at least one other meet-up to get to, as well as prepare for a long over six hour drive to Atlanta.

As Dominic helped us navigate our way out of the venue - there was some climbing down off the stage involved - we headed out the venue and found ourselves out behind it. Having to walk all the way around it, we spotted Josh and crew loading up all the equipment into the trailer that is pulled behind the tour bus. Being a serial picture taker, I grabbed a quick snapshot of it.

Which also makes an appearance in Atlanta photo from the next day.

While I curiously watched the hard work that a tour crew must do to get everything securely in their places, none other than Sophie and Richard come strolling out from another exit area (right near to the tour bus) and commence to greet some fans who had waited there after the show to meet her.

Drained as we were from this amazing show and incredible experience afterwards, it was all we could do to stumble to the car and head home.

A truly memorable night with an iconic star who has been accurately described as having "stature that goes beyond the music, and she's now become a British national treasure."

Indisputably!

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A review of her most recent single and video "Freedom Of The Night" can be found here.

Stream "Freedom Of The Night" here.

Join the Sophie Ellis-Bextor mailing list.

Connect with Sophie online:

Facebook - Instagram - TwitterX - Official Website - Linktree

A Complete Review of Sophie's Full-length Album "Hana" can be found here.

A Previous Review of Sophie on this site (including links to all the other features on her) can be found Here.

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Investigative Reviews of Exceptional New and Recent Single Releases

noreply@blogger.com (DaveCromwell) — Mon, 28 Oct 2024 14:00:00 +0000

This Edition of DaveCromwellWrites focuses on four new single releases from much beloved and/or highly regarded recording artists. While one continues their compelling resurgence by way of an expanding new audience base in the USA, others here stay the course with yet-another impressive release. Singer-songwriters are the primary focus this time, but there is always room for a bit of dreamgaze hazy goodness. Whether it’s higher-end glossy production or a grittier home studio offering, a few chords and a melody is always, it seems the right way ‘round.

What a whirlwind year 2024 has been for Sophie Ellis Bextor. As a result of having her over twenty year old single “Murder On The Dance Floor” featured in the widely viewed film “Saltburn,” the track took off again and became an enormous hit. Much like the way Kate Bush’s “Running Up That Hill” had a similar resurgence after being featured in the popular series “Stranger Things,” Sophie was suddenly popular for the first in in America. Long time fans of Sophie (this writer included) already knew how great she (and that song) was, but now all of the USA was singing along to MOTD repeatedly. A certain first daughter (mine) who already loved Sophie’s music from being fed all her albums over those 20+ years, was now saying how she heard it on the radio every hour. A first ever full headline US tour followed, along with TV appearances on the best late night variety shows. Now Sophie is back with a brand new single “Freedom Of The Night” and this sites review periscope digs down into it’s glorious details.

It shouldn’t be surprising the songs opening strains hearken back to Sophie’s “Make A Scene” era and two of that albums biggest songs “Bittersweet” and “Heartbreak (Make Me A Dancer).” Considering she co-wrote this with Richard ("Biffco") Stannard, who was heavily involved in those MAS tracks, the sonic qualities are instantly recognizable. Filling out the songwriting team here are performer/producer Shura and Duck Blackwell (and of course the ever present Richard Jones). Vocals commence within the first 10 seconds as Sophie commences to “wake up” and “put on confidence (like make up).” Bridge is arrived at almost as quickly (under 30 seconds) “I’ve heard dreams come true” with minimal backing of handclap percussion and upward fluttering synths – “come to the other side” she beckons (reminiscent of Familia’s “Come With Us”). Like the best great dance tracks it’s really all about the chorus and this one leaves no doubt. Hitting right at that 30 second mark, Sophie’s voice soars in “OhAh I can feel – Energy – I believe it’s healing me – OhAh All I need is sweet release” and the title line. Repeated again because that’s what these songwriters know works – how to make a dancefloor “banger.” The musical underpinnings are bubbling, bouncing bass synths and four-on-the-floor forward thump.

Sophie has already been quoted as saying it’s all about “that feeling you get when music gives you that lift, that empowerment.” That fits with the next (3 time repeated) hook line “Give in to what to do want.” Verse two mentions the “clock,” “time” and “a web made of moonlight” presented in a singular falsetto vocal register, against an animated heavy-funk bassline. That precise bridge to chorus returns to lock down that essential dance floor hook. This go round the “give in to what you want” comes with a repeated shadow vocal off in the distance. One more essential change with “ooooh – when the moon is high I feel this way” ultimately leading to “I Rise Again.” As an added treat, Team SEB brought in rising guitar superstar Chris Greatti (lovingly covered in this sites feature here) to play a blistering guitar solo. One final pass through the chorus (because it’s just so much fun) and then a sharp ending.

Check out this fantastic song here:

The Official Music Video has now arrived and it’s brilliant fun! Sophie decided to revisit the story of her original MOTD video, but now update it to years later (which of course it now actually is). However, this time she is a “stage mom/mum” and is coaching her own daughter in a similar dance competition. Bringing back essential people like video director Sophie Muller and central judge Colin Stinton, newer creatives like “Saltburn” Choreographer/Movement Director Polly Bennet were also involved. The biggest change (and delight) are Sophie’s adorable co-stars – the young dancers, which include a “Mini Sophie” (her fictional daughter here). The video opens with the mother/daughter team walking into the competition with their matching custom made “Team S E B” tracksuits. At the makeup table Sophie grooms her daughter and rehearses pageant smiles while glaring at the competition. Costumes are readied and the “en-er-gy” is commenced with swirling dancefloor moves. Amusingly, “mother Sophie” is caught peering over the judges shoulders and discovering the scores are not to her liking.

When the line “I’ve heard dreams come true” is reached, there is mom Sophie coveting the prized trophy of flower-adorned silver dance shoe. Sophie grabs a bag of candy and starts giving it to the other dancers, causing them to become distracted and ultimately blow their routines. As Sophie manically cackles, we now understand her comment that this was a “What Ever Happened To Baby Jane” moment. She stares down and confronts a photographer capturing the whole thing and the judges are appalled. Hitting the songs glorious bridge is where “Mini Sophie” has her shining moment. Real and Mini Sophie now in matching outfits take their star turn in quick cut succession, whipping a long ribbon around in triumph. Complete chaos ensues as all the other child dancers begin acting out in distress. As the judges loses control of everything, Sophie and Mini make a bee line for the trophy and award it to themselves with delirious glee! It’s such bad behavior but soooo good in this video.

Stream "Freedom of the Night" here.

Join the Sophie Ellis-Bextor mailing list.

Connect with Sophie online:

Facebook - Instagram - TwitterX - Official Website - LinkTree

A Complete Review of Sophie's Full-length Album "Hana" can be found Here.

A Previous Review of Sophie on this site (including links to all the other features on her) can be found Here.

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Earlier this year the artist releasing music under the name I’m The Villain received a detailed review of their latest single (at that time) “Something Is Coming.” Now Gianmario is back with a lyrically introspective, instrumentally lush new track “The Real Me.” The DaveCromwellWrites laser focus is now applied to this current release, detailing the essential elements that flow throughout the composition.

Choosing to bypass any gradual introduction, the track commences in full motion with electronic high-hat ticking percussion and deep chiming The Cure style guitar. Chord progression and melodies are bold as they morph from major to minor key status with emotional sincerity. Vocals commence with initial lines that go “waiting for a real sign, I wash away the morning light. Find me - In your sweet song - and don't be sad, ‘cause you're alone.” As one would expect, the chorus is where everything comes together, with lyrics “I found myself in Dream and - I don't care if I'm still alive - I Just want to be the real me for this time.”

Extended note synth pads fill in the sonic space for a lush backdrop that enhances this reflective sentiment. There are subtle pitch bends on some of these synth textures that adds another level of melancholy and mystery, just lurking underneath. Just past the midway point an uplifting keyboard phrase provides a bridge to another round of vocals. A modulating pulse now repeats during this segment, combined with an additional descending sonic element. The beat drops out for an ethereal vocal passage accompanied by yet-another elevated keyboard enhancement. With full percussion kicking back in the chorus is repeated while that beloved Cure-sound guitar returns for an earnestly gorgeous outro.

Listen to this heartfelt song right here:

The track can also be streamed on Spotify

Follow I'm The Villain on his Social Media: Facebook - Instagram - Soundcloud

A previous review of I'm The Villain on this site can be found here.

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It’s always a pleasure to hear from Lunar Twin songwriter and vocalist Bryce Boudreau, having covered a number of that bands releases here over the last few years. This time he’s tipping this site off to a previously unheard artist that goes by the name Matthew Nowhere. The promise that both Lunar Twin members (which also includes instrumentalist Christopher Murphy) are to make contributions to Matthew’s forthcoming debut full-length “Crystal Heights” is exciting news indeed. For now there is this current track “Love Is Only What We Are,” which receives the full DCW analysis.

