Dynamic Reviews of Live Shows and New Music Releases

Leaving the busy place you’ve called home all your adult life for less-stressful pastures is a choice as well as an adjustment. For this writer, people and bands that were seen there regularly are now hoped they’ll come to your new locale. The good news is a number of them have, and the opportunity to catch their shows again has not been wasted. When a new album offers fresh source material along with an appearance, a deep-dive-analysis is the only way forward. As is often the case, some of these shows also introduce performances by artists previously unheard in the live environment.

Beloved and long-time adored band The Raveonettes have been doing a live show retrospective of all their albums since 2024, their first proper tour in a decade.  Feeling a bit of FOMO as they played city after city, it was exiting news indeed when they announced a Florida date for April 1, 2026.  Arranging for a modest road trip, the trek was made from Orlando to Ft. Lauderdale to experience once again the dazzling sights and sounds of this glorious band.

The location was venerable Ft. Lauderdale. Florida venue Culture Room.

 On arrival a lengthy cue was already waiting to get in.

Entry didn't take long, and after opening act Astari Nite (more about them later) The Raveonettes were on stage.

Opening the show with "Blackest" from their most recent album “Pe'ahi II,” it's descending “detective story” guitar melody is instantly recognizable. That suddenly drops out leaving behind changeover “ooohs” and a stark rendition of the songs lyrics. “When I rise on my wave - the moon shows her face. A lonely dot at sea - a lonely girl coming straight at me.”  

Immediately following that was another track from the same album (it would eventually be discovered that the entire setlist would be blocks of songs from one album, before moving on to another) and a personal fave track "Killer."  It's chorus hooks you in immediately with the battle-scarred relationship lines “Kill for love, and make it so I don't care. Most of the time, I felt so alone.”  

On more from that same album with the forward charging rocker "Speed."  True to the song title, it’s fast paced, tasty guitar lick driven.

Choosing to play only one song from their 2003 debut full-length studio album, Chain Gang of Love, they went with the albums most recognizable track "That Great Love Sound."

Moving to their 2005 album Pretty in Black, first up was single "Love In A Trashcan."  

Followed by "Red Tan" from that same album.

As well as "You Say You Lie."

Pivoting to their 2002 debut mini-album Whip It On, "Attack of the Ghost Riders" was up first.

Followed by "Veronica Fever"

As well as the blistering "My Tornado"

With "Cops on our Tail" as a fourth entry from that record.

Shifting focus to their 2007 album Lust Lust Lust, "Hallucinations" was first up from that heady period.

Followed by "Dead Sound"

Then it was on to their 2014 seventh studio album Pe'ahi with "Endless Sleeper." Fuzzy bass, shuffling percussion and deep twang guitar figures alternate between dense layers and open spaces. Lyrically, its one part songwriter Sune Rose Wagner recapping a near death experience from drowning while surfing a number of years back. Sudden bursts of quick flashing pulses match the tracks violent sonic outbursts, which in turn perfectly underscore appearances of tranquility abruptly exploding into violence.    

Followed by "Sisters" from that same album, with it's frenzied guitar destructiveness and sonic landscape of beautify mayhem.

Breaking the album block cycle, they dipped back into Pe'ahi II, for a brilliant rendition of "Strange" with its familiar Every Brothers-style blended vocals.   Then a cover of the 1967 Velvet Underground classic "Venus In Furs."

Perennial pre-encore show ender (and Lust Lust Lust album opener)  "Aly, Walk With Me" is always a high point of every show.

For the encore Sharin took the spotlight singing lead vocals on their 2010/2013 Dr. Martens commissioned cover of The Stone Roses "I Wanna Be Adored."

Along with Sune handing his guitar to drummer Jakob to throttle, while he went solo on the mic for the 2011 album Raven In The Grave classic “Recharge & Revolt” 

Show complete, the backstage shenanigans came fast and furious.

It's always a pleasure catching up with these amazing musicians and great people.

