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Friday, February 23, 2024

Beguiling Appraisal of New and Recently Released Music

As the early part of this new year 2024 rolls on, four must review artists bloom here in the ever-expanding DaveCromwellWrites universe. The act of writing is a rewarding (if solitary) pursuit that requires inspiration to make it work. The artists covered here have provided ample amounts of that, allowing sentences to spark and flow from a productive listening experience. With that, we dive into the February DCW reviews.


It was back in the weird year of 2020 when this site did a deep-dive focus on the music of Jody Porter. A full interview was conducted with Jody along with select cuts reviewed from his album out at that time. The artist is now back with his succinctly titled “EP II” along with the release of it’s first single “Light Up The Sky.” Anyone not-already familiar with Jody as solo artist will certainly know the band Fountains Of Wayne, of which he was an essential member. There have been other accomplishments as well, and links to all of that can be found below. For now, let’s dig into this latest song and find out how his work continues to evolve.


Ethereal ambiance introduces the track, like sonic waves floating in the breeze. Bass and snare drum kicks in along with a chiming descending guitar progression. A second, heavier guitar layers on as deeper bass joins in before it all comes to a brief pause. “Here you come – again. Wish I knew – where you began,” Jody sings with a sense of impending foresight. There’s a shadowing female voice harmonizing along with him as the story continues “there’s no one there – you light the way and light up the sky.” The overall feel is easy vibe groove, like the best of what a band like The Rolling Stones does. There’s a real “live” feel to it all, with guitar chords and drumming in complete sync with each other. That is to say, the complete opposite of the mechanized music we so often hear today.


You never like to show – how you feel” continues the vocals, now with tasty guitar lines woven in-between. “When it all fades away – like you weren’t there” becomes a pivotal lyric bridged by a muscular guitar figure that returns to the title line chorus. “My way down – I’m on fire” completes that picture, leading into more intense guitar chord transitions. A brief pause once again for dramatic effect, then a gloriously killer guitar solo. Never forget that along with being a singer-songwriter, Jody is a celebrated lead guitarist. However, this is no “stunt guitar” play-a-million-notes-as-fast-as-you-can technician. Instead we get the feel and groove of a Keith Richards, combined with the slowhand skill of Eric Clapton. One more quieter ride through the chorus before launching into a powerful coda alternating between Jody’s restrained voice and the all-out belting from his female counterpart. Slashing, rumbling, pitch-bended guitars take everything out to it’s grand conclusion.

Check out this brilliant track here:


Follow Jody on Spotify  -- Facebook  -- Instagram

Previous features, including full interview with the artist can be found on this site here and here.

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Last summer a previously unheard artist going by the name I’m The Villain contacted this site for a review of their latest release at that time. Finding merit in the track, it was featured both in the August 2023 review and again in the Annual End-Of-Year “Best Of” Feature. Now they’re back with a new single “Something Is Coming.” Once again recognizing the quality of this recording, it receives a detailed breakdown analysis below.


Against a backdrop of gentle strummed guitar and mechanized percussion, vocals begin right away, stating: “Reading the story, i know what you want me to Say, again.” It’s melancholy, yet somehow uplifting guitar chord on the word “say” (and repeated again on the next line word “today.”) The musical resolution comes with song title reference “But something Is coming, It comes with no warning again.” Second verse brings in bright keyboards, which adds a lushness and counter-melody to the proceedings. Similarly, the next chorus pass through has a longer held synth pad, filling out the sonic space all around. More lyrical clues add deeper understanding with the line “It's something you're waiting for, but you know you will hate it the same.”


At the songs midpoint a clever lyrical insight is revealed that references all the complexities of the various relationships we all have. Saying that there actually is “no pain or mistake” when we’re engaging in “love, wine and laughter with Friends that you hate.”  Posing the universal question of how much we might actually “love” our frenemies. Truly one of the great puzzles of the modern age. Additional guitars have now entered the mix, providing glorious cascading arpeggio notes withing a more pronounced synth string backing. There’s more hope in the subsequent lyrics “but someone you love Wants to feel Just like you - and no one will laugh about the things that you lose.” The songs opening lines cycle through once more, this time with a strong extended guitar line running through alongside prominent deep bass guitar and aforementioned synth layers. The lush instrumentation drops back for vocal emphasis, leading the track to it’s gentle conclusion.

