Four exciting new releases serve as the comprehensive focus here in this late summer DaveCromwellWrites Feature. Along with trips to the pool (providing opportunity for a growing “pool cast” phenomena), time has been carved out to investigate and ruminate on some of the more thought-provoking new music releases. Old friends and new share space here, with descriptive representations fully accompanied by the music they choose to share with the world.
It’s inevitable that prolific artist Julian Shah-Tayler (a/k/a The Singularity Music) would have new music to experience. A creative who’s always working, his output has been featured here at this site numerous times. Along with his primary focus on a solo career that continues to grow, Julian engages with live audiences through his wildly popular Electric Duke Bowie Tribute show. This latest original music takes things in a darkwave direction, exploring subtle, mood-driven suspense and cinematic atmospheres.
Hard snare-shot drum beat and throbbing bass guitar kick off new song (and video) “Just You Wait ‘Til I Get You Home.” Unsettling melodic tones emerge as video images of a man in a dark coat (looking suspiciously like Julian) moves through film-noir lit rooms, some with tape recorders and cassettes scattered on desks. As vocals emerge with those familiar Bowie-esque tones, a story of laying “awake at night waiting patiently for my nightmares” is told. Shadowy rooms and unoccupied hallways are pulled into view, leading to a running reel-to-reel recorder and the Julian/Darkman holding a dated reel (March 17, 1992).
Midway through shows Dark Julian closing filing cabinets in a grimy, trash-strewn room, as vocals rise in pitch on lines “thinking of you.” With the ominous melody line returning, a chant of “I’m waiting, I’m waiting” arrives, first softly, then more prominent as the beat drops out. Pulsing bass and distant sirens are heard, leading up to a distorted instrumental solo and glitch-cut sonics. As the darkman hunches over his tape recorder, a single “interrogation” chair is again focused on, having appeared throughout the video. Vocals now float with dramatic emphasis on lines “Oh, the things I’ll do to you” and overall theme “Just you wait till I get you home.”
Check out this brilliant new track and suspenseful narrative video here:
Follow Julian all across his Social Media via his LinkTree here.
Previous Features of Julian can be found on This Site - here - here - here - and - here.
* * * * *
Another musician who is always creating new works is the Baltimore-based recording artist Andres Alfonso Lugo Cruz. While simultaneously producing a number of poetry books, he composes and records music under the name Los Dientes Hundidos en la Garganta (The Teeth Sunk in the Throat). Having already reviewed a number of those works here on this site, a new entry “AL OTRO LADO DEL OCÉANO” (On The Other Side of the Ocean) is now featured. Once again playing all the drums, bass and guitars, ethereal voices are provided by Gene Santiago-Holt aka Moyogash. Inspired by Andres 2024 poetry collection Postropodicea, everything was recorded and mixed at his Where Are We Going studio lab.
Subtle waves of churning ambience rise up from misty depths, as asymmetrical percussion attempts to establish some kind of beat. Heavily submerged voices provided by Moyogash wash through underneath, adding an element of mystery and wonder. The percussion moves about in a natural sounding way, avoiding more rigid, mechanized rhythms. An angelic hue is cast as a wider net of spacious audio fills this sonic field. As this supernatural feel intensifies and expands, the beats (now enhanced by cymbal-like splashes) lay out fractured patterns of dynamics. Never static in their execution, these beats will drop out momentarily, allowing ambient space to command the listeners focus.
Voices float up again into the mix, as waves of flowing textures rise and then slowly recede. What sound like field recording sound bites momentarily join in. Or perhaps not, and instead your imagination is set loose to create these elements from your own internal audio channels. With those synapses now fired, the sensation of being led through a jungle or tropical forest serves as an inspired journey. Voices continue to float through the sonic spectrum as deep and powerful audio washes abound. The tracks final minutes find the percussion getting busier with multi-strike shots rumbling throughout. Wind rushes, distant whistles and throbbing string notes lead everything out to it’s conclusion.
Listen to and find out how to acquire this visionary audio journey here:
Previous DCW features on this artist can be found - here - here - here - and - here.
* * * * *
One more ambient instrumental collective circling the DCW orbit is Peruvian label Chip Musik Records. They have focused on releasing emerging artists that specialize in experimental and avante-garde music since 2007. A new entry into their catalog is an over 20 minute sonic journey by local project ion axs. Titled “Ceremonia Disoluble Procesión para nevados” (Dissoluble Ceremony. Procession for Nevados), the piece draws it’s inspiration from the Huandoy Nevado mountain range of the Andes. Allowing for a slowly developing experience, words begin to flow from this transformative audio journey.