Looking forward to future shows down the road in sunny FLA.  

Follow them on their Social Media at Facebook, Instagram and YouTube.

A complete track-by-track review of “Pe'ahi II” can be found here.

A full review the first “Pe'ahi” album (along with links at the end to 8 other Raveonettes reviews) can be found here.

An interview with Sune Rose Wagner on this site can be found here.

Finally, at full track-by-track review of all 12 "Atomized" song can be found on this site here.

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Opening the show was alternative/dark wave band Astari Nite.

Originating out of the Miami, Fla alternative scene, frontman Mychael Ghost provides a visual center and primary focus on the songs he writes and performs.

Accompanied by a solid guitarist and multi-layered keyboard player, the electronic trio filled this venue with a captivating sound and light show.

“Your perfect light – makes me shine" Mychael sings.

"I always wanted you"

"Bowie In Daydreams"

Cathedral lighting and atmosphere further enhances the power of each song performed. 

The aura is dramatic with touches of goth-rock melancholy. 

"Unisex Games" - vocals draw from Bowie influence in both tone and diction.  Early Peter Murphy (in Bauhaus days) is another point of reference.

Meeting the artist post show is always a rewarding experience.

Follow this darkly dreaming glam wave band on their Social Media - Facebook  -  Instagram  -  YouTube  -  X  -  Official Website 

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There was a period of time in the year 2019 when this site covered live shows by the electro-art collective A Place Both Wonderful and Strange seemingly ever other month. The history goes back even further with a detailed album review in 2018 and very first live show personally attended in 2017. Along the way the band members took a hiatus from apbwas to do other things, including their wildly popular ADVENTURE[s] Robyn Party, acting, art projects and living their lives. After this writer moved to Florida, it was a pleasure to catch up with Russ and Laura in 2024 for their appearance at Crux in Orlando. Now back again for another Crux/Orlando show, the band also has a brand new album “Matter and Desire.” A deep dive analysis on all of this commences below.

Finding inspiration from Andreas Weber’s book “Matter and Desire: An Erotic Ecology,” the band completed their unfinished songs (some 8 years in the making) that focus on “the moment before something changes forever.” Opening track “Intro444” combines ominous background sounds with spoken word lines (delivered by guest vocalist Devery) that state “I have a theory” morphing into “I HAD a theory.” The swirling, pulsing ambiance progresses mysteriously as vocal declarations float in and out “you have to honor me” and “in this house – renewal – creation.” It’s tense film-score sensations as voices continue with statements “to crawl, to walk, to run.”

Follow-up cut “Shedding Velvet” emerges via percolating machine-driven synth arpeggios that have been the staple of club music since forever.  A solid 4-on-the-floor beat powers underneath orchestral melodies floating above.  The rhythm is quick and motorik with synth stabs and ghostly voices adding depth during both it’s quieter and more frantic passages.

Third entry “Crying In An Uber” leans on world music percussion to establish it’s rhythmic base. Vocals are purposely buried deep into the mix, serving as one more ambient element, rather than direct storytelling. Liner notes, however indicate someone is witnessing “an apocalypse happen” (watching nuclear destruction coming this way?!) which would be more than enough to make anyone cry. Cryptic clearly-heard vocal inclusions such as “a light at the end of a tunnel” add more questions than answers to the heavily percussive outro.

“A Map For Birds (Behind The Glass)” is a hypnotic deep space meditation that seduces the listener into a trance-like state.  As the lengthy (over 5 minute) recording evolves, hard-slap percussion, throbbing sonics and female vocals are interwoven for otherworldly effect.  Liner notes indicate they’ve been developing this one in their live shows “for what feels like a decade,” before finally being able to “capture it on record.”