Check out this wonderful song here:


Find out more via their Socials - Instagram  -  Facebook   -  Soundcloud   -  Spotify

Read the previous review of I'm The Villain on this site here.

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It’s always a pleasant discovery when musicians covered previously emerge in a reborn artistic endeavor. So it is with singer-songwriter-guitarist Jeff Moore, his cousin and drummer extraordinaire Jaye collaborating with new musicians on their freshly emerging band Glimmer. A decade ago, this site covered a number of their recorded works and live shows in a variety of locations, both big and small. What always shone through was a dedication to quality songwriting and the ability to deliver it in a live setting. The band has just release a new single called “Buried,” and the CromwellWrites sonic analysis gets to the heart of this track below.


Bursting right out of the box in full motion, distorted extended-note guitars deliver the melody while rumbling center-line bass guitar and hard-charging drums lock down the beat. “I need to go – away,” is how the smoother, more soothing vocals begin. “Delusional – to stay” continues the sentiment, against less abrasive chiming guitar chords. That rips into a savage chorus focused on the title line, submerged behind a wall of fuzz. It’s beautiful and vague – like the best of My Bloody Valentine or The Jesus And Mary Chain. Verse two pivots back to the softer elements previously established. “Unusual – permanently changed” is one audible feeling picked up on (and easily relatable to).


A softer-sung, pre-chorus single-word “buried” propels everything back into that explosive chorus. One which blends voices, guitars and sonic ambiance into a blissfully complete grunge-gaze anthem. Twice through for classic sing-along effect and then on to a bridge change that feature a rising guitar line and thunderous drumming. It all suddenly drops out to just a single guitar and the vocals stripped bare, being “buried – face down.” As the other instruments slowing work their way back into the mix, the anticipation of one more ride on that frenzied chorus does not disappoint.

Check out this brutally gorgeous track right here:



Numerous features on this site covering these artists previous band can be found Here, Here and Here.

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The good folks at Feel It Records have tipped this site to a brand new release from ferocious rockers The Follies. Leading in to the roll-out of their debut album "Permanent Present Tense," the single track “Brick By Brick” is out now for a full listen. Having honed their sound playing in those dingy clubs we’ve all been to more times than memory can recall, a deep-dive listen and analysis commences below.


An aggressively wirey guitar riff kicks the track off, soon met by thumping bass drum and rattle-trap snare shots. As those two instruments throttle along, a buoyant bass guitar gives depth to the slashing chords powering everything along. “Doors swung open – found the time at last” commence the vocals, sung in traditional punk-rock cadence. “Can't read omens” the singer continues, “how’s it all gone by so fast?” A quick-chugging bridge kicks in, enhanced by hyper-drive guitar riffs perfectly placed in those split second places. “Brick by Brick – wall the whole thing shut” goes the chorus, driven along by sharp-turn chord changes with locked in bass and drum accents.


Put in motion – blurring all the past,” continues the forceful, monotone vocals. Leading once again to that quick-turn bridge stating how “this ain’t how you live” and that Ramones/Sex Pistols-style driving chorus that reveals how the “bricks” force you to “stay in the same old rut.” A guitar solo breaks out at this point, displaying a more advanced levels of chops. There’s almost a rockabilly feel to the playing, as if Brian Setzer was dropped in to guest-solo over a mostly punk rock song. One more cycle through the “this ain’t how you live” bridge, the title-line chorus and a repeat of the songs opening verse.

Dig into this propulsive track here:


For more information, jump on The Follies Bandcamp / Feel It Instagram / Feel It Facebook

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Monday, January 29, 2024

Intriguing Reviews of New Full Album and Single Releases

A new year and new locations provide the backdrop for this month’s DaveCromwellWrites Feature. Introductory singles from new artists on the cusp of releasing their debut full-length share space with returning artists who’ve previously received deep-dive reviews. The collective result are audio journeys encompassing a wide range of fuzzy dream pop, dynamic changes, progressive electronics, improvisational recording, along with a more precisely structured indie pop.


