Six bands I’ve recently written about for The Deli Magazine are now featured here at DaveCromwellWrites. Each respective artist makes creative music that draws from a catalog of classic and alternative rock influences this writer has come to know and love over the years.
Promising Brooklyn dream rockers Lurve have recently released their debut EP, and offer three tracks available for streaming on their Soundcloud page. “Looks So Young” quickly establishes a penchant for guitar driven rock, with a hooky chord change that fans of Dinosaur Jr. would surely love. “Wires” (streaming below here) kicks it all up one notch higher with a faster tempo, while multiple guitar layers buzz like bees under smooth, reverbed vocals. The tracks closing jam-out takes its cue from Sonic Youth’s tandem of Thurston and Lee, while incorporating their own twists along the way. Third track “Simple Syrup” on the other hand employs the quick turnaround chord changes that made iconic 90’s band The Pixies such a hit with what was once called the "alternative nation." Another extended guitar solo deftly incorporates the best of both The PixiesJoey Santiago’s and Dinosaur Jr.’s J. Mascis’ styles into their own, for an exciting final result.
Brooklyn's Heliotropes continue to carve out a niche in the psych rock genre with their penchant for doom heavy grooves. The band has just released the first single “Psalms,” which will be included on their debut album “A Constant Sea” set for release on June 18 via Manimal Vinyl records. “Psalms” thunders along a buzzing, rough-hewn guitar riff that dominated so much of the psychedelic hard rock in the early 1970’s. With a slithering groove paired alongside smooth seductive vocals, the band hits us with a quickened tempo change for good measure. The lyrics trend towards philosophical questions like “Do you feel that love is real?” and “am I really born to die?” A wickedly nasty guitar solo gives you the answer. Upcoming shows include their Album Release Party at Glasslands on June 18th and The 4Knots Fest on June 29th.
Former west coast and now Brooklyn based psych rockers Weekend are preparing to release their sophomore album “Jinx,” this summer. In advance of that comes the recently released lead single "Mirror," which hints at sonic explorations different from what was presented on their debut album "Sports." Standout tracks from that initial record like "Coma Summer" emphasized a deep reverberation and warped aesthetic (in both attitude and sound). Their latest track, however presents a cleaner sound with fewer layers, an ethereal synthesizer wash, (especially as the track opens) placing emphasis on more clearly audible vocals with echoy guitar lines over a driving bass guitar and drum pattern. Soon enough there is a less pretty, more static-like sound cutting through it, though. The overall pacing, guitar and bass textures and even the beat of the song is reminiscent of early 80's bands like The Cure (think "A Forrest") and The Smiths (especially in the tonal quality of the lead vocals). With the tease of album track titles "July" "Oubliette" "Celebration, FL" "Sirens" "Adelaide" "It’s Alright" "Rosaries" "Scream Queen" and "Just Drive" to ponder over, there is much to look forward to as we approach the full release.
Emerging as the latest entry into New York’s ever growing Psych Rock scene comes the Brooklyn based trio BAMBARA. Recognition of their shared sonic kinship with legendary New York bands like A Place To Bury Strangers and Swans most likely served as motivation to leave Athens, Georgia for the grittier streets of Bushwick. The band will now release their much anticipated debut full length album “DREAMVIOLENCE” via Arrowhawk Records as well as their own Emerald Weapon imprint. As you may evince from their predilection for all caps, this is not a band interested in whispering. Current single “Nail Polish” throttles along at a frantic pace, with warped guitar textures conjuring twisted carnival merry-go-rounds of an unsettling dream. “All The Same” creeps up from misty swamps until an overloaded bassline and clattering drum pattern cuts through it all with caustic force.
Brooklyn powerpunk gaze-rockers Heaven’s Gate released their 7 song EP “High Riser” recently, proving that quick, catchy ideas are often the best. With most songs clocking in under two minutes, there are still hooks galore to wrap your ears around. “Pray” thrashes with abandon, like early Siouxsie and The Banshees (think “Carcass” from their eponymous debut album “The Scream”). “Pogo” taps the punk vibe mapped out by The Ramones and New York Dolls. “Salome” moves into pitch-bended guitar dreams, with a heart-tugging guitar progression paired against emotionally charged vocals. The image one might get from a song titled “Jesus Hair” is that of the quintessential rock dude with long parted in the middle locks. “All you want to give me, all that you can give – ‘cause you know that I’ll take it,” implies approval of type by our intrepid female vocalist. “Weakness Worm” would slot nicely between a Yeah Yeah Yeah’s and Hunters track, while “Skin Weed” merges the Peter Gunn detective beat with Sonic Youth guitar recklessness. Final track “Sea Swing” stomps and rumbles like a Patti Smith/Kevin Shields collaboration. The band will be performing at Knitting Factory on May 26.