Featured track “It's Not That Bad, Muffin” also comes accompanied by an Official Music Video. Depicting a “Groundhog Day” scenario where Russ repeatedly wakes up at 7 am and goes about his daily routine. Against a heavy synth-stab and trip-hop percussion beat, the image of someone stalking him (Laura) appears, cut in with bloody drops in the snow. As the music rises in intensity, with higher-pitch synth notes cutting through, Laura’s murderous voice drifts in and out with dramatic audio quick stops. Russ ultimately stops in to a bar to get a drink. When the bartender steps away, menacing Laura takes his place, forcing him to make a run for it. However, there’s no escape from “murdering” Laura, who ultimately takes the 7 am wake-up place as the videos final scene.

Check out this deliciously macabre video here:

A majestic orchestral intro is first heard on the ultimately Lynchian rendition of 17th century Irish Gaelic poem “Táim Sínte Ar Do Thuama.”  Numerous artists have covered this authorship-lost-to-time piece with it’s more recognized anglicized title “I Am Stretched On Your Grave.”  For this version, Laura is tasked with an unsettling vocal rendition, with low-end percussion and layered sonics.

Penultimate cut “Vegetation” rises out of a pulsating electronic backwash, with Laura commencing another spoken-word segment.  Much like the dense thickets of its title subject matter, additional audio layers roll in and further obscure ones ability to traverse and cut through.  With a subtle jungle thump emerging, Russ now joins the fray with more intense shouted vocals.

Final entry “Dissociation (A Map For Birds)” serves up an alternate dub mix of previous (behind the glass) version.  With less background activity, emphasis is placed the voices recorded, rising up (and then out) of the mix.  A more playful audio trip, it serves as a perfect closer to this overall fascinating collected recordings.

In addition to this wonderful album's debut (both studio version and live renditions) were many curious sights encountered in this arty village and gallery/bar.

On arrival a majestic and relaxed cat was spotted, seemingly owning the streets outside.

It was soon discovered this was Lulu, the "mayor" of the venue and neighborhood.

With honors this regal individual so obviously deserves.

Being an art space, a variety of vintage photos (1921!) and paintings adorn the walls.

The night's theme was a Twin Peaks Costume Contents and the participants did an amazing job.

Out front with the best David Lynchian band there is.

Thanks for never forgetting to come to Florida!

“Matter and Desire” is on the Re:Mission Entertainment label and can be ordered here.

Follow apbwas on their Social Media:    Facebook    -   Instagram    -   Official Site

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

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Meticulous Reviews of Recent Albums, Singles and Live Shows

Discovering that new music has dropped from bands you know and love is always exciting. The need to experience every note and lyric is a powerful thing that ultimately leads to a thorough track-by-track analysis. Whether it’s a full-length album or an advance promotional single, a detailed approach for the recorded works is essential. Furthermore, the current trend of generational classic rock bands bringing their live shows to hometowns across the globe leads to rediscovery of what you always loved about them. Along the way, previously unheard artists find their way into your wheelhouse. It all adds up to yet another informed literary discourse.

It was towards the end of last year (during the “spooky season”) when we got a first glimpse of The Suncharms forthcoming album “Darkening Sky.” Featured track “Monster to Me (Halloween Version)” was released at that time, receiving a detailed review here on this site. The band have recently put out the entire 12 track album, and with it comes a greater sense of maturity. Once focused solely on singles and live shows, they’ve now completed their third full-length album in the last five years. The time has come once again to listen with purpose and discover the core elements of these new songs.

Opening cut “Midnight Train” leans on a relaxed bass and drums groove with retro organ keyboard textures. Wire-y guitar lines slither through with Stone Roses-like appeal. Vocal maestro Marcus Palmer delivers his storyteller lines with just the right amount of Jesus and Mary Chain vibes. It’s so much about the mood, but there’s thought behind those lyrics. “Names rusted into the pier . . . for 100 years,” is both poetic and sublime listening. The twist comes via it’s minor chord chorus where picturesque lyrical imagery leads to having “never caught that train.” Adding subtle trumpets on the end out elevate everything to conclusion.