Hearing that fuzzy-gaze dreampop band Phantom Wave are preparing to release a new full-length LP “Bonfire Secrets” in the coming days is exciting news. Having met the band last year at a Ringo Deathstarr show, it comes as no surprise they’ve enlisted that bands sonic guru Elliott Frazier to mix those tracks. Diving right into the advance stream provided for review, some thoughts immediately flow from the mind and fingertips.


First single and featured track “First Light” initially floats out of a mist in the most dreamy way. A tom-tom driven drum pattern and measured bass guitar provides movement underneath soft shimmering guitars and clean delivered vocals. That softness is abruptly shattered by following passages of hard charging drums, bass and a wall of guitars. All the while, passionate vocals implore you to “hold out the first light.” Downward driving accents add punchy power under vocals delivered with urgency.

Listen to this slow burn fuzz right here:


Promised next single and album opener “Chimera” comes on quick and a bit poppy. Is that 80’s era Cure? Clearly not once the big noisy hook is reached, as a wall of sheering guitars run roughshod over everything. The bass guitar is busy, providing melodic movement, while the drums thrash and bash their way throughout. Vocals are soft and conversational. Is it about a grotesque monster having disparate parts? An apparition, dream, illusion or vision? Who knows – it sounds fantastic, though!


The full “Bonfire Secrets” album is currently scheduled for an April 2024 release.

Keep up with Phantom Wave via their Social Media for updates and new release info.

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Back in July of 2021, DCW did a deep-dive review of the San Diego-based research and development collective Corduroy Institute and their musical duo’s full-length album “Eight/Chance/Meetings.” That creative outlet is now back with a new long player “Take the Train to Manchester.” Consisting of 9 new compositions created between December 2019 and August 2023, this intermittent crafting is the longest span of time spent on any of their albums. Once again using their institutional methodology of cut-up lyrics pulled from print media, the music was created through multi-tracked improvisations.


Opening instrumental track “Take the Train to Manchester” emerges slowly from an electronic substation. Train track-like clack percussion gives weight to the theme, before submerging behind ominous synth pulses and forward driving bass guitar. That percussive clack returns and is joined by higher pitched synth textures. It feels a bit like early Kraftwerk and their pre-mechanized “Trans Europe Express.”

First vocal song “[A] Girl Named Philosophy” moves along mysteriously, adding subtle twangy guitar lines over a deep thump bass and percussion. It’s fascinating how a full story can be conjured together with found, cut-up lyrics. Vocals are delivered with a resonant baritone, while closing lines “in a deal with absurdity” suggests more “folly” than actual “philosophy.”


Say Something Gentle” brings back the clacking, train-like percussion, enhanced by solid bass guitar and filigree brighter-toned six-string figures. Vocals are dispatched now in a higher pitch, closer to a tenor. Horns (or the synth approximation) are an added element, with repeated lyrical line “the true colors of the machine” standing out. The title line eventually appears with the composition reaching it’s conclusion.


An angular bass guitar pattern provides the musical structure for next cut “Uncirculated Knowledge of the Universe.” Dueling vocals appear throughout, adding to it’s overall ethereal feel. Both vocalists present those cut-up lyrics frequently in echo-repeat fashion. “She can do whatever she wants” serves as one focus vocal line. “(An) Intimate (Tension)” bubbles up ominously via violin-like strokes and stressed textures. A slowly descending bass guitar provides the most rudimentary framework for this instrumental only tone poem.


A bright, clicking percussion pattern kicks off next entry “They Don't Even Know.” Long-held keyboard pads lay out a chord structure over distant, driving bass guitar. There’s a soulful, near-funky feel to this one, combining an electric “drums and bass” vibe with a melancholy mood.  Completing some kind of thematic arc with the previous cut, “No One Ever Knows” pivots to gentle acoustic guitar for initial instrumentation, while layering on unintelligible tape-recorded voices. A deeper Cello-like texture saws back and forth in a gradually decaying pace that Brian Eno employed on his 1975 masterpiece “three variations on the canon in D major.” This composition is more acoustic guitar-centric, however and the light textures those strings add contrast playfully with those taped found sounds.


Our Former Places of Worship/Luminous Chaos” combines synth textures, bass guitar, stirring vocals with hiss-crack percussion. Synth chords and bass guitar breaks offer up spaces between vocal line readings. Rising synth textures evoke Eno once again, but this time his early work with Roxy Music. Final entry “You Always Loved Everything…” adds echo to the dual vocal rendering of these particular cut-up lyrics. “I was worried about leaving” followed by the song title.  Driving bass guitar, sparse electronic percussion and a smattering of synths all contribute to an overall Joy Division-like feel.