Accompanied by an official video that opens with images of a swirling night sky, steady synth pulses are soon met by deeper bass, as the artists silhouette gradually comes into view behind floating overlays. A steady snare keeps the beat as melodic guitar figures join into the mix. As Matthew starts his lyrical journey. “right now I’m staring out a window - In a wall that’s made of ancient pain. This life has turned me into ashes” with the final line “But I love it all the same” delivered with high-gloss multi-layered voice production. As the second verse doubles down on “changing feeling” and “heartache” its all on the chorus to “give it a name.” Which is does in an uplifting pop manner, relying on “la la’s” for vocal hook celebration, with the title line and ultimate resolve to “give this love away.” A noticeable bass line delivers full motion sensation throughout that chorus, before giving way to that steadier throb pulse on verses. Delving further inside the story, when you “have nothing left to say” then “I guess I can sing” is the answers. A moody synth-driven instrumental section populates the tracks mid-point, before returning to the primary rhythm. With images of flowers now filling the video screen, some tasty guitar licks are given the green light on the songs outro.

Check out this fascinating track here:

The song is currently available on all major streaming platforms Here.

Follow Matthew Nowhere on Social Media - Facebook - Instagram - Bandcamp

An in depth Feature on Lunar Twin can be found on this site Here.

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The always creative band The Suncharms are back with a re-imagined 2024 update on a shimmering “Things Lost” album track. Originally titled “Torrential Rain” on that full-length record (dutifully reviewed in its entirety here) this new version has been shortened to simply “Torrential.” Now featured on a brand new compilation “Aspirin Age Volume Four” (a shoegaze compilation), by Broken Sound Tapes, it it well placed inside this mammoth 48 track album. A full DCW review comparison between the original and now updated version commences below.

Where the original album track featured a less-distorted sound focusing on shimmering guitar, hard charging bass and drums, this updated version enhances those same elements with bolder emphasis. Lead vocalist Marcus Palmer always brings a coarse edge to his dreamgaze vocals, and one can only assume those references to an “overgrown cemetery,” “angels with moss faces” and “broken tombs,” still leads to a search for “something to make me feel alive.” What’s particularly lovely about this track are the inclusions of counter melodies descending behind the forward charge, back and forth two-chord progression.

When the chorus hits its all the feels you can imagine. “Knocked over by an arctic wave. Torrential rain, drenches my face. Something, to make me feel alive. A lost song, on a 45.” It’s no secret this website’s writer (yours truly) has had a long running admiration for The Jesus and Mary Chain. This track in particular seems to embody everything that is great about their influence. There’s bits of “Some Candy Talking” in the Spector-esque double stare drum shots and melancholy descending counter-melodies. The soul searching story continues “Sat in crystal seas with you. Feeling the warm breeze. Dark thoughts are haunting me. What can the broken tombstones teach me?” One more pass through the chorus, and then that oh so MaryChainy magnificent final minute instrumental end-out.

Check out this beautifully updated track here:

Aspirin Age Volume Four (a shoegaze compilation) by The Suncharms

Find out more about this compilation here.

Follow The Suncharms on their Social Media - Facebook - Instagram

The most recent prior review featuring The Suncharms on this site can be found here.

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Sagacious Dissection on New and Recent Album Releases

noreply@blogger.com (DaveCromwell) — Fri, 27 Sep 2024 14:50:00 +0000

As these Autumn days usher in the back quarter of 2024, new music releases from artists both familiar and new receive deep listen reviews. A much anticipated new album from trusted label runners own band share space here with a first time entry. Rounding all of that out is the return of a storied and influential creative force that continues to mesmerize. Time spent immersed in the lyrical thoughts and audio sounds each of these artists present is both entertaining and enlightening.

Having already been acknowledged by the prolific Burbank, California music label Big Stir Records for “the wonderful coverage of so many of their releases over the years,” it’s always exciting to hear of something new from them on the way. This time it’s the label runners own band The Armoires with their fourth full-length album “Octoberland.” This site reviewed their previous album back in 2021 which now leads to anticipation of how their sound has evolved. Produced by Michael Simmons of sparkle*jets u.k. (who’s own work was reviewed here very recently) a deep listen and analysis commences below.

Opening track (and “indie hit single”) “We Absolutely Mean It” initially misdirects with studio-enhanced soft alien vocalizing before quickly launching into it’s forceful progression. It’s a downward pounding rock and roll romp driven by electric piano, thumping drums n’ bass, chugging guitar and violin (the cool ELO kind). Vocals come on in a modern synthesized manner, with quick cut accents by the band after each single line delivered. Unafraid to take a more intellectual stance, short sentence word play that includes “self-mythology,” “etymology,” “ambiguous” and “progeny” are delivered within the songs first minute. The punch line (if you will) is that “we mean it” with conviction and sincerity. A repeated change section provides a catchy sing-along cadence, while at one point charmingly emphasizes “truth,” “elderly” and “youth.” They even embed their own band name in verse with “we are The Armoires, anything could be inside” (which makes sense as it’s actual definition is a large wardrobe). Driving home the message that “this is a collective (and not a single point of view)” the end out declares “this is where we go big” followed by an Italian word “sfacciata” (which means a brazen boldness).

Check out this brilliant track here:

An ear tickling interplay between chiming guitar and bass introduces featured track “Ridley & Me After the Apocalypse.” Drums quickly pound in and the progression is off to the races. Warm viola creates a rising sensation, before the full-force descending progression glides along lush synthesizers. Delivering quaint, picturesque lyrics referencing life in the aftermath of cataclysm, there’s still time to note their own personal fashion styles “She's dressed in Victorian plaid . . . and paisley's the province of Dad.” There’s musical weight via tom-tom drums behind the rising vocal bridge that states “End times are so boring,” while the bouncy chorus and it’s time-honored vocal spell out of “A.P.O.C.A.L.Y.P.S.E.” adds a lightness to a subject we’ve all too long been conditioned to fear. “Character development” becomes the primary focus as the song concludes, and one can’t help but root for “Ridley” and the “tribe” to succeed with all the “world building” this is going to take.

Majestic piano figures and acoustic guitar lead off another of the album’s feature tracks “Here Comes The Song.” Blended soft voice delivery of vocalists Rex and Christina share similarities with the way Sune and Sharin do in The Raveonettes. Lyrically writing about a songs creation in a reverential manner (where it “sits on a throne” and is “the ruler of all it surveys”), it still has to “take it’s first steps” to eventually be heard. Quickly reaching the simple humming title line chorus, the full band enters for maximum effect. Biblical references to “Bethlehem” and “a place to be born” move the story forward, now enhanced by sumptuous violins. The progression is broken by a dramatic change with voices rising in pitch and additional questions on a songs true nature arise. Subsequent verses amplify intelligent literary care, but in spite of those qualities “The Song” ultimately “ate her up inside.”

Enjoy this wonderful song via this official video release:

Other featured tracks like the heart-tugging whimsy of “Music & Animals” is a joyful romp reminding us about what should really matter in this life. With a bouncy rhythm combining bits of happy-style The Cure with a slight country-western feel, twangy guitar and emotive violins stand out. Those Raveonettes-style (which is actually Everly Brothers-style) seamlessly blended vocals, present the question “how do we get by in this world?” The answer comes quickly with the songs title, because if you don’t love those two things there’s something wrong. Piano and bass guitar noticeably steps forward after a first pass through the chorus. Anyone who has ever had a long-time four legged friend can relate to the lyric “everyone needs a familiar to sing their secrets to.” A playful turn is taken with a twice visited call-and-response segment that alternates both vocalists sharing thoughts of their pets and song design. The album’s theme and concept comes fully revealed as here is the “Octoberland” everyone is invited to “visit when you can.”

Other interesting cuts like “This One’s For The Swedes” emphasizes flamenco guitar, synths and Christina singing in a Debbie Harry-style cadence and timbre. “Ouroboros Blues (Crow Whisperer) is a delightfully bouncy song that moves away from the blended voices to alternating male-female verses. A mournful violin works it’s way throughout, adding a charming pathos to it all. “Green Hellfire At The 7-11” uses a Buddy Holly-esque cadence on it’s chorus, combining sing-along rhymes with more serious political thoughts. “You Oughta Be Cut in Half” blends two prominent genres into a single song. Life-in-a-Northern-Town-Britpop and early 80’s era-Blondie (again) may be the two halves actually intended. Points for the lyric “try living life as a levitating torso.”

The whole album is filled with one gorgeous track after another, and is out in full on October 11. Preorder it in your choice of format - Vinyl, CD and/or Streaming, here.

Connect with all things Big Stir Records here.

A prior review feature on The Armoires can be found on this site here.

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A frequent way artists find their way onto this review site is by a simple direct message reach out. Such is the case with The Black Watch, a band fronted by John Andrew Fredrick (who did the reaching out). Naturally an initial listen to the artists previously unheard music is a necessity, and if the quality is deemed worthy (in this case very much so) a review is soon underway. John is one of those talented journeymen who creates brilliant music. An apparent 30+ year career of writing and recording had lead up to this recent album “Weird Rooms.” With ears tuned in carefully, the Cromwell analysis commences right away.

A quick word about this cover: It is a painting by English portrait and landscape painter Thomas Gainsborough. Considered one of the most important British artists of the second half of the 18th century, the soft image of that female evokes thoughts of another time. Gainsborough is actually more famous for another one of his paintings, the ubiquitous “Blue Boy.” For his own part, John Andrew Fredrick offers up his own original art on the back cover.

