Nuanced Views on New and Upcoming Music Releases

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

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

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

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

Listen to this perfect slice of power pop here:

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

Order the album here

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

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

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

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

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

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

You can stream these tracks right now on Spotify:

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

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

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

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

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

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

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

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

Check out this captivating song and video here:

PRE-ORDER ‘made it!’

Follow lucky break on      Instagram     -     YouTube     -     Spotify     -     Bandcamp

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

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

Listen to this charming track here:

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

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

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

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

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

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

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

 Follow the band at their Official Website

Tapete Records can be followed here:    Facebook     -     Instagram

Proxy Media can be found here

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Comprehensive Exposition on Innovative New Music Releases

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Connect with Under The Sun here on Facebook and Instagram.

Connect with Shoredive Records via their extensive LinkTree

A previous DCW feature on this artist can be found here

Along with a recent Shoredive review feature here.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Follow Northway on their Facebook, Instagram and TwitterX

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

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

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

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

 

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

 Check it out here:

   

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Bewitching Reviews of Enchanting New Music Releases

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

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

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

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

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

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

Check it out:

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

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

This one comes with an official video:

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

Check out this entire albums multilayered distorted dreamscape here:

You can acquire the album from Shore Dive Records 

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For vinyl editions, go here.

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

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

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

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

Check out these two seasonably cool tracks here:

Follow The Suncharms on their Social Media - Facebook - Instagram 

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

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

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

Check it out:

You can pick up the album here.

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

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

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