A deep bass note is the first thing you hear as the piece commences. Slow and deliberate, ominous overtones join in as the bass notes measure out a subtle progression. A steady drone rises and then fades back. Descriptive liner notes indicate a desire to create through sound the immensity of traveling through this stark, beautiful landscape. Combing field recordings with synths and studio manipulation creates a meditative mental state that fuses with natural surroundings. Anyone who has gone on a long journey through mountainous terrain can relate to the hyper-alert, sometimes hallucinogenic feeling you get.
This recording approximates that through its repeated “dissoluble” textures of disintegration. Midway through, the piece introduces additional instrumental elements, like ancient wind instrument know as pututos. These ceremonial trumpets pre-date Spanish culture, going back to the Inca empire.
Deep bellowing and higher-pitched flute-like textures float in and out, while rough-scratch abrasiveness shares space with a steady repeated drum strike. As the audio journey fades to it’s conclusion, the sense of oneness with this geography creates a portal to inner contemplation.
Check out this meticulous introspective adventure (including how to acquire it) here:
At the beginning of this year, DCW was introduced to Italian record label I Dischi del Minollo. Vowing to avoid a single style or genre of music, the company focuses on a wider variety of sounds. While progressive instrumental music served as the initial feature here, vocal rock music is now presented for review. Venice, Italy’s Mother put out a full-length album recently titled “The Stars Within” that draws inspiration from 90’s alt rock and more. Listening to what they’ve created now inspires thoughts on it all.
Leadoff cut “Magic Lungs” kicks things off in full thundering motion. Hyper-strum guitars and speed rolling drums power anxious lyrical emo aggression alternating with melodic interludes. The title comes early with a declaration that “there’s no more magic in my lungs.” Precision sharp turns come locked between bass, guitar and drums with head spinning frequency. Melody arrives more fully on a chorus that states “I'm gonna push, push up daisies, before u will get what I’m saying.”
Second entry “Blaue Reiter” takes a more angular approach, with quick start/stop rhythms between half sung/half shouted vocals. A dramatic pause is followed by tempo change under lyrics “I want to dance the night away, eatin’ sun ‘n’ drinkin’ rain.” It’s impressive how many subsequent hooks are packed within this 3 minute song.
“To You, Red Giant” manages to work in multiple movements in even less than 3 minutes. The initial burst of guitar-riff and drum driven propulsion is quickly paused for a near-acapella harmony vocal asking “how could you love safely. If you never loved your scars?” Once the full chorus is reached, it’s sing-along time on lines “I’m giving you my hand, it can be late to make amend.” Special mention to the momentary bass guitar outburst following the line “you’re cold as stone.” Another interlude soon follows, with one more tempo shift complete with sharp accents and soaring vocals around repeated lyric “is it just a loop?”
Check out the video for this blistering track here:
Other tracks like “Star Rover” also come with an illuminating video combining effective animation with band performance clips. Inspired by author Jack London’s 1915 novel of the same title, a parallel is made between the books story of triumph over physical abuse and their own aversion to meaningless pursuits. Multiple segments blend angsty emo-rock (“Forgotten – At office – In a coffin”) with calmer interludes (“Lay things low”). The songs final minute taps Beach Boys style harmonies and Beatle-esque/Sgt Peppers-like instrumentation for redemptive lines “there are no savings to save,
by now I’m dancing with days.”
Check it out here:
One more song benefitting from video treatment is deeper track “Chamomile,” presented visually as an interpretive performance in stark black and white. Lyrically it portrays the journey of a bands evolution from young dreamers to more experienced adults. “Do you recall listening in that tiny place,
how our lives could change” is the initial question asked. It’s a musical love-letter to their past and present, filled with melody-filled guitar riffs, fluid bass and throttling drums. “Feeling something,
missing something, yearning something, longing for things” leads to the universal query “how will I spend the rest of days?”
Enjoy this one here:
Listen to all the the album’s tracks here, and find out how to acquire it, as well as some cool merch from the band.
Longtime favorites and brand new-to-this-site artists are the featured music reviews here in the latest DCW. Advance singles come in anticipation of a new full length album by an accomplished still-in-their-prime creator. Furthermore, a single release is reviewed from a similarly positioned lyrical composer. Two other first timers here receive thorough analysis via a complete full length recording and alternative video single release. All of this new output provide the perfect soundtrack for your relaxed summertime listening.
