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.
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:
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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.
A combination of new and returning artists provide the material and inspiration for this August 2024DaveCromwellWrites 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:
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.
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.”
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 CÃosóig 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:
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:
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:
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.
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.
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.
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.”
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:
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.”
Dave Cromwell has been writing about music since the dawn of the internet age. In addition to the steady flow of features here on this site, he has been a regular contributor to The Deli Magazine (both Print and Web) since 2010. With numerous Print Issue cover features and weekly contributions on the Deli website, scores of artists have received the Cromwell point of view. Along with ongoing contributions to this site and The Deli Magazine, Dave has written for Dingus, My Social List, The Waster and Soma website magazines.
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