Listen to and find out how to acquire this innovative recording here:

 

Follow Corduroy Institute on their Social Media:   Instagram   -  Facebook

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

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It’s been a while since new music from Chad Sabo has made it’s way onto this site’s radar. It was July of 2018 when a combined live show and previous release retrospective was covered on his band The Cold Seas at that time. Enjoying a seamless 10 song set comprised of the four singles and one EP released over the previous two years, an appreciation for the talent on display was realized. Now Chad is back with his debut solo album “joyride,” inspiring a new DCW deep-dive review.


Choosing to open the album with an amusing short “intro” of upbeat electronic rhythms and spoken word, Chad invites the listener to join him “on this sonic joyride.” That leads into the albums title track which advocates the virtues of going for a cruise in your favorite car. The production is impeccable, with soothing higher pitched vocals that bring to mind high-gloss pop bands like 10CC.


Every instrument is precisely placed, with each percussive and stringed note avoiding excess. Voices are intertwined and pitched to varying levels. Follow-up track “Still Mine” relies on strummed guitar for rhythm, adding off-kilter ambient instruments for oddball effect. Lyrics “saw your name pop up on my Instagram – I know that face well” references the way we sometimes carry on relationships via the internet only.   “Sunday” doubles down on the warbly strummed guitar, adding a funky bass pattern and soulful background vocals. “I’m no good for love (pronounced LA-ove)” is the essential lyrical refrain. Sweet, sentimental roller-rink style keyboards completes the audio picture.   “Catholic” morphs over to dreamy with a Beatles-esque vocal cadence, and well-placed tambourine accents. Dealing with embedded influences, lyrics “I don’t know if I believe in something greater – or at least myself,” questions early religious training.


Holy Ghost” seems to hold onto the previous theme, while pivoting to other potential sonic influences. The in-your-ear, casual spoken word style employed so effectively by The Strokes is noticeable, as are those choppy guitar rhythms and single run melodic fretwork lines.  Clever lyrics provide strength behind the whimsical musings of “Our Love.” Understated guitars and a driving bass offer up the appropriate accompaniment for witty rhymes like “just look at us – making out in our electric chairs – and the coroner said he the saw sparks come flying from our hair.”


Another Show” laments being “too hung up to go down easy” but will “hang around till I know your leaving,” making this “show” about a failed relationship all too real.  Regretting spending time “chasing rainbows in a thunderstorm” furnishes appropriate imagery for time squandered.  Bass guitar continues to drive everything throughout the curiously titled “Single Use Plastic.” That title reference becomes clearer with the lyrics “the wind has changed – a thousand ways – a plastic bag caught in the sky.” Points given for the madcap instrumental break at the songs midpoint. In fact, this composition offers up multiple distinct passages, making it one of the more densely constructed offerings here.  The album wraps up with a brief "outro" where Chad thanks this listener for "hanging out."

Check out this fascinating pop album here:


Keep in touch with Chad via his Socials

A Feature on this artist previously posted on this site can be found here.

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Near the end of 2021, DCW wrote a detailed review of Adam Lippman’s featured single “Sunblind,” from the later released full-length 'Some Things Cast Long Shadows.'  That track later earned placement in the year-end “Best Of” annual wrap-up. Adam is now back with a new single “Wasted” which delves once again into the pop-indie-rock genre. Written and performed by Adam, the track was recorded and produced by James Mauri at Strawberry Hill Studios in Norwalk, Connecticut. Showing off his visual arts skills as well, he also painted the album cover.


A spirited snare shot, high-hat and bass drum beat kicks the song off as melodic six-string and bass guitar quickly joins in. Adam’s reedy vocals soon commence, telling the universal tale of how people meet at “the bar right down your street.” A subtle xylophone is detected underneath the following lyrical theme that references the songs title – how so much time can be “wasted” in these pursuits. “When you gonna come around?” is the repeated questioning expressive inquiry and hook. “You didn’t have to run and hide from me” ultimately leads to “we don’t have to look too far to see that it’s wasted.” At the tracks midway point the rhythm guitars and bass drop back leaving percussion and more open spaces. An ambient descending guitar texture and simple bass lead the way to a pleasing rhythmic interlude, before repeating the primary vocal hook, leading to its overall conclusion.