The Vassals released their first full length "In My Dreams I Am A Sailor" this past fall. Stand out tracks like "Informers" utilize sparse bass guitar patterns and tom tom driven beats, allowing for a chance to clearly understand the vocals. Singing about "ghosts" by way of their "father," guitar is used sparingly at first, before becoming more dominant as the song progresses. It ultimately builds from quiet levels to a bombastic finish. "Dark Circles" moves things initially into further solemn ground, before (again) rising to a dramatic sonic peak. There are references to "dead little stars" that "used to burn so bright." "Tambourines" presents itself as a start-to-finish rave up rocker. Finding the album title embedded within these lyrics positions it as a signature track. Album closer "The River" makes effective use of bended guitar notes to create a sonic image of water in motion.
Garnering much respect these days for their partnerships with high quality emerging musicians, is the burgeoning music label St. Marie Records.
With offices in Fort Worth, Texas, Seattle and Los Angeles, their catalog of recording artists is as impressive as they come. In addition to familiar friends like The Sunshine Factory, Bloody Knives, Elika, Resplandor and Drowner, three artists have new albums this year that deserve special attention.
First up is the wonderful Nightmare Air and their recently released “High In The Lasers”
Leadoff track “Escape” establishes a pattern of sweetly sung female lead vocals and alternating shouty punctuation counterpoint. This rhythmic song structure reappears throughout the album on a number of tracks, blending seamlessly into the records overall high quality production. Hard driving guitars are mixed under the vocals until the instrumental break, where they take center stage.
Recent video release “Icy Daggers” (streaming below) at times echoes the bygone but still much beloved and frequently referenced 80’s alterna-rock-dance ear of Missing Persons (Dale Bozzio vocals, Terry Bozzio percussion) and Duran Duran(“Planet Earth” highhat percussive rhythm, but sans the commanding bassline).
“18 Days” exhibits a more easily discernible lyrical understanding, while dipping into the same deep waters The Cure swam for textural ambience and guitar lines. The amusingly titled “Sweet Messy Riff” actually continues to place emphasis on the vocals, as the ‘call’ between smooth, seductive female lead revisits the counterpoint male sung ‘response.’ Her repeated line of “in your eyes you wanted me” strikes a universal chord with those tuned in to the laws of attraction.
“Brightest Diamond” gallops along like a Dothraki horserider, placing emphasis this time on male lead vocals. It’s chorus embeds a tasty guitar riff underneath more shout-like vocals displaying both creative songwriting and mastery of the studio recording process. “Sun Behind the Rocks” moves over into psychedelica, with textures, pulses and sonic filigrees floating above a dominant toms and bass heavy drum pattern. Violent guitar chords emerge and meld with this forceful drumming, bringing to mind the best that a band like A Place To Bury Strangers has to offer. “Eyes” drives along a commanding bass pattern with vocal effects and enhancements not unlike much of what Jane's Addiction presented in their heyday of the early 1990’s.
Panda Riot have already produced a number of memorable songs over the past few years, however they reach new heights of excellence on their latest full length "Northern Automatic Music"
Opening track “Amanda In The Clouds” immediately brings a whirlwind of wonderful feelings through its melody, sound design and the historic sonic references conjured. Weaving swirling vocal beauty reminiscent of The Cocteau Twins (the chorus) and somewhat more rigid cadence of School of Seven Bells (the verses), drums rat-a-tat out front in the mix like best of Broadcast.
“In The Forrest (some kind of night fills your head)” continues the regimented vocal pattern, while deep piano chords block out the progression, allowing a looser military style percussive pulse to clatter inside humming guitar textures. Gorgeous melodies emerge, creating instant waves of emotion.
“Serious Radical Girls” bounces along an upbeat rhythm with emphasis on beds of buzzing bee guitars. The percussion track has that trip-hop mechanical feel of the Madchester era dance raves. If, in the 1990’s you took The Soup Dragons, Chapterhouse and The Farm and added My Bloody Valentine guitars (with its subsequent female vocals) this could be one result. Surprisingly, the track ends on a gentle, stark piano riff.