There’s more that a little bit of history with musician Frankie Rose here at DaveCromwellWrites. In additional to all the live shows attended through her various alliances in multiple bands (as well as solo shows), an extensive album review of her 2017 masterpiece “Cage Tropical” was a particular highlight. Now the news of her latest record “Hila” being set for full release in the coming days is something to look forward to. Two advance singles have been released from it so far, providing early opportunity to dig into it’s sonic details.
Immediately blown away by the sound of first single “Cant Be Wrong,” the sheer brilliance of it’s studio production and creativity in vocal layering is transcendent. That it was all self-produced in a home studio (with collaboration from Jesus and Mary Chain drummer Justin Welch) is even more impressive. Opening with an instantly catchy higher-end synth keyboard melody, the syncopated bass synth against it brings to mind the 80’s new wave funk of a band like The Human League. Stabbing keyboard chords on top only add to that feeling.
Frankie’s vocals commence and you are instantly taken away to a magical place of wonder and nostalgia. That you can barely make out the words being sung doesn’t matter all all. It’s all about feeling and it’s gorgeously romantic. Exceptional production values have the end of vocal lines swirling upward, blending seamlessly with the overall sonic wash. Rising to a pinnacle, the hook becomes her “I love the way you are” and “tell me” and “cant be wrong” vocals immersed in the swirl of keyboards and magic.
The track comes with an equally impressionistic black and white video depicting the artist walking on the beach, morphing in creative ways. Check it out here:
A second single and video for the song “Manifest” has now been released. Moving Tarot cards opens the video as Frankie sits within a circle of candles. The mood is dark with a heavy percussive groove that conjures thoughts of The Sisters Of Mercy’s gothic dance tracks. Vocals are multiplied and chorused for maximum chilling effect. Soon images of atomic bombs, people running in the street, burning buildings and airplanes descending all serve as stark reminders of the ticking doomsday clock we all live under. Frankie appears singing behind water sprayed plexiglass, then four panel quadriptych, as the tarot cards continue to turn. Her voice soars on primary vocal lines, while a higher level of responding voices add an element of urgency to it all.
In addition to familiar artists who’ve been reviewed on this site more than once, previously unheard musicians often find their way on here as well. Such is the case with French creator Thierry Haliniak and his project My Raining Stars. Having connected earlier this year via Social Media, a notification of his recently released new album piqued curiosity. Titled “Toy Club,” the collection is a collaboration with longtime friend Didier Frahier (E-grand), whom he has known for over 35 years. The process involved Thierry sending stripped-down demos of songs he wrote to Didier to shape and arrange the overall sound while preserving the original vocal melodies and song structures.
What came out of that are nine indie dreampop tracks that draw from late 80’s and early 90’s Creation Records, C86 and Sarah Records influences. To put further emphasis on that, the album was mastered by Ride lead vocalist Mark Gardener. The title "Toy Club" pays tribute to the small club in Lyon, France where the two friends first met and discovered the British indie music that had a profound influence on them. Released on Shelflife Records in the US, and Too Good To Be True in the UK and Rest of the World, a careful listen and detailed review of this music follows below.
Opening track “Wherever” kicks things off with chiming indie-jangle guitar chords that instantly grab your attention. It’s primary 4 chord progression soon commences, fully formed with drums and bass. While verses are melodic and lyrically sincere, the chorus hits hard with the title word embedded in catchy hook lyrics “wherever you are, I do my best, I don’t on tight and try to live as good as I can.” Tasty electric guitar leads follow over those slashing guitar/bass/drum rhythms.
Follow-up cut “Kind Of Light” features a chunky guitar rhythm in the style of The Rolling Stones ‘Under My Thumb.” Lyrically focusing on love that starts out well but eventually turns bad, the double-time chorus states “you do not need me to bring this new kind of light in your life.” Ethereal background vocals on the second chorus pass through and songs end-out add a dreamy quality to it all. Third entry “Silent Girl” builds out of an easy groove shuffle, powered by drummer Casper Iskov (who also plays all the bass guitar on this album). It’s heart-tugging and emotional when Thierry sings “I can’t believe I won’t see you again” and “nobody knows how much I miss you.” Brilliant lead guitar work bridge all the passages together seamlessly.
“In His Heart” is a poppy whimsical number recalling how friends helped “to fight the lack of confidence that was inside him.” An instantly likeable, catchy melody where “comfort” in “difficult times” are remembered and “engraved in his heart.” Midpoint track “Fine” emphasizes rich keyboards, jangly strummed guitars and that ever-present rock-solid bass & drums rhythm section. Thematically wrestling with the wonder of youth and how that diminishes over time, “you would give everything to feel that way again.” However, you come to “realize everything has changed and nothing feels the same” because of so many “regrets.”