Listen in and find out how to acquire this track here:


Follow Adam here  -  Facebook  -  Instagram

A prior Feature on Adam's music can be found on this site here.

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Wednesday, December 27, 2023

Best Of 2023: The New Music Year In Review

2023 was another stellar year of new music reviews here at DaveCromwellWrites.  As we come to the end of it, the annual Best Of is now presented for perusal.  Each month's entries are covered, featuring the best of the best artists who put out compelling new recordings.  Old favorites stand alongside brand new entries, all deserving of the in-depth analysis they received.  What ties every one of these artists together is their own high level of recording acumen and overall creativity.  With that said, dig in to the 2023 Best Of DaveCromwellWrites Features.    



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Monday, October 23, 2023

Enchanting Probe into Quality New Album and Single Releases

Trusted recording artists who've established themselves here in the DaveCromwellWrites universe over the last year or two serve as the main focus for this current Music Feature. As one releases an instant-classic full-length follow-up to their previous brilliant album, another dazzles with a single as a bridge between their long-players. All of the above receive the no-stone-unturned deep-dive review this site is known for.


It's been two years since the last DaveCromwellWrites track-by-track review feature on The Suncharms. Back then a thorough and detailed review was given on their magnificent “Distant Lights” album. Now they're back with a brand new full-length recording “Things Lost,” once again released on the fantastic Sunday Records label. The full Cromwell focus is now turned towards the essential sonic pleasures this release has to offer.


The first thing heard as the album begins is a light crackle, as if a vinyl LP is being played. Cymbals quickly enter and then the lush, hooky guitar melody of opening track “3.45” push everything into motion. Lead vocalist Marcus Palmer wastes no time planting his multi-layered, sandpaper vocals down in classic Jim and William JAMC style. A subtle xylophone (or marimba) counter melody emerges as “records start spinning” and “my heart is breaking.” There's a gorgeous, snaking guitar solo weaving it's way through the center of the track, up against that romantic chord progression. A harmonica enters the fray in the latter half as well, on this song that appears to be about a recurring dream. “It always end the same – at 3.45


The not-nearly-as-dark-as the title might suggest follow-up track “Satanic Rites” has more in common with Merseybeat than any kind of “devil rock.” In fact the title references British horror film “The Satanic Rites of Dracula” which apparently in this long-distance-love-lost song is the “only thing left behind” from their initial relationship. The guitar chords and vocals on this chorus combines power, beauty and melancholy.


On to album title track “Things Lost” pairs classic jangle guitar with smooth, low-key Reid-style vocals for maximum effect. A rumination on times past, “taking me back to my younger self” evolves into “boxes of light (that) have disappeared.” Wonderful interplay between an undulating bass guitar, light touch drumming and dominant hook guitars all contribute to a perfect listening experience. Special mention for the keyboards added at the end.  Fourth entry “Whitby” combines a romantic night in that North Yorkshire, England seaside town with more Dracula references. “Looking out at the abbey from Bram Stoker's room” and “no fresh blood on the scene” would suggest as much. Along with mentions of “an everlasting night” and “no reflection in the mirror” make this simultaneous “northern soul” homage an instant classic.


Daylight is Here” pivots off a reverberated “Be My Baby” drum into and easy-groove guitar line. With verses delivered in that now familiar Marcus style, the songwriting brilliance of having a guitar melody running simultaneously in-tandem with vocals is always a delight. A song about staying “to hear the bands last song” and missing your train is a truly relatable commuter choice. A lovely twangy guitar solo provides an audio link between night before reverie and this early morning comedown.   “Red Wine Kisses” powers along a 4 chord progression that melds bright chiming guitars with snaking bass progression and slap-crash drums. A lovely female vocal harmony pairs with Marcus on the wistful chorus that goes “Red wine kisses – I'm sure gonna miss you – even though it never began.” The appropriately placed guitar solo is once again, exquisite.