The album begins with a brief :31 second opening salvo “When You Find Forever” that approximates someone walking up the stairs, opening a door to a room with chaotic voices, strumming guitar and tuning in to a radio station that smoothly states “the best music all day long.” Then a few more seconds of twangy western music before abruptly cutting in to the albums first real song “Myrmidon.” Pivoting off of four acoustic strummed guitar chords, the make-you-look-it-up title word “myrmidon” (from classical mythology, an unquestioning follower) is initially sung with cryptic phrasing. With no percussion, bass guitar provides the underlying movement, along with brighter electric guitar punctuation. Beatle-esque background vocals make a splash on the end of vocal lines “I forget where I’m at,” “don’t you find?” and various strategic points going forward. Drums and tambourine eventually kick in at the one minute mark putting the song in full motion. An equally mysterious semi-spoken word vocal line “I'm blushing like a carnation,” leads the track out to it’s conclusion.

“Miles & Miles” approximates a chill trip-hop percussive element under shimmering guitar and angular bass guitar lines. Against the backdrop of this subtle dream-gaze coloring are lyrics questioning motivation. How the “difference between the way you speak” and “carry on” “varies by the week.” And although one may be “all for opening up to change,” following approved dissension points may not be the clearest way forward. A wonderful rising buzzy ambiance provides musical interlude, with bass guitar and drums periodically let loose underneath. The final 30 seconds or so is laced with veiled spoken word samples, that appear to be in a foreign language.

The rarely used anymore word “Gobbledegook” (first used in the early 1940’s, but a child of the 1960’s remembers their mom using it a lot) serves as the title for this next song. The track is embedded with a style that straddles the line between “Isn’t Anything” and “Loveless” MBV. It’s progression hearkens to the joyous uplift of “When You Sleep,” but it’s less distorted quicker and cleaner. John enlists a female vocalist to deftly shadow him on essential lines like “I wouldn’t stand for it, nor should you.” A lovely rising synth line hook emerges multiple times throughout, enhancing the quick strummed guitar and bass pattern. Lyrically the message is clear: “how can the hope of trust in them go well?” (the red pilled among us know who “they” are) - “it's gobbledegook & you know it is.” Double talk gibberish is dangerous when it comes from our so-called leaders.

Another “radio station” break comes via the :52 second “Without Protection” which declares “you’re tuned in to the one and only TBW 93.1 FM.” That sets up a finger picked acoustic guitar and mournful violin instrumental that is rather emotive and sentimental. Followed by more footsteps and a door opening, which leads direction into the next (and album title) song. “Weird Rooms” bounces out of the box with a perky strummed acoustic guitar progression enhanced by sharp plucked deeper toned guitar notes over top. Vocals start right away with a story of “hazy-past dreamlike endeavors.” Again enlisting female shadow vocals on the catchy change, “soft you now, your blushing skin, I breathe it in with all of me,” is a sonic delight. That the end-line word “me” is repeated for four more times with changing harmonies adds one more level of unexpected aural delight. There’s a lovely instrumental break just midway in, with Beatles-esque chiming lead guitar melodies over top of the acoustic guitar progression. When vocals return the song (and albums) meaning becomes clearer, stating “the strangest room” – the “weird rooms are not that weird to me.”

“Swallowed” returns to that MBV/Ringo Deathstarr hybrid that so many in the “gazer” community have such affection for. All the adored earmarks of quickly strummed electric guitar (although not particularly distorted) quick snare drum fills and a rising pitch-bend element nod in homage to that beloved genre. Even the song’s title itself seems like it could have been on “Loveless.” John sings in boy-girl tandem with a female vocalist that beg further comparisons to the Kevin-Belinda style. It’s two minutes of sonic bliss, yet the lyrical story is not that happy. “you swallowed all the lies he told, I don’t have to tell you this – the world will” and “willingly I'd share the blame, I wonder if you'd say the say the same.”

The full album release is jam packed with one delightful track after another. Have a listen for yourself right here:

weird rooms by the black watch

Follow The Black Watch on their Social Media here - Facebook - Instagram

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A little over a year ago legendary psych-rockers The Telescopes album “Of Tomorrow” was given a thorough listen and review here on this site. Now this boundary breaking collective driven by founder and frontman Stephen Lawrie are back with a brand new release titled “Halo Moon.” With a body of work that encompasses over 30 years, The Telescopes have directly influenced multiple generations of experimental musicians world wide. The time is now here to dive into this latest release and find the secrets held within its sound waves.

Opening cut “Shake It All Out” builds off primitive thump percussion surrounded by grinding organ-like keyboards. The pace is deliberate like a metronome with Stephen’s vocals emerging in an unhurried manner. Calling into question “your very soul,” leads to a realization “it has no place in your mind.” As the progression oozes relentlessly forward, a chorus of sorts emerges which implores that you “shake it all out baby, shake it all out now.” Guitar and bass move up into the mix, adding sonic color to the overall proceedings. There’s caution at points in Stephen’s lines, like when he states “don’t let it turn your heart to stone.”

Featured video track release “For The River Man” builds around a back-and-forth sawing harmonica riff (with green glowing video imagery to match), jingling percussion and deep thumping bass. Distant sonic elements flow across the sound field at various times adding an otherworldly sensation. Stephen appears and begins softly delivered vocal lines in drowsy tones, with his video imagery reading them from what appears to be an ancient manuscript. “Go tell the river man, I’ll be there when I can,” is how it initially is told. With the reveal that he’s “headed for another land” you notice the ghosting voices impressively that trail along a number of these lines. Recurring images of that single note pluck on bass guitar float into view as Stephen rises a step in pitch on vocal lines stating “go tell the sky above, everything you love. Tell it to the trees, as you please.” The essential hook overall is that warm harmonica riff that mirrors a lonesome dove, 1930’s dust bowl vibe. The story continues: “fell into the sun – day is never done. It goes on and on – never done.” Reaching what is essentially the song title line chorus, multi-layered higher harmonies add a deeper hue to it all. “Tell it to the breeze” Stephen furthers, and “all it guarantees.” All throughout the video a flowing backdrop (like sunlight on water) runs behind from right to left. The track concludes with additional harmonica phrasing over a rushing river flow.

Watch and listen to this entrancing composition here:

“Come Tomorrow” emerges out of alternating electric guitar strokes, modulating keyboard textures and a strong bass line moving through the center of it all. The percussion is basic but forceful in just the right places, like a New Orleans funeral procession. Stephen’s vocals come on with a touch of processing, as if singing through an electronic device that synthesizes voices. A long reedy keyboard pad (sounding like a harmonium) is paired underneath these vocals, as the voodoo percussion clinks along. The voices become fuller and more natural sounding on the essential central theme that goes “no more weeping – no more sorrow” leading in to the song’s title line.

“Along The Way” is a five minute guitar punctuated meditation that leads you through an internal journey of self-discovery. “Lonesome Heart” builds around a three-quarter time signature, relying on dual guitars (power chords and single riff melody lines) , ambient keyboards and minimally placed percussion. The title track “Halo Moon” moves at a thoughtfully measured pace, with instruments syncopated at angular entry points. A mysterious rattle-pulse accents the track at periodic intervals, as the songs title is chanted like a mantra to shining celestial body.

“Nothing Matters” chugs along a straight trap drum set pattern, with downward driving guitar lines and complimentary keyboards. A distant thunder-boom adds depth to the sonic spectrum as vocals float over and above this driving rhythm. The albums final track “This Train Rolls On” is cinematic in feel and epic in scope. A gong is repeatedly struck as keyboard pads, cymbal rushes and strangled, note-wrenching guitar lay a trance-inducing field for the vocals. At six and a half minutes and the albums longest track, it serves as a fitting conclusion this ambient, introspective collection.

Get to know this hypnotic record, which is out now on Tapete Records. Order it here at this link.

Follow The Telescopes on their Website pages and Social Media - Tapete Records - Bandcamp - Facebook - Instagram - TwitterX

Previous review features on The Telescopes can be found on this site here and here.

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Judicious Reasoning of Recent Singles and Album Releases

noreply@blogger.com (DaveCromwell) — Mon, 26 Aug 2024 14:50:00 +0000

A combination of new and returning artists provide the material and inspiration for this August 2024 DaveCromwellWrites music review. The discovery process of what’s being newly released is often a random one, with the direct outreach approach often the most effective. Whatever way music finds its way into one’s sphere, an appreciation of what is being heard is always the deciding factor. Four new recordings now serve as the subject matter for this current detailed audio breakdown.

The trusted recording label Sunday Records has been growing it’s presence here on this site, with more than a few of their releases showing up in recent times. So recent in fact, that last months notification (and featured track inclusion) of that labels recent “Beautiful Noise” compilation most-likely served as catalyst for another of their artists to reach out. The Proctors are a C86 / Sarah Records influenced indie pop band on the aforementioned label who recently released their latest album “Snowdrops and Hot Air Balloons.” A dedicated listen and analytical thought flow commences straight ahead.

Jangly, open-note guitar chords, rising bass, synth pads and a steady drum thump introduce “Summer Begins.” A bright-flute synth melody enters and seemingly merges into celestial background voices. Male fronted vocals with female harmonies at appropriate moments implore you to “be kind to yourself and don’t, don’t stop believing” and to “just go, go on feeling.” It’s a lovely throwback that lifts the spirits with rallying cries to not “torture yourself” and how “tears try in the morning sun.” Curiously, the hook concludes with the lyrical phrase “summer’s just begun,” and not the song title. In fact, no where in the song do those two words appear together. It hardly matters as the song bounces along on a joyful breeze while cautioning that “the world is full of broken hearts,” and how “everybody plays their part.” A positive outlook in the face of temporary trouble is the primary theme here, as “memories will fade” and “soon the sun will rise, erasing yesterday.”