The subject of sudden loss is explored on the track “It Will Take Me A While.” Embedded in a jangly guitar driven, heartfelt song are the emotions dealing with having “to accept your absence.” While one can only “wonder if you can seem me from beyond,” all that is left to do is “honour your memory.” “Priceless” bursts forward as a hard charging rocker. Understanding that “freedom is priceless, and I know that time files,” the desire to “stop wasting my time” becomes paramount. The overall relentless driving progression gives this one a more punk-pop feel.
Penultimate track “As Far Back” is bass guitar heavy and groove oriented, with it’s descending chord progression and sinewy guitar figures. A thank you song to “Dad” for his sacrifices and dedication to his children’s happiness. Final song “Till The Time Comes To Leave” uses acoustic guitars to lead the way through this power ballad. A variety of audio textures accompany the story telling, none-the-least being some brilliant electric guitar melodies. A particularly enchanting higher-register background voice joins in on a chorus that goes “we will dance all night she said, we will dance till the morning light.” With that voice joining in on subsequent passages, the title line comes into focus when “it’s time to say goodbye.”
Listen to this wonderful album (with info on how to acquire it) here:
Follow My Raining Stars on their Social Mediahere and here.
Another new-to-this-site entry that arrived through the frequently accessed channel of promotional pr-to-the-press is Australian pop star daine. Announcing a debut album “In Endless Awe & Agony” due November 6th via Pack Records, an advance single for “Love Love (Love Love)” presents as good of an entry into the music and visual appeal one could possibly hope for. With this artists stated desire to fulfill their unique, authentic self, a closer inspection of this particular joyful song and video commences below.
As the video displays quick-cuts of the artist dancing around in various locales, it’s hard not to be immediately drawn in to the youthful beauty and energy on display. Buzzing synths and a 4-on-the-floor pulse beat establish the sonic groundwork for appealing vocals over top. A percolating percussion enters the mix as the lyrical question is asked “it is worth all that you give?” Vocals are doubled on an instantly catchy chorus that goes “lay low, then wonder where your friends go again // maybe you could stay close and give yourself another whirl.”
With many songs, that might have already been enough of a “hook” to satisfy, however daine takes it to another level with the swirlingly euphoric refrain “love, love, love, love - your heart is second to none” and “I’m living in the echo of us.” It’s full-blown dance music for sure, but sonic references to The Psychedelic Furs “The Ghost In You” come to mind, with it’s similar “love, love, love” refrain in that classic 80’s new-wave song. Short, melodic keyboard licks and deep booming drums further emphasize the rich audio quality of this studio recording.
The purring verses continue with lines “it takes it out of me, to always wear that mask” with a louder overlay of the word “stop!” seemingly as a form of internal motivation. Combined with this video imagery displaying energetic (and super-cute) dancing, is an aural quality that dips into the Charli XCX realm. Layering voices with a higher register delivery on a bridge that states “it’s hard to be yourself, even though no one’s around” ultimately demanding friends to “get out of bed and come see me.” The glitch-pop textures bubbling on the very end becomes a cherry on top of this intoxicating sundae.
There is a fair amount of history here at this website with the artist John Dorian, who has now released his latest single release “Love I Remember.” First meeting back in 2017, a number of live shows attended and reviews written over the following few years covered his band at that time HerMajesty. Always impressed with the level of creativity and musicianship, the announcement of this new solo release from John is a welcome one indeed. A careful inspection of the songs origins, inspiration and most importantly how it sounds follows in the detailed review below.
Continuing to Collaborate with high-level musicians, John co-wrote this new track with multi-instrumentalist Julian Harris. He then engaged with The Church alumni Marty Willson-Piper to arrange, provide original production and perform electric guitars on it. The final production came from Michael Beinhorn who also oversaw the final mix done by engineer Anthony Gallo at Virtue and Vice Studios in Brooklyn.
The three and a half minute track opens with John’s voice mostly solo (with only subtle guitar enhancement underneath) repeating essential lines “Love, Love remembers your name.” Full band kicks in right after with co-writer Julian on bass, acoustic guitar and keyboards, Marty providing lead guitars and longtime drummer Konrad laying down a rock solid beat. The vibe is swirling 80’s alternative pop with jangle guitars and big melodic keyboards. John lyrically elaborates that “love takes your hand to the end of the road,” and that “there is grace, in her flesh, in your soul.”