Dark Sails” rides over a bold and buzzy anthemic lead-guitar figure with acoustic guitars strumming underneath. Quaint lyrics about getting “a postcard yesterday – strange in this digital age,” are delivered with classic 90's MaryChain/Chapterhouse aplomb.  An angelic female voice returns to harmonically enhance the title-line chorus.  Additionally, subtle keyboard elements appear as backing on subsequent verses and again at the songs conclusion.  “Demonic Eyes” joins a plaintive guitar-melody hook with tambourine rattle percussion. An introspective look at oneself via train ride through nostalgia that includes actors circa 1964.   “Do you explore?” is the essential question. It's answered earlier on, with “people so intimate – I'm eager to explore.”


A shimmering guitar approximates the audio equivalent of what song title “Torrential Rain” might sound like. Straightforward hard charging bass guitar and drums lock down a solid rock rhythm. Lyrically referencing an “overgrown cemetery,” “angels with moss faces” and “broken tombs,” leads to a search for “something to make me feel alive.” The final minute instrumental end-out is truly magnificent and soooo MaryChainy.  Final cut “Last Tram” emerges out of distant clangs before laying down a bouncy, merseybeat groove.  A rising counterpoint bassline adds an unanticipated additional melody to the progression.  Further unexpected elements develops in the form of an intimate spoken word end-out. “I'm always chasing the girl with the Autumn coat,” he states - “and the last tram that never arrives.”

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


Follow The Suncharms on their Social Media  -  Facebook  -  Instagram

Previous Features on The Suncharms on this site can be found Here and Here


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

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Back in February of this year, the DCW audio-scope did a thorough listen and breakdown analysis of talented and multi-skilled artist Julian Shah-Tayler's full length album “Elysium.” With both that album and this particular deep-dive review receiving critical raves from the most discerning listeners, the hope for a follow-up combination was anticipated. We have now arrived at that point with a new single from the artist having recently been released. A full investigation into this new song and video for “Fall Apart” follows below.


As the video opens with morphing imagery of stylized boy and girl animation (credited to Kaiber AI), synthetic keyboard tones reminiscent of the classic AHA track “Take On Me” poke out an instantly catchy melody. Briskly paced percussion also conjures up an 80's feel, complete double-clap accents on the turnarounds. “You can watch my life fall apart - in broken hearts - before your very eyes” Julian sings in his familiar Bowie-esque style. A song of heartbreak, there's no bitterness here as the singer instead shows how much they still care, focusing on his lost lover's “beautiful eyes.”


An enticing synth-bassline stands out in the open sonic spaces as a second series of lyrics evoke images of “skin on skin” and “violence suffered all in silence.” The emotional churn continues where an attempt to “show you paradise” deteriorates into “ split our needs in two” ultimately leading to a dramatic audio peak on the final word of “a reality I just can’t face.” Classical strings (via synths) accent the lyrics on subsequent passages, along with fluttering percussion rising up underneath it all. A cascading buzzing drive to conclusion that includes real or synthetic guitars brings everything home.

Check out this amazing track here:


Connect with Julian Shah-Tayler/The Singularity via his Social Media here.


A Previous Feature on Julian and his music can be found on this site Here.

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Monday, September 25, 2023

Mesmerizing Recognition of Recently Released Music and Video

Compelling new releases kick-off the Fall/Autumn DaveCromwellWrites music review feature. Long-time indie-legend dreampop recording artists share space here with newer experimental ambient creators, and post-gaze, power-pop psych-rockers. Deep dives are the order of the day, with an attentive ear for sonic details still the primary focus. Audio, photos and video continue to provide the inspiration for this careful analysis.


We American's who haven't been afforded the luxury of traveling abroad and traversing the globe occasionally are unsure of exactly where certain country's are. Take Estonia for example – where exactly is that? Trusty internet searches are the charm these days and one can see it is one of those former Soviet Union locales that borders the Baltic Sea and Gulf of Finland – now considered Northern Europe. The reason for this particular curiosity is a relatively new release from Estonian dream pop band Pia Fraus. Having heard about them for years, it was eye-opening to discover they've been at it (off and on) for 26 years! Their latest album 'Evening Colours' is out now on digital, with a vinyl release set for September 28th. The Cromwell focus on these artists work is long overdue.