Listen to this sweet song here:

Snowdrops and Hot Air Balloons by The Proctors

Rising out of a distant ambient mist that slowly reveals to be icy synths and churning guitars, “Silhouettes” soon morphs into a full on bass guitar and drums driven four-chord progression. Things go quieter for opening lyrics indicating that “guilty tears won’t set me free.” It’s about love – or more accurately about relationships and how when you “step inside,” it can lead to “sweet sensations – and then lies.” A gorgeous male-female vocal harmony is then featured, and brings to mind the seamless beauty of The Raveonettes. The poignant lyrics state “it’s not a sin or crime, it’s just our sentimental point of view.” In search of a “remedy . . . to cure what poisoned you and me.”

Deeper track “Crystalline Part 2” jumps out at a brisk pace with chiming guitar chords in a descending progression, melodic driving bass and a wonderful tambourine strike on each 4 beat. Clever lyrical metaphors focus on stringed instruments, where “your voice is like violins” and “bells on your guitar” ultimately “kill me with your string machine.” It’s all wonderfully wrapped in this rising step dual-harmony appeal that asks “so why d’you do this now - take me to that Shangri-La? Please don’t do this now, put my head inside a dream.”

The whole album serves up one exhilarating track after another, making for a delightfully pleasurable listen.

Did into it here, which includes info on how to acquire it in multiple formats.

Follow The Proctors via their Social Media here.

Check out what Sunday Records has to offer via their links - Official Site - Facebook - Instagram - TwitterX

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New music from Philadelphia's Patetico Recordings is always a cause for celebration as well as a deep dive review. Label boss and primary musical creative force Tom Lugo is back with his band Heliocentric Overdrive and their latest single "Unnecessary." Two years ago a full review of their debut EP “Weightless” was given the CromwellWrites treatment on this site. In between then and now other Patetico releases have gotten their deserved analysis here as well. The time now has come to dig into this new release, and uncover it’s audio and lyrical essence.

The track opens with a touch of feedback before immediately launching into a downward driving progression of glorious sludge. It’s rhythmic force brings to mind those grinding gears on the abrasive half of Ringo Deathstarr’s “Tambourine Girl.” However, rather than launching into a contrasting perky pop segment (as RD does), this cut holds the rhythm but opens space for rough delivered lyrics. Presented in clipped spoken word cadence, the opening lines “Got an invitation - but you ain’t gonna go - got no time for parties - rather be alone” emphasize isolation over social interaction. Piercing sonic bursts from guitars ride over top of the low rumble stomp churned out by bass and drums. It’s a gritty affair that falls firmly in the heavy stoner-rock category. As if onetime same day festival headliners Mbv and Tool (quite a dividing line among attendees at that time) came together to produce this one song. A second lyrical couplet sheds further light on this internal struggle, stating “they say time is money - got none of my own - step up to the altar - I’ll bleed to get my own.” As the thunderous instruments continue charge forward, a chanting vocal repeats the sentiment “all this time – wasted away.” There’s even a subtle similarity to this tracks coda end-out and the Beatles maniacal “Helter Skelter.”

Check out this torrid new song right here:

Unnecessary by Heliocentric Overdrive

Follow Heliocentric Overdrive and Patetico Recordings via their Social Media.

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Every once in a while something totally unexpected comes out of left field and winds up in the message box. Such is the case of indie artist Ronaldo Vivo Jr. from the Philippines, who puts out music under the moniker obidya himig. Internet translators indicate that second word means “melody” which is an appropriate designation for this music. However, those melodies often come buried in the dreamgaze murk many of us weaned on My Bloody Valentine (and others) have come to know and love so well. The recently released album “Other Seasons” now receives a close listen and descriptive reactions to these recorded soundwaves.

Opening track “Footsteps” takes it’s cues from the aforementioned mbv’s “Loveless” by bringing together the essential elements of two-chord slog, crisp live-sounding drumming and unintelligible lyrics buried under layers of guitar sludge and pile-driving bass. Lyrical hook “glow like embers do” is merely suggested, and how could Kevin Shields not love this? He’s spawned a whole generation of acolytes, perhaps more than even The Velvet Underground once did. Liner notes indicate this solo-studio artist played all the instruments, so props in particular from this writer for getting the Colm Ó Cíosóig drumming down perfectly. Follow-up cut “River” goes even deeper down the loveless well with a slow crawling wash of ambient bliss. There’s a touch of Ringo Deathstarr here as well, especially in the guitar effects and romantic style vocals. The single line “see me under” becomes a repeated hook in this psychedelic trip.

“Olivia” is a brief (a mere 1:24) exercise in deep bass notes, rough charging guitars and enthusiastically matched drumming. The single word title line appears in a chanting cadence, floating inside of the mix. “Bless Me” is closer to the lo-fi, alt-indie acoustic guitar driven living room recordings described in the liner notes. No percussion at all, an accordion-like sound serves as the only other instrument is this ode to a “sweet and long love.” “Sun” changes course somewhat, bringing to mind the casual, laconic groove of J. Mascic’s Dinosaur Jr. “Close your eyes and see the sun inside your mind” is even sung with a hint of J’s lazy boy drawl.

There’s even bits of chill out trip hop with the one minute, twenty two second “Waiting.” Or a touch of pre-loveless mbv on the “Isn’t Anything” styled “Crystal Tears.” More dreamily romantic vibes are felt on the Ringo Deathstarr/Dinosaur Jr hybrid “Hollow Colored Evening.” Additionally, “Purple Sea” propels along via active drumming and a see-sawing melody. Final entry “Hallway Lung” serves up an under two minute instrumental of muted guitar strums and back-and-forth floating synth textures.

Check out this weird and wonderful recording here:

Other Seasons by obidya himig

Follow the artists band page here on Facebook

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One more new to this site recording artist that recently released music is Alaska-raised, Washington State-based singer-songwriter/guitarist Mark Ward. His latest power-pop album “Let ‘Er Rip” is a tour de force of time-honored indie rock song craft. Taking cues from the initial pop “British Invasion” through the decades of similarly styled rock that followed delivers potent results. Combining singalong hook melodies with lyrics that run the gamut from serious to lighthearted, a descriptive focus on representative tracks follow below.

A crisp snare drum roll leads off the album’s opening track and first single “I’ve Been Around.” Chiming power pop guitars and paired bass patterns roll out the four chord progression with 80’s indie rock flair. Conjuring up The Records classic jangle pop track “Starry Eyes,” upbeat audio is countered by more sobering lyrical content. Recounting a brief bar encounter and one night stand, the aftermath is anything but happily ever after. When “the band was playin your favorite song” and they were “dancing and singing and getting along, “morning light” brings a realization “it was just one night.” The chorus hits hard though, as the track’s title line is all that’s needed, accompanied by euphoric harmonies and melodic guitar lines. Mark delivers subsequent verses with that Dave Edmunds subtle twang in his voice, while readily admitting “I’m not sayin’ I’m some kind of saint.”

Check out this catchy pub rock track here:

LET 'ER RIP by Mark Ward

Follow up cut “Kiss Me Kiss Me Kate” doubles down on the Lowe/Edumnds Rockpile vibe, with it’s uptempo groove and sharp corner accents (special mention to the album’s drummer Dylan Mandel for his excellent work). Flipping the script on the previous song, the subject matter is one of a potential future together with someone giving “a sign you could be mine.” It’s a joyous ride packed in under three minutes with a lovely chorus and a touch of “it’s now or never” sentiment.

It’s a fully Merseybeat immersion on the brief (under 2 minutes!) “Love Me Once Again.” Of course The Beatles influence is there, but also perhaps a bit of Gerry and The Pacemakers, Herman’s Hermits or even Freddy and The Dreamers. It recreates the innocent charm of falling in love with that genres subtle flair, “when tomorrow comes around, we’ll be more than friends.”

There are many more inspired, finely crafted tracks on this album, well worth a listen. Check it out right here:

LET 'ER RIP by Mark Ward

Follow Mark on his Bandcamp and Facebook Pages.

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Rational Analysis on Worthy New Music Releases

noreply@blogger.com (DaveCromwell) — Fri, 26 Jul 2024 14:00:00 +0000

The month of July is always a reason to celebrate. Two important (personal) birthdays share this 31 day stretch with peak middle-of-summer enjoyment. Along with trips to parks, beaches and the pool, time has been allotted to critically examine the most compelling new music. While all the reviews here are of recent releases, more than a few tracks have been developing over a number of years. Trusted labels continue to support artists whose independent output are far more interesting than anything the current trends offer. DaveCromwellWrites does its part as well in this regard, with the below investigation.

When friend-to-this-site Shore Dive Records shows up with a new album to promote, it’s always a reason to take notice. When it’s a beloved artist previously reviewed here, there’s pretty much certainty it will receive a careful listen. Such is the case with the Phil Wilson lead project The Raft. The Liverpool, UK based musician’s full-length album “Summerheads And Winter Beds” was given a detailed review here a few years back. Subsequently Phil’s guest vocals on Xeresa album “IV” and the song “Fall Into Unknown” was given a thorough analysis as well. Now Phil is back with a new full-length “Look At The Patterns,” which receives a DCW focused review below.