John’s familiar slightly-raspy mid-range vocals are poignantly expressive, periodically enhanced by additional collaborator Sirintip Phasuk (Tippan) who arranged and performed backup vocals. Lyrically inspired by Austrian poet Rainer Maria Rilke’s First Duino Elegy, John explores human limitations and romantic traps with lines “On this road you’ll find choice, regret, and forgive, so give, give to the one in your soul.” Reaching a crescendo in the song with the declaration “she’ll wave her arms and break our fall” opens up space for an ambient interlude of background voices echoing the songs theme. The tracks end out is lush with bass guitar becoming more noticeable in the mix and John’s final recitation of the title line.
Check out this creatively crafted piece of music here:
The live show coverage continues in full force here at DaveCromwellWrites. With the first half of this year favoring live performances over new recorded works, that pattern continues here once again. Returning to a venue last visited at the end of 2024, two favorite bands now appeared there for the first time. Having experienced these artists spectacular live shows multiple times at other storied locales, the opportunity now presented itself once more in a unique and well-respected arena.
It was just over a year ago when a show at the House Of Blues in Orlando, FL dubbed “The Goth Prom” was attended. Performing that night (and seeing for the first time) were two of the best Tribute bands on tour. Both Lovesong-The Cure Tribute and Strangelove-The Depeche Mode Experience put on dazzling shows of exceptional interpretation at the highest level. In the 12 months plus that followed, more Lovesong shows would be attended at a number of nearby popular Orlando-area venues. Thrilled to see that *both* bands would be performing together again on June 19th at The Plaza Live made attendance there a must.
Opening the show was the band we've become quite familiar with over the last year. Having caught multiple shows by them all over the Orlando area, Lovesong The Cure Tribute present a stunningly accurate re-creation of that English Goth bands entire catalog of music.
They kicked the night off with one of their most recognizable songs "Just Like Heaven," much to the packed crowds delight.
That was followed by the equally beloved "Inbetween Days" - the whole show was pretty much one Cure hit after another.
With the fan favorite "Pictures Of You" serving as further evidence.
Deeper tracks began to emerge, with the still wildly popular "The Walk"
The moody and mysterious "Fascination Street"
Quirky/cute pop of "Let's Go To Bed"
Trippy fever dream "A Forrest"
Heartfelt angst with "A Night Like This"
An anticipated show highlight was the visually stimulating fire-on-screen projections for "Burn." Robert Smith and peak-era drummer Boris Williams wrote and recorded the track specifically for the 1994 film "The Crow."
Another expected moment was the band playing their namesake composition "Lovesong," which comes complete with romantic video screen images of Robert Smith and his wife Mary.
That was followed by the creepy-cool spider musings of "Lullaby"
Since it was a Friday night, it could have been more appropriate to hear them play "Friday I'm In Love"
They closed out their show with The Cure's first hit and probably most know song "Boys Don't Cry."
There are a number of opportunities to catch Lovesong live in the days ahead.
Getting a second opportunity to see and hear Strangelove-The Depeche Mode Experience on this their 40 years of Black Celebration 2026 World Tour was a thrill once again. With a few back-end personnel changes this time around, there was no loss of quality in both sound and overall performance. Front men Brent and Leo still carry the show, with rock solid drummer Chris (a more live upgrade over electronic beats) and new keyboardist/harmony vocals Kaleb all contribute to a show that the one and only OG Martin Gore says is “such fine detail that's it's scary.”
The show opened with "A Question Of Time," the third single and sixth track on Black Celebration. The visuals of various clocks on the projection screen behind them set the tone for all that followed.
That was followed by "World In My Eyes," an instantly recognizable and wildly popular DM single from their seventh studio album, 1990's Violator.
"Get The Balance Right" was next, delivering a perfect rendition of this 1983 single (and first with Alan Wilder as an official member).
The sometimes maligned "People Are People" from 1984 was delivered with precision. A chart topper at the time, both Martin Gore and Dave Gahan thought the song was ultimately "too commercial" and stopped playing it live in their shows.
Less pop and more in line with darker themes saw the band perform 1985 single "Shake The Disease." Brent leading the audience with his "understand me" vocal is a particularly sublime moment.
Returning to Black Celebration, the moody lead single from that album "Stripped" was played. Sometimes confused with sexual connotations, it's more about stripping away all of your trappings.
A brilliant version of "Halo" from 1990's Violator album.
Brent really puts all his heart and emotion into the tender relationship ballad "A Question Of Lust."