Opening cut “French Exit” comes on with an instantly romantic feel (which will extend through all the songs). The guitar riff hook is of the descend-then-rise, start-stop variety, with drums providing a counter motion throughout. An advance promo promise of “shimmering layered male-female vocals” makes an immediate entrance, bringing to mind what Sune and Sharin did so well with The Raveonettes. Chorus hits and the dreamgaze feel goes into overdrive, with full ambient washes and melodic guitar figures.


Follow-up track “Fog on the Hills” is quicker, breezier – giving off a more gentle, wistful vibe. That is until the chorus hits and then it's full-on gazer-romance, tugging at that music-to-fall-in-love-with-someone feeling. Frequent use of minor chords shows depth and sophistication in the songwriting. The drumming is once again, fantastic – as are the synths and voices. Album title track “Evening Colours” continue the sugar-coated voices and add subtle pitch-bended guitars to compliment that Raveonettes-style twang. Soaring strings lift everything onto a cloud of angels. There are higher vocal notes hit here, and the bass guitar makes its presence felt in positive groove-oriented ways.   


Sunny Afternoon” combines slashing guitars, synth highs and sophisticated phrasing that incorporates major, minor, 7ths (4ths?) voicings in their easy breezy sentiment. For those who can imagine a joyous day of wind in your hair and warmth on your face. “Who's the Envelope-Man?” relies heavily on orchestral synth washes, as those familiar sheering tandem female vocals push everything forward. Angular pauses within the song structure creates space for cleaner guitar lines. Drums, bass and piano skillful lock to each distinct rhythmic change.


Regret Everything” comes on quicker in pace, adding flute-y synths for instrumental expansion. Driving bass and drums propel the tandem female voices along against a bed of synth ambience. “Confidential Information” adds a level of pitch-bended “gaze” guitar to the now anticipated Swingle Singers style vocals and rapid-fire drums. Chunky, chiming guitar chords and a bit of organ emerges into the mix as well. The curiously titled “Another Artichoke” introduces a subtle new dimension by adding occasional horn sounds to the mix. Clearly discernable lyrics state “please hold my hand at least for one more year – I'm so tired and the end is near – you know you're better than nobody else . . . don't let me go that's all I ask of you.”  


Cloud Winterland” veers back into the gazey warble guitar world, with placid open spaces intermittently staged for dramatic emphasis. “We Melt” picks the pace up once again, with unexpected and refreshing sharp turns and quick breaks. The central chorus and lush and bathed in a dream-gazey wall of euphoria. “Lost in Nights” closes out the album with it's most romantic and soulful groove. Subtle pitch-bended guitars share space with more traditional strings. Those alluring female vocals strike the perfect balance between nostalgia and longing.

Much respect to guitarist Rein Fuks for writing and arranging 99% of this masterpiece.

Check out this incredible album here:


Find out all the ways to acquire it here.

Follow their Social Media here:   Pia Fraus   -  Sek Sound

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Back in May of last year, DCW had the opportunity to dig deep into advance track “Normal” by Héctor Caolo Alvarez run project Sueño Con Belugas (I dream of belugas – whales). That ambient tour-de-force is now included along with five other cuts on the recently released EP “Memoria Cósmica.” A cast of familiar names like María Lopez (Malow) on vocals and synths, Gardy Pérez on Guitars, Loops / Delays are joined an equally impressive group of various other contributors.  A full review of all six tracks follow below.


EP opener “52Hz / Agua Atómica” emerges quietly, floating on gentle guitar strumming with overlying noodling effects. A singular synth introduces the next movement about two and a half minutes in. A minute late a full drum beat kicks in, along with distant vocals over top of a ominous, crawling progression. Heavier guitars begin slashing their way momentarily into the mix, before the percussion drops out and female vocals become more prominent. The groove kicks in once more, with a throbbing bass leading the way over drum crack and layered male-female vocal tandems. Soaring vocals drive this mysterious over nine minute epic to it's conclusion.


Follow up track “Caracol” combines nature field recordings with Spanish language spoken word. Distant ambience is blended with the sounds of birds tweetering along with a rising level of otherworldly synthesis. A bass pulse emerges gently, before fading out with this relatively brief reverie. As mentioned above, third entry “Normal” receives a full detailed review HERE.