Follow-up track “Annabel Lee” continues the thematic by-the-seaside, looking-back poetry, this time wrapped in a perfectly concise uptempo pace. Memorable guitar melodies, fluid bass and drums with organ enhancements are all there. “Love became a stranger” between “me” and “Annabel Lee.” 

“Stone Tape Rewind” blends a subtle country-esque vibe using according and pedal-steel sounding guitar work. Book-ending all that are some classic John Squire-like guitar riffs. “Was that the ghost of you? Was that the ghost of us?” is the lyrical question asked - “locked in walls of blue.”

As mentioned in the intro above, fourth entry “Monster To Me” received a fully detailed review this past October.  “Air Raid Shelter” tells the story of an unexpected encounter where “you told me you were born with your feet facing the wrong way” (?!) “and by the way your lover is still at home and I've nowhere to go.”  So oddly specific, the picture created stands out uniquely. “How can I get home?” the chorus asks – “all the coaches have gone” and “I’m hundreds of miles away.”  Light piano notes sprinkled throughout add a delightful sonic compliment to the proceedings.

“Diamonds” features a more distorted primary guitar figure as it’s dominant sonic force.  The overall rhythm has a 1960’s feel about it, as a tale is woven around someone magical and kind.  Having “diamonds in her soul,” she is found “stepping over insects and butterflies.” 

 “1000 Years” comes on by way of triumphant power chords and big rock arena song appeal.  Boldy uptempo, the story tells of a “lost wish” where one “drifted back” from “a lost romance” and “a wasted chance.” 

 “Motorway Bridge” opens (and closes) with the sounds of cars traveling by, before it’s main progression commences in full force.  Busy multi-note bass guitar and tom-tom drumming creates the rhythmic undertow for chiming guitar figures over top.  The chorus hits “like a dagger” with vocals channeling the other above-mentioned Stone Roses front man, Ian Brown (back in happier times).

Commencing in full flight out of the gate, “Interstellar” bounces along at a spirited pace.  The bass, drums, keyboards and guitar configuration all contribute with the appropriate touch.  Comparing a photo of earth from space to a tower block, “behind each light hundreds of lives both unique and the same.”  The chorus surprises by going instrumentally sparse on the lines “capturing beauty in the mundane - raindrops glistening on a window pane.”  Another trumpet emerges as a lovely enhancement on the outro.

With amusement park sounds fluttering in the background, tenth entry “Ferris Wheel” emerges via relaxed groove driven by acoustic guitar and shuffling drums. Making comparisons between circular movements of coffee stirring and the song-title subject matter, this perspective shows “where it all went wrong.”  What is supposed to be casual fun, actually provides insight on “silent screams” and “hidden fears.”  A gentle twangy guitar solo playfully dances against counter-melody bass lines up to the songs final notes.

Ice clinks introduce the electro/acoustic driven penultimate track “Winter Sun.”  With a rhythmic cadence not unlike the Church’s “Under The Milky Way,” it’s western frontier vibe is dappled with subtle instrumental touches.  Extended note synth pads stand out, while banjo-like figures are heard off in the distance.  As expected, the bass guitar is ever-busy throughout, and brassy synth-fills emerge to provide further sonic depth.  Lyrically reflecting on “what might have been,” it seems that “no spark was left for us.”

Final track “A Snowstorm” uses ethereal flutes and horns to augment an easy-going guitar-strummed rhythm.  The ghost of Lou Reed’s Velvet Underground floats through it’s lyrical cadence on picturesque verses.  While the chorus leans on melodies with images of “a snowstorm outside a room lit by streetlights . . . poisonous fire” and “desire,” a dreamy ending perfectly sums up this gratifying album.

Listen to and find out how to acquire this dreamy album 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, here and here.