Title track “Northern Automatic Music” is both intro’d and outro’d by way of placid psychedelic flutes and keyboards. The bulk of the song dips deeper into MBV guitar texture territory however, with pitch bended waves melting into backwards-tracked sonics and synth beds.
“Golden Age” rises from misty depths of a Brian Eno underworld and blossoms into waves of mysterious beauty. “MTWM Glass” continues the soul music for stargazers who still remember the feeling of falling in love for the first time. “All of these times that I can’t remember” is the universal lyric of staring into the void – and not being frightened by it.
“Black Pyramids” rides along happy hand claps and sugary “ahhhhh, ahhhhh” vocals. Reaching a pivotal moment it all goes quiet as a questioning statement is presented: “If you think that you can tell me what the point of everything will be, then you should take the time to tell me why. If you’ve got it figured then I hope you’ll tell me how to make it when I have forgotten all my dreams.”
German digitech drone and noise-pop rockers The History Of Colour TV have released an amazing album titled Emerald Cures Chic Ills
“Let’s Get Sick” comes right out of the box with dense layers of keyboard sampled guitar intonations, pointing directly back to the musical heritage perfected by My Bloody Valentine’s watershed album “Loveless.” Voices blend with the icy textures, leading up to a guitar-strings scratch conclusion.
Like much of “Loveless,” many of the tracks blend immediately into the next, and so it is with “I Knew It Was Wrong But I Did It Anyway.” A solid snare shot and high hat percussive track provides structural cohesiveness to the swirling guitar textures, blended voices and more keyboard ambience floating above it.
“Suddenlines” builds around deep tom tom rhythms and softer keyboard strings. Despite the bass guitar driven crescendos within, the overall feel is one of ambient introspection.
“Selisse Estates” exhibits far more urgency as clarion call guitar pairs off with clacketty percussion against vocal counter-melodies. Gorgeous keyboard washes turn everything psychedelic and you find yourself staring (once again) into the void. It is both beautiful and somewhat unsettling. “Interference” provides a necessary minute long interlude of drifting calm, after so much emotional discharge.
“1-800-Badnite” is bass guitar driven, with lush keyboard textures that would not sound out of place on The Cure’s “Disintegration.” Vocals are delivered much smoother however, with far less angst than Robert Smith is known for.
“Mend” serves as the epic length track, clocking in at nearly 8 minutes long. Opening with what could be described as the sound a brutal storm makes, the sonic wind slowly clears to allow for a survey of what damage may have occurred. When vocals do start, it is the traditional instrument of acoustic guitar minus any percussion at all that marks out its progression. Lush keyboards fill the sonic spectrum with cathedral-like reverence.
“Sxrx” surprises initially with its gentle approach of soft vocals and minimal keyboard accompaniment. Harsher sonics are introduced soon enough, as radio static shears through the relative calm.
“2x1x” doubles down harder with deep, buzzing keyboards fit for any budding Phantom of the Opera. Radio waves flutter in above that like winged angels (or perhaps demons?) jockeying for position in the cathedrals darker corners. “Going To Stay” shimmers up quietly from misty fields before exiting the way it came.
Attending live shows in rapid succession can sometimes lead to "show overload." If you are out every (or every other) night - when do you get the uninterruped time to digest and catalog the events?
One method is the immediate, next-day, quickly thrown together blog post - referencing that night's event only. The internet is filled with this sort of thing, coming at us all on a daily basis. It's the equivalent of posting pics from the night before in one of your facebook photo albums. That's all fine and good for what it is, but nothing beats a dedicated URL link to something a bit richer in content, with a smattering of (hopefully) intelligent commentary.
What follows here then, is a Photo and Video Blog of shows attended by yours truly over the last month.
Starting with Thursday, February 14, 2013 (Valentines Day!) at Webster Hall's Studio - presented by live show impresario Kristina Tequila.
First up was a solo set by Cassie Ramone
As most discerning music fans know by now, Cassie is an accomplished singer/songwriter who helped formed and plays in two bands - The Vivian Girls and The Babies
Listen in on how she sounded at this show:
With an only an acoustic guitar, some excellent FX pedals and her voice properly mixed, she create quite a huge sound, all by herself.
Another song:
A really great sound!
After the set I got to chat and joke around a bit with her.
She's super cool. Smart, witty, with an experienced sarcastic side that still not too bitter to enjoy the good things this life has to offer - and she got my humor. I would definitely call myself a fan of her music - and her personality.