Opening track “Save Me” starts immediately with Phil’s vocals, a cappella but layered and touched with processing. A single guitar stroke ushers following vocal lines, then finger-picked open note guitar figures fill in going forward. Fuller instrumentation joins in for the gentle, minor-chord enhanced chorus that states “I don't wanna change the world, it's not what I cling to. When love is failing . . . and fear remaining – doesn’t matter what I do.” The second verse adds clack percussion for change and depth, while lines “Stayed here for lack of anything else to do - And what you are is what I knew” is an insightful observation. Halfway through a whimsical guitar solo weaves around repeated vocal line “what I do” (as in it “doesn’t matter”). Following that are unanticipated heavy distorted guitar chords emphasizing lyrical thoughts “We've been praying lately for something to shape me - Skimming books and papers - Looking for a clue.” A Trumpet plays for a bit and then back to the power chords on what has now become a powerful chorus.

Follow-up cut “Far Away From Here” bursts out of the box with a joyously bouncy groove driven along by off-kilter “wobbly” guitar tones. It’s a peppy pop song for sure, with Phil enlisting a back-up vocalist that adds emphasis to key vocal line. The single-phrase song title line chorus hits hard with near-gazey guitar chords and throbbing counter-melodic bass. The vocals punctuate it all with a catchy “Ah-Ah-Ah” end cap. With declarations to “hang on to my health,” the goal is still to find “a new start” – where? Well, “far away from here.” 2:15 in and a gentle picked guitar solo presents itself against that wonderfully churning warble backdrop. Additional lyrics “If I could only be around instead of underground - I could see you shine. It's hard to be a better man - Living up to all you can” add insight into the desire to get “far away from here.”

Check out this amazing track here:

Third entry “Calling Out” makes full use of that three-quarter time 1-2-3 waltz progression as beautifully as any Sundays song. A pair of Claire’s contribute female vocals in a primary way, adding further credence to the Sundays comparison. The chorus flips to a male dominated vocal blend, with dreamgazey guitars washing over it all. A tasteful blend of plinking guitars, throbbing bass and deep textured drum sounds complete the audio spectrum. A final 30 second coda appears with an a cappella vocal of the lyric “you don’t even know me.”

A slightly funky bass and drums groove serve as the initial underpinnings for “Memory Of A Day #7.” Blended vocals come on tweaked and textured as one is encouraged to “feel the breeze, see it in the leaves” so that “for a while we are free.” Soft female vocals join in for the second verse (the two Claires) “What a scene - We're a dream - Moment to moment - And for a while we are real.” All of that leads to a lush, dreamgaze chorus that reveals the albums overall title. The second pass through reveals the song title with “into the soul the memory goes.” The track is a brilliant blend of almost folk-music (quiet guitar picking) single brass elements (trumpet) and heartfelt emotions. “Windows reflect back two souls. Look at the patterns. Memories or dreams?"

A precisely syncopated drum arrangement and chiming Robert Smith style guitar tones guide fifth track “Wanda.” One more trio of backing vocalists are engaged on a sensuous chorus that implores “you can always smile.” Bass guitar and it’s six string counterpart create just the right length bridge to immerse yourself in yet-another luscious chorus.

Celestial angelic folk is taken up a level on the Jon Anderson and Vangelis sounding “Next September.” While the lyrics may be more earthly than those two aforementioned spiritualists: “You were lips you were eyes . . . You were hips you were thighs . . . Spent the night every night - Held on tight,” that sonic impression remains. A song of desire – to rekindle something once had - “Maybe I'll see you in Manchester next September. I'll come and stay the night re-live our nights in paradise.” The male-female tandem sung vocals are nothing short of gorgeous.

Heavy bass guitar plod and similarly paired drum stomp supply framework under the 2/4 time parable “The Boy Lives On The Wind.” It’s a marching progression with that bass guitar reminiscent of Paul McCartney’s inspired playing on “The White Album.” Interesting chord changes deeper in allow for a sonic respite and prevent repetition fatigue over it’s five minute length.

Check this one out here:

Reverberated guitar chords chime from multiple directions on curiously titled “The New Brighton Witch.” A previously unheard female voice adds a response melody in counterpoint to Phil’s primary lead vocal. In fact, the apparent actual subject of the song’s title turns up to convey a spoken word incantation at the tracks end.

Quick chime guitar strumming and precise counterpoint bass notes introduce the dream-folk tinged “She Gave Me A Crystal.” A trio of background vocalists are carefully synthesized into key sections, the first being a rising step “I can never tell you what you are – the sun and the stars.” A minute and a half in on this over 5 minute track has fuller instrumentation filling everything out. In particular, a buoyant bass guitar creates figures between the more grounding drum beat. The harmonies are lush, ethereal and utterly exquisite.

The album’s final entry “In The Morning When You Rise” builds around finger picked acoustic guitar notes, strummed backing chords and subtle “ahh ahh” backing voices. Quick in pace and ¾ time (or is that 6/8?) soft opening lines ask “What can I do? What can I say to get out of the way? What can I do to be fully alive?” Exploding into a full-on dreamy-gaze rock production with stabbing guitar figures, a once-again soft plateau is reached. Tender male and female voices blend together asking “how can you shine?” before revealing the songs title line. One more lovely build up of cascading voices, full band and an emphatic chorus leading the track (and album) to it’s conclusion.

Listen to and find out how to acquire this astonishing Shore Dive Records release here.

Look At The Patterns by The Raft

Connect with The Raft here.

Find Shore Dive Records here.

A previous feature on The Raft can be found on this site here.

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There seldom is too much passing between musical releases from Sheffield UK based indie-gaze band The Suncharms. Having reviewed their full-length album “Things Lost” here last October, the band is now back with a contributing track on Sunday Records recently released multi-artist collection “Beautiful Noise.” This isn’t the first time they’ve contributed to one of these collaborations, as their track “Liquid Through My Hands” on 2021’s “Something Beautiful” release was featured here at that time. Anticipating a glorious listening experience once again this time around, their track “Saddest Sound” is given the DCW analysis.

Beginning with ambient synth-like textures, open string guitar figures lay out the four chord progression. Secondary guitars enter in with subtle pitch bend counter melodies as drums, bass and jingle tambourine fill out the sonic spectrum. Lead vocalist Marcus Palmer soon emerges with his familiar sandpaper vocals offering a soothing delivery of the song’s title via subtle psychedelic layering. Rhythms pump back and forth underneath as extended guitar note melodies ride over top and ever-present tambourine-on-snare beat marking time. After minute and a half in, a second melody line emerges echoing the opening refrain via clean twangy guitar. The heartfelt vibe is easy-going, with a touch of bluesy greats like Knopfler and Clapton. The descending bass guitar pattern warmly ushers in another round of Palmer vocals. One more guitar line enters the mix two minutes in with a deeper tonal quality, ultimately blending in with those other guitar figures already in progress.

Check out this easy-groove track here:

Beautiful Noise by Sunday Records

Find out more about this compilation here.

Follow The Suncharms on their Social Media - Facebook - Instagram

The most recent prior review featuring The Suncharms on this site can be found here.

Check out what Sunday Records has to offer via their links - Official Site - Facebook - Instagram - TwitterX

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It was just a year ago when this site did an extensive review of SoCal pop rockers sparkle*jets u.k. and their indie hit covers collection "Best Of Friends." Trusting the recommendation of frequently reviewed Burbank, California label Big Stir Records, an over 800 word highlight analysis of that record was produced. The band is now back with “Box Of Letters,” their first album of original material in over 20 years. DaveCromwellWrites turns it’s audio-scope on these brand new tracks, searching once more for the continuing evolution of what is “pop rock” music.

It’s a bold move to open an album of new material with a cover, but that’s exactly what happens here with the purpose statement “This Will Be Our Year.” Tapping the ageless Zombies classic, it serves as a testament to the endurance of finally breaking through. Packed into a succinct 2:29, the core members of Michael Simmons, Susan West and Jamie Knight make their presence felt immediately. Michael’s lead vocal tone and register share the same reedy quality of those guys in Squeeze (either Difford or Tilbrook, I confess to blurring who is who), with a touch of McCartney as well. Ultimately it’s a celebration of something that “took a long time to come.”

As the band is know for alternating lead vocals, “Goodbye X3” becomes the first entry from Susan West. Written with fellow bandmate Jamie Knight, classic rock and roll keyboards drive the songs rhythm. Sung with a bratty, adolescent flair, the title line chorus brings to mind 80’s pop sensations Scandal and their hit “Goodbye To You.” It’s a breakup song of course, and a sending off of “yesterdays problems.”

An initially twee sentiment with playful piano chords and clacking-shell percussion introduces the ultimately scathing “Princess Needy.” Blending Burt Bacharach style songwriting with bigger faux-horns production, the lyrics hit the mark again and again. “How dare the rest of us make her sad? Don’t you people know the world revolves around her?” Two minutes in, there’s a sudden tempo shift into a funky progression where 70’s “soul” voices proclaim “She’s gonna tell everybody about it.” From that point on it morphs between the initial rhythm and what sounds like the orchestral band ELO, perhaps not so subtly referencing bits of their hit “Evil Woman.”