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

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When the opportunity arises to catch one of your all time favorite Rock and Roll bands live in concert, you’d be a fool to pass it up. Discovering that 2016 R+R Hall of Fame inductees and legendary hit makers Cheap Trick were coming to Hard Rock Live in Orlando, Florida – it was a no-brainer to attend this show. Listening to bassists Tom Petersson’s wit and humor on Eddie Trunk’s interview show only sealed the deal. Since moving to FLA, the Universal Citywalk concert venue has become a personal fave to see live concerts. Big Name bands in the perfect sized environment. Great sound, great sight-lines – and great performances. What follows here is a clip of every song they played.

The now traditional show opener "Hello There"

Followed by "Elo Kiddies"

"Hot Love"

"Radio Lover"

First spotlight moment goes to Rick and his cool square guitar

Which leads into their cover of The Move's "California Man"

Dipping into their most recent album, they play the marvelous "Twelve Gates"

The next featured musician moment was Daxx with a drum solo

Leading into their own hit cover version of Fats Domino's "Ain't That A Shame"

"The House Is Rockin"

"High Roller"

"Downed" (with Robin Taylor Zander on lead vocals)

The next solo spotlight went to brilliant bassist Tom Petersson

That leads into "I Know What I Want" with Tom on lead vocals

Last but certainly not least, a solo spotlight for perfect frontman Robin Zander

Leading into one of their all time great songs "The Flame"

Speaking of their biggest hits, here's "I Want You To Want Me"

Then there's "Dream Police" which they closed out the pre-encore show

After the lively Orlando crowd engaged in much applause and calls for "more" - the band returned within a reasonable amount of time with first encore "Never Had a Lot to Lose"

Followed by their arguably most well-known song "Surrender"

Then closing out the night we a redux of the opener "Goodnight"

Follow this legendary still going strong band at their Official Website  -  Facebook -  Instagram

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A frequent occurrence attending live shows is the discovery of new, previously unheard music via the opening act.  That proved to be true once again with the Nashville based Americana style singer-songwriter James Hatem.  Impressed with his ability to command the spotlight with just an acoustic guitar and a few pedals as accompaniment, he delivered a tight 30 minute set that was thoroughly enjoyable.  James has just released a new single “Prodigal Son,” that now receives a close listen and review.

Opening with acoustic guitar chords and minimal percussion, a violin joins in on this soulful country progression. James sings “all my life I’ve been living like a loaded gun. Sights raised high and I’m shooting up towards the sun. ‘cause every day that comes and goes I know it’s a battle that I have won” delivered in a harrowing voice.

Taking in all the advice others seem to be giving, the introspective decision “I’m moving slow – but I’m coming home” rings sincere, enhanced by gentle keyboard swells.  The big, gospel-tinged chorus provides a twist with how “I ain’t a prodigal son – I’m just a poor man living free. This life on the run – oh it keeps on chasing me. I don’t know where I’m going, but I’ll let it take the lead” completes the cycle, as pedal-steel ambiance flows through the mix.  Big “Whoah Whoah” background vocals emphasize how he’s just “praying for a little peace.”

The songwriting craft is eloquent, with so many great lyrical passages. “Forgive me for all the wrongs I have done. Though I feel there will be more before I am gone. I am only flesh and bones and prone to hurt those that I love, but don’t lose hope,” comes straight from the heart.  As does the change section “life’s got chains, but none will hold me down – life’s got pain, but there’s joy to be found (with voice rising for uplift) – “ain’t no shame in living like I know how – a little grace holds a lot of power.”

Listen to this wonderful track wherever you stream.  Here it is on YouTube Music and Spotify.

Here's a short clip of it from the concert - listen to how it sounded live at the show:

Another outstanding number played was heart-tugging, previous single "Northern Winds"

Which made an impression (and later got the Story/ReStory treatment)

An artist worth checking out!

Follow James on his Official Website and Instagram

Wall of Fame Photos - so many you need multiple trips to see them all.

The whole Universal City Walk Experience is highly recommended.

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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

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