Up next was a band I've written more than a few words about over the last couple of years,
Xray Eyeballs
Members Carly (bass) and Liz (keyboards) exude a glam/goth style that is the epitome of downtown New York rock.
O.J. complete the male side of this equation, as he thrahses and flails his guitar, wearing an appropriate Siouxsie Sioux t-shirt.
Soon it was time for one of New York's most dynamic and exciting bands - Hunters
Led by singer/guitarist Derek Watson and lead vocals by the incredibly extroverted stage presence of Isabel Almeida.
On the song "Deadbeat," Isabel coos, purrs and pleads about how she "wants it and needs it."
It never hurts to be good looking and having a pliable body that can be contorted into pretty much any position desired.
Derek's playing, guitar sound and the rhythms overall position themselves somewhere between the twisted jungle stomp of The Cramps and tonal quality of Sonic Youth.
There are occasional quiet passages too. As witnessed in this clip here:
Little lost pippi longstockings
This Acid Head wants you to stay
Just a girl and her microphone
A writhing good time!
After a quick turnaround, show headliners Total Slacker took to the stage.
With the bowl-cut stylings of Tucker on vocals & guitar - and Emily on bass, their doom-laden sludge and art school presence is an appealing combination.
Guitarist Tassy adds a wild-card element to it all, as the poster-child for Brooklyn's endess gig/endless party attitude.
Listen in as the T-slacks get down and dirty for you:
For additional information on this show, see my Deli Mag preview here:
The very next night it was out again to catch the Converse Rubber Tracks Live presentation of Widowspeak and The Vivian Girls at Music Hall Of Williamsburg
Making it to the show just in time to catch Widowspeak (traffic nightmares on a Friday night needing to be overcome) the band was now fuller than when I had seen them the previous year.
However, the focal point clearly is very much still Molly Hamilton's vocals and centralized presence.
Guitarist Robert Earl Thomas keeps everything from getting too dreamy and sleepy by ripping guitar lines with a forceful clarity.
Cool bass too.
Soon it was time for main attraction The Vivian Girls
This was something of a special, rare appearance by the band, as the two princial founding members - guitarist Cassie Ramone and bassist Katy Goodman have been working hard on their respective post-Vivian bands - Cassie's The Babies and Katy's La Sera
I have been following each of the post-VG bands pretty closely, having written more than a few features about both of them over the last year.
On the changeover I made my way up the back staircase into the band backstage area. After a fun chat and encounter with the various personalities there, we headed down the stairs, which provided some interesting points of view:
Heaven's Gate was now on stage
I liked their cut-above-the-usual-rudimentary-noise sound, and their frontsinger had enough going on to hold my interest.
Even more interesting (and amusing) was the clearly advanced musician bass player, who played a flipped-over to left-hand postition bass with only 3 strings! Now that's not giving-an-F-rock and roll!
Taking a moment to walk around and experience the overall vibe, I dropped by the DJ booth to chat with my buddy (and musican in his own right with his band The Grand Resort) Andres.
He played a lot of great stuff inbetween the bands, including a personal fave of our "Soon"
by My Bloody Valentine
After a short break, a band I've written about a lot lately - Lazyeyes took to the stage.
The band looked and sounded as good as ever.
Paul, Cheddar and Justin maintaing and excelling as the core of this unit.
The addition of former Ringo Deathstarr (and current Cool Serbia) guitarist Renan has given what was already a great sounding band an additional sonic boost.
They've got a cool sound, and their core of gyrating chick fans really dig 'em.
Two night's later, it was time to head out in the freezing cold to catch a band that has grown quite near and dear to my heart - the one and only Sparxx
Led by the inimitable Heather Sparx on lead vocals, dance moves and personality - with a sonic foundation forged by music maestro Justin Mathews - there is much to like.
Their live sound benefits tremendously as a result of the powerfully fluid prog-rock-style drumming of Cinque Ubangi Kemp. The guy is (as they say) "a Monster."
The band premiered a couple of new songs on this evening. Here is "Popular Science"
Like all of Sparxx songs - there are wonderfully musical hooks to latch onto - heartfelt lyrics - and as good a sound quality as one might hope for in a club setting.
One more new song - "The One" (as in - "you're not . . . ")
Cute cats make everything better.
Headling this evening of glamorous festivities was the complimentary synth, percussive and vocal act Vandana Jain
At times her music reminded me of Kraftwerk's Trans Europe Express
Her stylish and exotic looks added a level of appeal to the overall presentation.
She was accompanied by an electronic percussionist who helped weave the dense layers of sound produced.