Susan returns as vocal protagonist on the lyrically cheeky “Love Burn.” Straightforward twangy guitars are joined by shorter melody enhancements for a fun reading. Comparing heartbreak to something that can be remedied by a “bucket full of salve” is an amusing take. Two minutes in and a mad distorted guitar solo (of sorts) commences, before ultimately giving way to the all-important cowbell. Wrapped around that is a rather melodic chorus featuring a somewhat perplexing repeated line “I’ve got a heart in my song for you tonight.”

The obvious Beach Boys musical reference (“Don’t Worry Baby”) on the intro to featured cut “I Can’t Wait For Summer” is a welcome touch. Michael Simmons immediately pivots to his own melody as his lyrical story unfolds. Taking some poetic license here (or perhaps this SoCal resident *did* experience “cold, snow, bare trees” at one point in his life) references to “sandals on” and “drive the coast” seem more appropriate. Lush harmonies fill the air on key moments “someday soon the sun will shine” and “when we take that magic ride.” There’s even a touch of Phil Spector on a brief “Be My Baby” sonic breakdown. As well as a harmonica solo that fits perfectly during the “A magic summer” outro.

It’s a deliberately measured pace “stroll” progression driving Michael’s existential view on “Little Circles.” Contemplating our importance in the world, and “hoping that someone will notice” is offset by the knowledge that “we’re nothing special outside of our own little circles.” Classic Beatles-y harmonies make it all sound lovely nevertheless.

Co-written by all three principal members, the Susan sung title track “Box of Letters” emphasizes quick rhythmic changes on story telling lines (“Way – back – I remember.”) Looking back in time on a lengthy relationship that produced a collection of physical correspondence seems quaint in this age of digital communications. Those “frozen moments” and “pictures too” are now the domain of Social Media. While Susan belts out each line with gusto, it’s still the little things – “a matchbook, flower, and a napkin of embarrassing poetry” that matter the most.

70’s era soft rock/r+b electric piano (with that very specific reverberation) creates the sonic territory for Michael’s “Where’s The Moment.” The feel is similar to Paul Carrack’s 1974 hit with his band Ace “How Long (has this been going on).” Wrestling with making plans and “trying to recapture something great” takes away from the joy of living in the “now.” That provides the impetus for pop hooks “Why can’t I stop and just be? Just tryin’ to shake anxiety,” and “but where’s the moment? I can’t find it, somebody tell me how.”

Susan’s voice is used for maximum pop potential on the bouncy, Michael penned “You Complete Me.” Built around brightly strummed guitars and electric keyboards, clever lyrical turns like “I’ve got 90 cents, you got a dime – you turn my change to dollar signs” is as playful as it sounds. There’s even a surprising Electric Sitar solo in the middle, giving it all a late 60’s feel. However the catchy chorus of “thing is youuuuuu complete me baby (with full handclaps) does that make us co-dependent or what?” is what sticks in your head.

Chunky, distorted rock n’ roll chords and slithering bass are featured on the lyrically clever office-worker anthem “I’m Away From My Desk.” Anyone who has ever had this sort of employment can totally relate to this running out the clock behavior. “Making copies, pourin’ coffees, killing time” leads to thoughts of “putting in for some Personal time.” Fellow label mate (and previously reviewed here) Nick Frater is credited with “Abbey Road Handclaps.” and their layered impact is felt. Additionally an 8 year old Julian Knight chips in on the soaring, harmony-laded background vocals as well.

An instantly pleasing guitar-drums trade off opens the vocal ladder climb “One Two Tango.” The Cheap Trick influence is strong here on the “one two three four five six seven ten” followed by “I’m counting on” background vocals refrain. Robin Zander would surely approve. In fact Rick Nielsen and Bun E. Carlos might nod approval as well on the tight rhythmic back-and-forth between guitar, bass and drums.

The album’s closing track is a cover of “Hey Grandma,” Moby Grape’s opening cut from their 1967 debut album. Showcasing the bands live sound, the track was recorded that way to show off their stage chops and dispel any illusions they can only play in a controlled studio environment. It’s a boisterous rendition, and a fitting send off for an album that has so much packed into it.

The full album is out now and can be acquired here.

Follow along with sparkle*jets u.k. here.

Connect with all things Big Stir Records here.

A previous review of sparkle*jets u.k. on this site can be found here.

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Cerebral Inquiries Into New Full Album Releases

noreply@blogger.com (DaveCromwell) — Fri, 28 Jun 2024 14:00:00 +0000

Full-length Album Reviews are the DaveCromwellWrites focus this go round, as the Summer has now officially begun. Extensive track-by-track analysis is delivered on new releases from artists whose earlier work have been previously featured here on this site. Glam-fronted punky pop rockers share space with a brilliant recreation/tribute to one of the original glam-rocker’s finest works. Rounding out the feature is a new full album release from creative alternative pop rockers.

It’s been far too long since DCW had the opportunity to review new music from enduring Queens, NY rockers GIFTSHOP. Fortunately that wait is over as the band has just released their latest 9 track album “A Bunch Of Singles.” Comprised of some previously released (and reviewed here) singles, five new entries complete the collection, giving us a broader spectrum of rock to dig into. Additionally, a music video accompanies the song that represents their hometown neighborhood and the people who inhabit it.

An unexpected piano-driven power ballad is the first new (to this site) song “There’s You.” With slow moving open arpeggio piano chords and rim-clack percussion, Meghan Taylor’s intimate vocals express a longing nature in lyrics shared. “Oh, so lonely - and oh, it shows - and though I'm broken -you know, no one knows.” Out of this sadness, an uplifting moment arrives with the beautifully harmonized, simple four word chorus “and then, there’s you.” Distinctive guitar figures are placed at just the right moments here, adding necessary accents. The second verse has the piano dropping out, leaving a low bass hum as an even more personal sonic field for Meghan’s heartfelt delivery. Fuller drums kick in behind the subsequent chorus, which adds a pivotal change “and then, it’s true.”

A re-visitation of early era favorite “Spooky Halloween Christmas” adds a “Too” now, while injecting Ska/Rockabilly horns into this macabre delight. Meghan’s vocals are less Debbie Harry (as on the original) and more her own, with fuller emphatic delivery. The walking bassline is still dominant, while appropriate sleigh-bells accompany monster-mash “ghoulish ride” aside voices. The accents are crisp and tight with the head-bopping, catchy chorus “It's Hallows' Eve with Christmas Trees! Skulls are hanging from the evergreens.”

Built on a deep, chugging, stoner-rock groove, “The Breakthrough” contemplates on the things you’ve needed to do in becoming the person you now are. Giftshop never wastes anyone’s time in getting to the hook, however and it’s a singalong beauty with the lyrics “nothing can stop us now – Are you with me?” Lyrical insight and introspection point out how “glittering gold” is “too good to be true,” and “the journey of lies turned into the truth.” A mid-point breakdown shifts the rhythm while providing a bit of uplift and hope after all the “compromises.” Delivered in call-and-response fashion, “you make a living by when you get” is followed by “you make a life by what you give.” The addition of a rising slide-guitar here provides musical gravity to this ultimate realization “breakthrough.” Repeated vocal “wow” at the end drive home this necessary point.

Arriving with a cameo-filled video of local friends and followers, the already live show favorite sing-along “Astoria” delivers on it’s promise. Opening the footage with quick shots of their favorite hometown places, the bass guitar driven intro meets buzzing-bee axe for the musical throwdown. With copious amounts of live show footage from local favorite bar “Dominie’s” 2023 annual celebration event, the camera follows glamorous lead vocalist Meghan into the venue. The essential riff is sharp and precise, with drums and guitar accenting the changes. Long time fans are visible in front of the band as much of the footage is shot from behind. Quick cuts of the band members are of course necessary and included, as views from both inside and out of the space dance across the screen. Lyrically the song is as instantly classic as “New York, New York” or “I Love LA.” This time, however it is a love tome to a prominent NYC borough. “Drop me off at the Broadway stop NO! Not in Manhattan - This is my happy place - Join the Queens bandwagon.” The brilliant simplicity of the songs single title word chorus is all you need for fist pumping fans to leap on that bandwagon in that joyous moment of camaraderie.

Check out this wonderful video here:

The band also includes a cover of the groundbreaking classic 90’s Radiohead song “Creep.” While the band charges through it’s progression with thunderous glee, Meghan let’s loose with a powerful voice that hits every note. And who hasn’t at some point in their lives related to the lyrics “what the hell am I doing here? I don't belong here." Tacked on the end is a 41 second punk rock short that joyously concludes with the chanted lines “loaded diaper.”

Earlier released singles from this album are reviewed here: “More Than That” / “Kewl With Me” and “Stylish Junkie”

Check out the full album on their Bandcamp (including how to acquire it).

Previous Reviews Featuring Giftshop can be found on this site here, here, here and here.

Follow GIFTSHOP on their Social Media: Official Website - Facebook - Instagram

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Julian Shah-Tayler is one of those multi-disciplinary musicians who appear to be always busy. In addition to writing, recording and touring his own music as The Singularity, he still finds the time to play live shows as a key member of very popular Depeche Mode tribute band Strangelove. Not content with all of that, he also does an impressive David Bowie show, encompassing the thin white duke’s beloved catalog. In that regard he has released a “50th Anniversary of Diamond Dogs full cover album.” DCW digs down now into this ambitious project, listening for a new interpretation of a treasured classic.