Going back to the early days, 1981's "Just Can't Get Enough" was DM's only 3rd single (and first release in the US), and one of the few to be written by soon-to-be-leaving the band Vince Clarke.
Another early gem, 1983's "Everything Counts" is still so relevant with it's satirical critique of corporate greed.
Since this day was actually Brent's (a/k/a "Counterfeit Martin") Birthday, the guys from Lovesong (and his own band) came out and presented him with a birthday cake, and an audience serenade to him.
The always popular "Policy of Truth" from 1990 album Violator was another show highlight.
As was the deep groove "It's No Good" from 1997's Ultra.
It's always a celebration (black or otherwise) when the tribute band plays their namesake song, as was the case here with "Strangelove."
"Behind The Wheel" is another deep dive into the bands catalogue, from their 1987 album Music for the Masses.
Moving ahead two decades, "Suffer Well" is from their 2005 eleventh studio album Playing the Angel. It was their first single written by Dave Gahan, and first single not written by Martin Gore since the above mentioned "Just Can't Get Enough."
Dipping back into the Ultra catalog, the fourth and final single from that album "Useless" is always a crowd pleaser.
As is the bands most successful worldwide hit "Enjoy The Silence." The Violator track because their highest-charting US single, and has since amassed over a billion streams.
That is rivaled by the other huge Violator single "Personal Jesus." The first release to enter the US Top 40 since 1984's "People Are People," it was also their first gold-certified single in the US.
Closing out the show was live show crowd pleaser "Never Let Me Down Again." A fitting end to a satisfying 20 song concert, leaving everyone buzzed by the incredible audio and visual experience.
A hand signed setlist always a treasured keepsake.
Pre and Post Show chit chat were the order of the day, engaging with our favorite usher Natalie (we see her at Hard Rock Live all the time as well) and of course two of the Strangelove superstars.
Lovesong's Nick Bomleny is always great to catch-up with.
All the fun of the fair.
Recognition for the positive Florida turnout.
The tour rolls on throughout the summer.
Including a number of dates continuing "Love Is Strange" with Lovesong.
Multiple live concerts came fast and furious recently here in the DaveCromwellWrites universe. With two big shows covered in last month’s feature, the most instrumentally intricate showcase attended now receives full coverage right here. It’s a rare occasion when storied musical trailblazers join forces in one single band for a tour. An opportunity to attend an event like this is something you never want to miss. As the rock music world continues to expand and evolve, recognizing true talent and artistic intent will always be a worthwhile pursuit.
As soon as it was announced that legendary ultimate-shredding guitar virtuoso’s Joe Satriani and Steve Vai were teaming up for a joint 40 shows #surfingwiththehydra tour across North American spanning April through May, we knew it was a must attend event. Spotting April 26 was scheduled for our favorite Orlando Florida venue The Hard Rock Live, plans were quickly made to be there. Rather than doing two separate solo shows, the lifelong friends (beginning in their hometown Carle Place, Long Island) created one single band to play the best of their material together. Enlisting an all-star cast of super drummer Kenny Aronoff, bassist/occasional vocalist Marco Mendoza and rhythm/3rd guitarist Pete Thorn, the two front-man heavyweights delivered a brilliant set of their catalogues, both classic and new.
After the shows opening act (more on them later), Joe and Steve came out accompanied by their aforementioned super sidemen, kicking off the show their recent single release "Dancing."
A choppy “Boléro” type rhythm with Joe and Steve’s signature precision guitar soling over top, the song is actually a reimagined instrumental interpretation of Italian singer and songwriter Paolo Conte's original 1982 composition. This updated arrangement was designed by Steve, with it's accompanying official music video (shown on the big screens behind while the band played) directed by Joe's son ZZ.
Sticking with their latest material, the next song was another single "I Wanna Play My Guitar." Co-written by Joe, Steve and legendary vocalist Glenn Hughes (who sings on the studio version) the initial lyrical idea was Joe's. Bassist/Vocalist Marco Mendoza steps up to handle the singing here on the tour.
Choosing one more original composition specifically written for this historic Satch/Vai collaboration, "The Sea of Emotion, Pt.1" rounds out the opening 3-song arc. Inspired by a field outside their mutually attended high school they called this song's title, this heavy chord progression includes sequences they used to jam over when they worked on guitar lessons together.
The next two songs were Steve compositions from his 2022 studio album "Inviolate." First up was "Zeus in Chains" which was released as a single at the beginning of that year.
Emphasizing sophisticated start-stop rock rhythms with precision guitar note fills in the open spaces.