Fourth cut “Fantasma” starts quietly, with soft acoustic guitar that is soon met by additional laid back half-spoken, half-sung Spanish vocals. Ambience begin to build up underneath with loops and delays creating a magical dream world. “Gris” returns to more traditional rock stylings, with guitar, bass and drums pumping out the rhythms and progression for maximum effect. The chorus hits quickly, with elevated lead female vocals driving it all along. Male voices take their turn briefly on a line or two, before the blended voices mesh with soaring guitars on lofty passages. Extended instrumental segments emphasize the melody progression, driven by that ever present bass guitar, drums and chiming guitar hooks.


Epic final entry (the EP's longest at 9:45 in length) “Detrás del Volcán / Memoria Cósmica” builds up from a quiet hum, as female vocals slowly begin to shed light on the proceedings. Drums enter quietly, along with additional layers of vocals and shimmering guitars. The midway, separation point moves bass guitar out front in the mix, as everything transitions to an ambient world where beluga whales swim free through the cosmos. A final third movement emerges with pulsing percussion, shearing guitar textures and a clarinet move forward for the final fade out.

Listen to this dreamy recording here:


Follow the band and label releasing this record here:


El Gran E Records: - Facebook - Instagram - X/Twitter

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Finding their way into the DCW mailbox is the Seattle based guitar-centric band Guest Directors. They've just released their first full-length album “Interference Patterns” that features nine songs drawing from the bands entire lifespan. Building up to the complete album drop, the band has given some of the tracks video treatments. Most of the audio was recorded in a beautiful old church in Anacortes, WA. Released by Topsy Records in conjunction with Snappy Little Numbers Quality Audio Recordings. Available on Bandcamp, a few choice indie stores, and streaming everywhere.


The more recent (second) video put out for deeper track “Nico” kicks off with straightforward four-on-the-floor drum thump that's soon met by chiming guitars. Chords shift quickly while a melodic guitar line rings along over top. Female vocals emerge with a doubling effect, that gives it all a timeless vibe of 60's era rock. As the video shows appealing patterns of vintage psychedelic floating projections, subtle human images are briefly embedded in as well. A gorgeous, instantly hooky chorus is then revealed, with full-band enhancement and lovely multi-tracked vocals. As the second verse moves forward, a noticeable change in the drum pattern shifts to more two-hand, tandem strokes on the toms. The bass guitar also becomes prominent, with the open spaces allowed for that instruments melodic movements. A burst of guitar soloing emerges at the mid-point, reinforcing that 60's psychedelic-rock vibe. One more softer verse cycle through with busier drums and bass, before a final glorious chorus and sparkler enhanced end-out.

Check out this great track and imagery here:



The album's opening cut “From This Distance” was first to be given a video treatment, kicking the whole record off with appropriate style. As the drummer counts everyone in, visions of lofty mountain ranges are superimposed against colorized images of the band playing their respective instruments. It's a slithery-gaze groove that employs expectedly sheering guitars and an out-front rubbery bass pattern. Opening male lead vocals are soon met with female counterpart harmonies. It's a harder, heavier version of the “gaze” genre, with down-pounding strokes via those essential rock instruments – guitars, bass and drums.

Groove into this badass video and song here:


Follow up track “Perfect Picture” quickens the pace with a more frenetic approach, and the lyrical hook line “trapped inside your head.” Stimulating forceful sonic breaks keep the listener engaged, avoiding any level of predictability. “Raise a Glass” ambles along with an easy groove vibe. Female vocals stand out front in this near-ballad offering. The minor key driven hook “but you fall apart, and the cold winds blow” and again “when the sun shines through your window” suggests any “glass raising” isn't necessarily celebratory. A heavy guitar mid-section adds crunch to the overall proceedings. 


Blackout Dream Blues” lumbers along with doom-laden underpinnings as impassioned female vocals lay out a tale where you “drown, drown, drown.” Tasty guitar figures are never far from any of this bands songs, and this one is no exception. “Skinless” emerges out of twisted guitar phrasing, one entering from the right, followed by the second on the left side of the mix. Heavy bass guitar and drums drive a thundering rhythm down the middle. Those female voices deliver the lyrics in higher register, with an elevated level of passion.

Dig into the complete album, with info on how to acquire this record here.

Follow Guest Directors on their Social Media:


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