Putting his immediate unique personal stamp on opening track “Future Legend,” bold synthesizers provide an ominous background for the spoken word apocalyptic vision. Julian’s proper English accent and voice is deeper than Bowie’s reedier tone, and today’s modern production qualities add a richness that the DB self-produced original couldn’t accomplish in 1974. The lyrics still strike hard as when first heard by this writer back then: “Fleas the size of rats sucked on rats the size of cats And ten thousand peoploids split into small tribes.” A dystopian world is all that’s left, and will end “any day now."

One more spoken word phrase sets up the title track, as Julian delivers the pivotal line “This ain't Rock'n'Roll - This is – Genocide!” Having performed, produced, mixed and mastered everything by himself, Julian stays true to the originals chunky guitar riffing and cowbell percussion. Lifting his voice back up into more familiar Bowie register (the steady #bowietribute shows he does surely solidifies and hones this skill) the initially (and still) amusing lyrics “As they pulled you out of the oxygen tent - You asked for the latest party.” The younger, more reckless version of myself could almost relate to this. The next line “with your silicone hump and your ten inch stump,” however was far more of a head-scratcher. Other catch phrases like “mannequins with kill appeal” always stuck and are delivered here by Julian with aplomb. The chugging Rolling Stone-like chorus turns the mood a bit more rock and roll party, singing “come out of the garden, baby - you'll catch your death in the fog. Young girl, they call them the Diamond Dogs.” Julian adds new touches to certain lines, like the “Halloween Jack” verse where sonic echoes enhance the lyrics “so he slides down a rope.” Special mention to the bass playing here, which playfully adds wonderful counter rhythms.

Julian drops his voice down into a lower register for the introductory sequence on the piano-driven 8 minute opus “Sweet Thing.” That quickly shifts to the more Bowie-esque tenor on the line “and isn't it me, putting pain in a stranger?” before going full also on "Boys, Boys, its a sweet thing.” This vocal flex shows Julian’s ability to reinterpret the original croon while simultaneously putting his own stamp on it. Thematically depicting sex-for-sale as transactional commodity, it gets woven into “hope” being a “cheap thing.” Wonderful buzzy guitar lines ride over top of the primary piano chords, leading into the “Candidate” midsection. Notable high harmonies grace the lines “some make you sing and some make you scream - one makes you wish that you'd never been seen” while making pop culture references to Charlie Manson and Cassius Clay. Rattle tambourine quickens the pace behind desperation lines “Anyone out there? Any time?" and “When it's good, it's really good, and when it's bad I go to pieces." The resigned nihilistic partners agree to “buy some drugs and watch a band - then jump in the river holding hands.” Julian masterfully handles the “Reprise” section, going full falsetto on final powerful lines “then let it be, it's all I ever wanted. It's a street with a deal, and a taste. It's got claws, it's got me, it's got youuuuu.”

Not content to simply re-hash Bowie's most covered track, Julian turns the signature opening riff of "Rebel Rebel" on it’s head with a bass and drums intro, followed by keyboards in place of that recognizable hook. It’s as if Alan Wilder-era Depeche Mode is responsible for this delightful 80-90’s (decades after the original) recreation. Not to sit on one musical statement too long, buzzy guitar does make it’s appearance in that riff spot on the second pass through. The pure joy of these rock and roll lyrics still remain with us all, so many years later. “You like me, and I like it all - We like dancing and we look divine - You love bands when they're playing hard - You want more and you want it fast.” Additional musical interludes like the extended “bongo” production on the “Don’t ya?” segment is curiously inventive.

Julian returns to his dead-on Bowie croon for the Geoff MacCormack co-written power ballad “Rock and Roll With Me.” Noteworthy as being Bowie's first co-writing credit on one of his own albums, the song made the album having been salvaged from a planned but never-completed “Ziggy Stardust musical.” Julian gives it a proper rock and roll treatment, building it around guitars, bass and drums. Memorable lyrics from those formative and impressionable days like “lizards lay crying in the heat” and “I would take a foxy kind of stand - While tens of thousands found me in demand” are still a delight from this 50 years after perspective.

Electric piano serves as the primary musical force behind the William Burroughs/George Orwell inspired “We Are The Dead.” Believed to have been lyrically constructed via Burroughs's famous "cut-up" technique, Julian puts his all in the vocals during big production sections. Still enamored by the line “but I love you in your fuck-me pumps” (stylish teenage lust is hard to shake, even at this advanced age) it’s still a grim resolution “Because of all we've seen, because of all we've said - We are the dead.”

There’s a subtle trap-hop element to the percussion on Julian’s adaptation of the Orwell inspired “1984.” While acoustic tone guitars initially move around the edges, an unexpected fiddle-sound saws away through center. Funk-guitar is introduced on the second verse as the narrator once again ultimately warns “Beware the savage jaw – of 1984.” Chunkier power chords move in to augment the “come see, come see, remember me?” change section. Things move deeper into a soul direction for the third “I’m looking for a vehicle” section, especially via bass guitar propulsion and funk strummed chords.

The final entry “Big Brother/Chant of The Ever Circling Skeletal Family” finds Julian keeping true-to-the-original reading of the initial rock portion. Tandem bass and drum propulsion with slithering buzz guitar notes around those memorable lyrics. Referencing “dust and roses,” the fey aside “or should we powder our noses?” ultimately give way to “give me steel, give me steel, give me pulses unreal.” The hook always delivers “Someone to claim us, someone to follow - Someone to shame us, some brave Apollo - Someone to fool us, someone like you - We want you Big Brother.” The songs original concept was meant for an adaptation of Orwell’s totalitarian future society 1984. When that project could not be made, at least we got this song here. Julian captures those delightful mid-track melody lines via unique synth tones. Similarly, the reinterpretation of the final chant (which is meant to echo Winston’s “two minutes of hate” depicted in Orwell’s book) benefits from modern production qualities here, and brings the album to it’s conclusion.

Check out this amazing album in full here:

Diamond Dogs 50th Anniversary Cover album by The Singularity Mus)ic

Connect with Julian Shah-Tayler/The Singularity via his Social Media: Facebook - Instagram

Previous Features on Julian and his music can be found on this site here and here.

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Last summer DCW reviewed the first single and opening track “Superflower” from The Crushing Violets forthcoming full length album “Filaments of Creation.” That album is now here in it’s entirely, and naturally curiosity has been peaked about what the other tracks sound like. With Antanina (vocals) and BP Brooks (guitars, vocals) writing all the songs, Mick Hargreaves mixed, engineered, played some additional instruments and co-produced with the band. It was recorded at Lantern Sound Recording Rig, in Manorville, NY.

Taking a sequential approach through the album, first new (to this site) track “Hollywood” emerges out of a rat-a-tat drum intro. The progression moves forward at a power ballad pacing and vocals come in tandem, with BP’s male tones out front. Those vocals are further enhanced by guitar lines echoing it’s melody. Not really about California’s movie making capital, the title word’s singular reference comes in the lyrical sequence “now the house is gray - here's a ghost inside these walls today - Hollywood seems so far away.” The following cut “It’s 2am” is an acoustic guitar (only) powered folk song ruminating on introspective thoughts had in those early morning hours. Where “your ghosts will haunt you,” “can’t find what you lost,” and “can’t hide from who you are.” Even though “you got lost among the stars” it’s important to “remember who you are,” and that you belong there.

A chugging Rolling Stones style guitar progression followed by solid drums and bass kick off “Then You Shine.” It’s laid back “Exile On Main Street” vibe echoes that watershed album’s soulful voices with Antanina’s contributions on each verse title line resolution. While BP’s vocals (and all the backing vocal production overall) deliver the poetic lyrics clearly, his guitar solo near the 2 minute mark really sings. Bigger rock production and well placed minor/seventh chords in the songs progression enhance the Antanina voiced “When We Dream.” It all comes together gloriously on the lyrical hook “We’re going where the summer’s waiting - I’m dreaming of enchanted places - We’ll be” and the powerful guitar-bass-drums instrumental section that follows. A return to introspection runs through the acoustic guitar only, predominant BP vocal on “Anyway.” Antanina adds tender harmonies to lyrical content that emphasizes “darkest dream,” “the end of time” and how ultimately “the world is a stage.”

A curious backward motion guitar effect introduces the full bass and drums accompanied, BP lead voiced “Lost in Space.” Reaching the catchy chorus hook in under a minutes, both voices harmonize on the lovely sentiment “if you just hold my hand, we could walk in the sand - Lost in Space.” A wonderfully tasty Dickey Betts style guitar solo graces the song’s midpoint, adding musical sensitivity, sweetness and light. A surprising tempo change commences at the two and a half minute mark, lifting the overall progression to a higher level. Album closer “Back to Neptune” has Antanina weaving a tale of “two lover churning deep beneath the waves” on that giant blue planet. An interesting mix of mellotron-style flutes serve up an instrumental interlude between vivid imagery of “flashing cosmic rays” with “200 billion stars to light the way.”

A full review of the albums opening track and first single “Superflower” can be found here.

Dig in to the whole album, including how to acquire it here:

Filaments of Creation by The Crushing Violets

Follow The Crushing Violets on their Social Media - Official Website - Facebook - Instagram – Bandcamp

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Persuasive Examination Regarding New and Recent Audio Releases

noreply@blogger.com (DaveCromwell) — Tue, 28 May 2024 14:00:00 +0000

Four enticing musical releases from over the last few weeks are the focus here within this months DaveCromwellWrites. Critical attention is applied to all aspects of songwriting, sound design and lyrical acumen. Favored genres that focus on fuzzy dream pop, pedalboards, indie rock, goth pop, witchy magic spells. alternative, electronica and post power pop all share space here in this latest deep dive analysis.