Listen to this particular performance:
Here the sound falls somewhere between Goldfrapp and the Yeah, Yeah, Yeah's
*****
The very next night I was at it again. This time over to Brooklyn's Shea Stadium.
Opening this night's festivities was Hippy (who, it seems plays every single night of the week)
As previously mentioned in this blog here, Nick, Jenny and Jhon create a happy vocal sound that skewers towards The Pixies upbeat moments.
Previous chronicles of Hippy live show activity can be found here:
Following them was the band I've probably seen more times than any other - The Vandelles
Along with their great sound, the band now features a dazzling over-the-top light show
Check out their live performance of the wonderful Beat Happenings song "You Turn Me On (Dead Man)" which they released as a single last year:
Jasno took a great classic song and made something extraordinary in the studio. This live performance here did it justice as well, and the lighting adds an immesurable element that you rarely see anywhere else at the club level. The only other band I know that does this as well is The Sunshine Factory (who also travel with a dedicated lightman).
The frequently changing hues makes for wonderful images.
While the exploding flashes create a dramatic effect that only enhances the overall experience.
Following them was another band I've been checking out locally quite a bit in recent times,
the drolly named Slonk Donkerson
The importance of bandnames aside, these dudes take their music seriously enough, with a jammy vibe running through their pop compositions.
The sound is a power three piece that walks the line between indie and traditional rock.
Parker exhibits a fluid dexterity on guitar.
While the rhythm section of Dylan and Zach locks it all down tight.
Amazingly (for me lately) it was a full 6 days until the next show attended.
Heading over to one of the best venues in NYC - The Mercury Lounge - it was a night of festivities to celebrate the release of Dead Leaf Echo's full length debut album "Thought and Language"
Arriving in time for a spirited pre-show chat with Tell All Your Friends PR reps Brid and Mona, it wasn't long before tour support Lorelei took to the stage
This legendary band began in 1990 as a 5-piece in Washington, DC in the heyday of the city's indie scene, but quickly stripped down to 3 members in 1992 after one single. They subsequently released several recordings on Slumberland Records, including the 1994 LP, "Everyone Must Touch the Stove", plus a few things for other labels.
After a number of years working on it, the band released an album of new material titled "Enterprising Sidewalks" in the summer of 2012.
I loved their jammy live sound, and in particular the work of lead guitarist Matt Dingee
Headlining the night was a band I've seen probably a dozen times at least. However, this time was to celebrate the release of DLE's ambitious literary work "Thought and Language"
Though further personnel changes have happened since the last show attended, the core of the group contines to center around LG and Ana
This is a rawer and more "live" sounding version of the band. Gone are the click-track bass patterns in favor of all live instruments.
A pleasant surprise was seeing old friend Kevin now manning the drums.
When not playing keyboards, Ana and LG delivered guitar textures that stayed true to their orginial sound, while adding additional element of chaos.
The final night of this three week catalog was the first day of March, appropriately a Friday night
Having a show in what essentially was someone's Brooklyn apartment may not sound at first like an ideal location, but this one actually worked rather well for it.
Catching another show by familiar faces Girl Toy had me smiling and grooving along to it's overall rock'n'roll-ness.
Beatrice, Olivia and Lindsey thunder out an appropriately sludge-heavy sound that alternates at times between punk rock and somewhat heavier sound.
Beatrice is the band visionary and writes most of the songs.
Her mastery of that Fender Mustang is equally impressive.
Lindsey brings what she always does to every band she's ever played in. Solid bass playing, good background (and some lead) vocals and a personality that is the opposite of shy.
Olvia added power, bash and pop to her drumming that belies her delicate appearance.
Communal friends and fans show their support (some quite stylishly so)
After their show I had to high tail it out of there and head over to the Secret Loft (Vandelles HQ) to catch a performer who had caught my interest previously and was now playing her debut show in NYC.
Lilly Wolf is a dynamic singer and creator of dance music that appeals to
my Sophie Ellis Bextor fan side
With her musical partner Alex providing sonic layers under the vocals, an equally dazzling light show made for an outstanding experience.
Lilly and Alex appear to know exactly what kind of sound they want, and excuted it perfectly.
Check out their lastest song and video - "Strictly Luxury"
The glamorous and sometimes androgynous imagery presented is well suited to it's overall theme of opulence and financial independence.
Lilly's attractive appearance was well suited for a performance at The Vandelles HQ
Flashes of visual brilliance to accompany the all encompassing sound