That made way for the next Inviolate song, the fusion-funk track "Little Pretty."
Choosing to play this one on a Gretsch hollowbody guitar instead of his signature Ibanez solid-body model, this sound complimented his complex shifting chord changes.
Shifting over to Joe's catalogue, a four song set of his beloved classics got under way.
As each song was treated with thematic visuals, the image of the band name frozen and dripping with icicles was a particularly clever touch. The Vonnegut/Cat’s Cradle inspired 2nd track off “Surfing With The Alien” delivered a unique performance as Joe and Steve played in tandem for much of it.
Playing the title track to his third album, "Flying in a Blue Dream" had Joe out front and solo, with Steve and rhythm guitarist Pete Thorn laying down support. Like most of Joe's songs, it's a gorgeous blend of blues, jazz phrasing and soaring melodies.
The signature and album title song from Joe's 1987 breakthrough album "Surfing with the Alien" is everything you could want from this brilliant musician. Chugging rock rhythms, pitch bended accent notes and high-speed shredding all over the fretboard.
Jumping way ahead to Joe's 2022 19th studio album "The Elephants of Mars," it's cinematic, Middle-Eastern influenced opening track "Sahara" was given the full live show treatment. Steve comes back into the spotlight to play intertwined melodic lines together, with the projected visuals behind once again coming from son ZZ's video of the song.
Alternating the set once more, a two song Steve arc was up next.
Going back to his 1995 EP "Alien Love Secrets," Steve presented his emotional ballad "Tender Surrender." Against a backdrop featuring his "V A Eye" graphic symbol, this image serves to depict his spiritual journey of inner enlightenment, and higher consciousness.
Reaching the most "showy" portion of the night, Steve stood in front of what looked like a magicians table with a heavy tarp over it. Slowly the covering was lifted off, revealing a massive multi-guitar structure. It was The Hydra - a custom-built triple-neck guitar on a stand. Built in collaboration with Ibanez, the instrument features a 12-string neck, 7-string neck, 4-string fretless bass and a 13 harp strings. Vai plays this composition titled "Teeth of the Hydra" by rapidly switching between the instruments. He taps the 7-string fretboard, alternates open A-strings on the bass and 12-string necks, and frequently flicks the built-in harp strings for eerie, synth-like dissonances. The track is another from his tenth studio album, 2022's Inviolate.
Moving over once more to a Joe featured segment, two of his classics are presented to a delighted audience.
First up was one of his most famous pieces, the high-energy rocker "Satch Boogie." The fifth track from his breakthrough album "Surfing with the Alien" is quick paced rocker that blends blues with virtuoso guitar techniques, highlighted by his signature two-handed tapping.
That was followed by the much-beloved, somewhat controversial "If I Could Fly." One of Joe's most beautiful melodies, the track first appeared on his 2004 album, "Is There Love in Space?" The melody is distinctive as he makes his guitar sing like a vocal line. The "controversy" comes Joe having to sue song-thieves Coldplay, who blatantly ripped off this song for their massive hit "Via La Vida." Knowing they were going to lose in a big way legally, they settled with Joe out of court, and he surely got a huge payday. This song lives on as one of Joe's most uplifting and haunting pieces.
Reaching the penultimate moment of the show, it was back to Steve for arguably his greatest piece ever.
The one so many of us were waiting for, he did not disappoint with his Passion and Warfare masterpiece "For the Love of God." Written in 1990 during a 10 day fast, producing an altered state of consciousness and vision quest in search of spiritual connection. Having been on repeat for this writers life over the past 30 years, it holds a special place in the annals of lived history. The contrast of high-speed playing over a slower moving progression accentuates the sheer brilliance of ascending tremolo notes and descending legato runs.
The final (pre encore) song of the night went back to Joe, with his romantic ballad "Always With Me, Always With You."
Steve soon comes back into the spotlight and the two of them play brilliant tandem and complimentary lines on this 1987 "Surfing with the Alien" classic. Featuring uplifting vocal-like melodies, it's the delicate arpeggiated phrasing that truly stands out. The beautiful sweeping chord progression and song title make it perfect for a wedding song.
Returning for the expected encore, first up was Joe's wildly popular "Crowd Chant" from his 2006 album's "Super Colossal" and then later that year on "Satriani Live!"
It's a super fun back-and-forth participation call-and-response with the audience, where Joe plays a lick and then the crowd is encouraged to sing it back to him (which everyone does enthusiastically). The track has also been featured prominently for some time during the NHL's Long Island team The New York Islanders promotions. Anyone who listens to their games on the radio has heard this open a seasons worth of broadcasts. A fitting tribute for a hometown hero.