Reaching out to the DCW universe is a new band formed within the last year out of Nashville, Tennessee going by the uniquely lettered name Hushhh. Perhaps those extra “h’s” are for their hot, heavy and huge sound. If that smacks of a writers literary projection, what’s certain is quality level of songwriting and musicianship the band delivers. Having released their debut EP "Summer Medication" last October, a new video treatment for featured song “In My Head” has recently arrived now as well. DCW digs in to it’s sound and imagery with an ear (and eye) for it’s essential components.

Compressed, forceful drum strokes lead the song out of the gate before buzz-gaze guitars and locked-together bass enter the mix. Four distinct chords are delivered in a descending sequence that immediately triggers memories of peak-era Dinosaur Jr. The band members are visible from the start of their video, walking down the street, putting stickers up on the back of street signs, getting coffees and ultimately on stage playing a show. The instruments pull back as vocals begin “Paranoid – can’t believe the words I say,” followed by that classic deep-twang hook you hear in the very best alternative rock songs (like The Cure, etc). The earworm hook is reached in well under a minute with the line “life keeps dragging – on and on and on and on and on and on through hell.” This commences a sequence of building riffs over lines “I can't tell if I will ever be well again” with higher register chiming guitar lines blending in with blurred voices against images of the band doing things in their local community.

The second verse continues the songs introspective, soul-searching feel with the lyrics “Wish I was Happy all the time - Impossible - Impossible is what I find.” Back to that catchy chorus as imagery of video game screens, the band onstage and walking around through their community. The music continues to build and the percussive accents and instrumental turn-arounds are crisp, precise and oh-so-tasty. There’s a cool minor chord (or is it a 7th?) drop on the end these passages that points to a more sophisticated level of songwriting (all within the confines of a 4 minute plus rock song). At the midpoint, a quieter moment of guitar strumming and softer cymbals sets up internal conflict lyrics “Dragging on and on and on and on and on in my head,” before one more explosive run through the hook. At 3 minutes in the tempo shifts dramatically and the overall progression slows to a doom-gazer pace inside a glorious shimmer. A ghostly circular image appears on the video, morphing between what might be a ring light and a moon / sun-like planetary figure above.

Check out this kick-ass song and video here:

Follow the exploits of Hushhh via their Social Media here:

and through their Linktree.

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This past January DCW reviewed the two singles gazey dreampoppers Phantom Wave released at that time, in anticipation of their full-length album “Bonfire Secrets.” Comprised of Ian Carpenter (guitar/vocals), Rachel Fischer (drums) and Yanek Che (bass), a focused songwriting style and compatible musicianship fully realizes this sound. Having put the whole album out since then, and with additional distribution from our friends at Shoredive Records, it’s time to dig down into every other song from that release.

Moving past those previously mentioned singles, deeper cut “Shook” builds around a more controlled drum pattern with floating toms enhancing the dominant snare work. Vocals again hearken back to the classic 90’s alterna-pop bands, while guitars shimmer. A rising progression continues to build, leading everything out to conclusion. “Paceline” opens with a rough edge, before dropping the harshness back momentarily as bass guitar drives along. The big emotional chorus brings that wall of guitars back for dramatic exposure.

Modulated guitar textures provide harmonic effect on introductory guitar chords for “Comet Gain.” The initial vibe is easy going and laid back, like Dean Wareham’s original band Galaxie 500. Things get punchier, though once the lyrical hook “spark it good” is reached. A more chaotic wall of sonic disturbance swirls around more structured bass and drums, so diligently attempting to hold it all together. This lengthy, over six minute track reaches it’s emotional peak with the lyrics “and you – so true.”

Reaching the album’s mid-point has the band taking the above-mentioned “easy vibe” a step further into dreamy romanticism with “Astral.” Just when you think this is shaping up to be another over six minute exercise in two-chord meditation, the tempo begins to quicken near the 3 minute mark. Feeling more now like the hurried pace and soaring overtones of Ringo Deathstarr, vocals reveal how “somehow everything’s gold.” Bass guitar cuts loose with melodies while the drums slosh and clatter with wanton impunity. “Got you up in dreams - fly along and be” is the battle cry.

Dipping back into the “Cure-style” pool with it’s open string guitar chord phrasing and Simon Gallop-esque penetrating bass comes the more “reasonable” length “Spiraling.” It doesn’t go on like this too long before a gazey wash of white noise and cymbal slosh accompanies lyrics “Hey there, hey there, hey there, right on there.” Stand out melodic guitar lines also remind why we revere that Robert Smith led band so much, right down to the middle-break of this instant classic song.

Coming in as the longest track track on the album (at 6:42) the appropriately titled “Burning Clocks” moves the bands sound closer to prime-era Cocteau Twins, with Guthrie-style guitar and Raymonde-esque bass. That vibe continues onto it’s primary change, with the lyrics “what can I tell you - feelings transmit - stay on horizon - stay on.” Guitar riffs and their associated noisy textures become more urgent and boisterous during instrumental passages from the midpoint on. Higher-end cymbals and guitar tones pair well with the lower register bass. A plateau is reach after four minutes which allows for the songs title line to be sung “the burning clocks, the twilight smiles.” One more pivot to a sonic liftoff emphasizing the aforementioned “stay on” vocal.

“Fireworks” is introduced by way of natural sounding trap drum set laying down a warm, organic beat. Chime guitar and deep twang bass flood the sonic space as a lyrical tale of conflict unfolds. “Woebegone, don’t stay long” becomes the essential chorus placement hook. Dynamic forward-pounding, rising-note segments are repeated for dramatic effect. “So much trouble, push it all away, away” is the ultimate resolution to these pyrotechnics.

Listen to this perfect gazey album and find out how to acquire it here:

Bonfire Secrets by Phantom Wave

Follow Phantom Wave on their Instagram , Facebook and Bandcamp

A previous feature of the band on this Site can be found here.

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It’s been a minute since this site checked in on the distinctive style PR Rep William Z and his Moon Coil Media clientele have been up to. Having featured a number of their high-quality artists here over the last few years, the time to dip into that well has arrived once again. Digging into New York (and sometimes Vermont) based Witchy Goth Pop artist Metamorph is an eye (and ear) opening experience. The inspired project of veteran musician Margot Day, her multi-range vocals, songwriting and flute playing are blended with dark synth electronics. Recent song release “HEX” has been given an official Stabbing Westward remix by the bands founder Chris Hall. Additionally, an Official “Witchy Matrix” Visualizer accompanies that track, receiving a detailed analysis below.

With large pentagram earrings on immediate display, Margot Day strikes the classic gothic rock figure, conjuring the spirit world with expressive imagery. The recognizable Stabbing Westward industrial synth-pulse and matching percussion charges forward, enhanced by Margot’s flute textures. Vocals commence with mystical lyrics “Your eyes, like onyx stones, a power source dark and deep - when our eyes meet we gleam.”

The visual and audio mood is seductive as Margot reveals to both “glamour up” and become “Guardians of love.” You had to expect a “spell” was coming (it “drops” and the “night wakes”) with the ambient prelude and single title word “Hex.” However, rather than an incantation calling up bad luck or trouble, the magic has amorous intent. “I want what I want when I want it - babe I want you” is how the dancefloor banger chorus goes. The spell is cast in a “dollhouse discoteque” where lovers “glimmer the night away.”

Check out this bewitching song and video here:

Follow Metamorph via their LinkTree here

As well as Moon Coil Media here.

A previous feature on a Moon Coil Media artist can be found on this site here.

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What seems like a while ago (but actually only two months) UK Rockers It’s Karma It’s Cool’s spinoff side project Solitary Bee reached out with their latest single “Love Wakes Up.” Giving that one the old Cromwell review at that time, they now return with a brand new release “Autumn Recruits.” That quirky track now receives the deep-dive DCW analysis to decipher it’s fundamental melodic and lyrical revelations.

The sound of a buzzing synth (a solitary bee?) are the introductory audible moments before vocalist Jim Styring fervidly delivers lines “all the leaves on the trees on vacation.” Byrds-ian ricken-jangle guitar chords chime and measured bass notes mark out musical parameters. Drums enter the mix while “naked branches” have “deep conversations” about earlier times (poetically referenced as “the lives fully clothed they once had”). More is discovered about these seasonal “recruits” with the twee question “but did they ever say goodbye? When they left a hole in the sky. In their golden space suits.”

While comparing the browning of autumn leaves with “golden space suits” is quite imaginative, the sonic elements now in full motion are equally impressive. A rippling keyboard line repeatedly descends while bass guitar provides counter melodic movement. The songs midpoint pulls everything back, but for an acoustic guitar, some subtle synth pulses as Jim’s reprises those thematic opening lines. The full band charges forward with the primary theme and lines “I’m hoping they all learned to fly, before they jumped from way up, all the autumn recruits.” A final quick instrumental breakdown emerges that leads the whole track out in layered call-and-response vocals and twinkling pulse arpeggios.

Listen to this sweet and sophisticated track here:

Autumn Recruits by It's Karma It's Cool

Follow the band here and here.

A recent song review feature covering Solitary Bee on this site can be found here.

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