The final performance of the night was a cover of the Mars Bonfire written Steppenwolf hit "Born To Be Wild."
Along with Joe and Steve taking the tandem guitar spotlight on this closer, bassist Marco stepped up to take the lead vocals once again. Also spotted was Steve stepping up to the mic and singing hearty background vocals on the chorus. A perfect ending to an amazing concert experience!
Opening the show and appearing on all 40 dates of this tour was the heavy math-rock instrumental progressive metal band Animals as Leaders.
Challenging the listener with their complex structures and ferocious attack, this highly-skilled musical trio consists of guitarists Tosin Abasi, Javier Reyes and drummer Matt Garstka.
Along with the percussive low rumble pummel and fluid guitar shredding, the bands unique light show featured spinning circles that projected colored lights all around the arena.
At times what they were playing moved over toward a more prog-rock style. The above clip shows them sounding a bit like English progressive pioneers Yes at their most frantic. Like the manic speed-driven into to "Close To The Edge" and Steve Howe's tonal quality and fluid notes.
So many styles combined within just one piece. Sophisticated jazz with funky moments anchored by thundering drums.
The Hard Rock Live at Universal CityWalk in general is a great place to see a show.
There's tons of great restaurants to choose from, making for a pleasing dining experience before you head over to the concert hall.
Happy concert goers having a meal before the event.
Find more info on each of these artists at their websites:
Towards the end of 2023, Seattle, WA based gazey-guitar rockers Guest Directors released their first full-length album “Interference Patterns.” Impressed with its quality, that recording garnered a detailed review here on DCW at that time. The band is now back with their follow-up second album, the recently released “Before You Get Broken.” Putting it out again on the TopsyRecords label, the acclaimed Cromwell listen and review follows below.
Opening track “Meet You on the Land” lays out a bouncy rhythmic groove, before bright female vocals commence a tale of sea and sky. W ell placed distorted, chugging guitar chords enhance the lyrical story where “I’ll meet you on the land, but I can’t stay.” This siren song to “keep me on the ground” is ultimately rejected with “no, I won’t stay.”
Listen and watch via their official video for it here:
Follow-up cut “You Are Never” pairs male and female voices together with tandem delivery. Quick paced and clean, higher-register guitar driven, the simple (yet-catchy) chorus stating “you are never done” is almost always universally true. Third entry “Now I Know” builds around dual guitar interplay, with static notes paired against contrasting melodies. Vocals bring to mind the timbre and delivery of 80’s legends Berlin on a chorus that looks back on being charmed by someone insincere. While a touch of Garbage’s Shirley Manson is felt on outro lines “I tried to stop you.”
There’s a distinct Sonic Youth feel to the pitch-bend accented, crunchy guitar chords and Moore/Ranaldo style vocals of “Just Not Today.” Even the snare drum accents and quick-cut guitar figure punctuation give off a lost track from “Daydream Nation” feel.
Accompanied by an official video release, check all that out here.
A laid-back, unhurried groove sets the pace for fifth offering “So Many Somedays.” Dual female harmonies add a fuller quality to the straightforward title-line chorus. However, each of these calmer plateaus is followed by expressive, harsher guitar textures. “Restore Your Soul” flips back to male lead vocals, and with it comes that SY/DinoJr/Seattle late 90’s/early aughts vibe. Slightly off-kilter downstroke guitar chords share space with open-note guitar phrasings. Repeated line “I got caught in the middle” provides a thematic center.
Listen to that here:
Chiming guitars and sharp accent percussion provide the underpinnings for the female voiced “Blame Pandora.” Momentary “Oooooooh-oooh” vocal segments provide contrast to alternating guitar interplay. “At The Gate” continues the alternating lead vocals with male voices telling the tale. A relaxed vibe permeates throughout, with spacious moments between guitar licks for the unfolding story. With “Ahhhhs” now added behind a chorus that goes “standing in line waiting at the gate,” an extended wiry guitar solo cuts in between. The album’s closing track “What Shapes They Take” is a tom-tom fueled, mystical descending trip. Soaring guitar washes flood spaces, creating emotional peaks. Points for the clever lyrics “I thought that you might be my pet - because you hadn’t bit me yet.”
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, Spin and Rolling Stone magazines.
.jpg)
%20copy.jpg)
.jpg)
.jpg)
.jpg)
.jpg)
.jpg)
