With springtime now beginning to bloom here in the northeastern region of America, the motivation to review returning artists by way of trusted labels and direct contact sources is strong. Compelling new releases from musicians working in favored genres provide the impetus for this months entries. What remains consistent since the very beginning of this all is a dedication to perceptive listening, followed by a life-long quest for literary excellence.
Back in 2020 a song from UK based gazey-psych-stoner rockers Excellent Skeleton showed up here in the DCW world and was given a deep review. That track (“Stop Waking The Sun”) now appears with six other cuts on their just released album “On Mercury Sea.” Having previously lauded their “unabashed sonic cataclysm” and “pure aural mayhem,” attention is now turned to these additional compositions.
Album opener “Moving Away” rises up slowing on distant synths and twangy guitar figures. Soft vocal chanting can be heard entering the mix as foreboding textures are soon met with full band instrumentation. As this doom-laden groove lumbers forward, male-female vocal harmonies emerge (and sometimes submerge) expounding on “sun,” “highway,” “roadway,” “sky” and “the night.” With those mysterious images to ponder, an elevated manic guitar solo steps into the center of it all. Repeating that vocal passage once more, the band stomps its way to fade-out conclusion.
Follow-up cut “Train Station” emerges out of an ornate, FX-enhanced guitar figure soon met by a quick -tempo percussive beat. Lead male vocals take the dominant storytelling role, however wisely incorporation softer female background voices for dreamier responses. It all comes together on the lines “when you shine, you shine like gold – upon the soul.” Closing out with the repeated phrase “perfect moment” elicits an almost The Cure-like feel in attitude, despite the harsher guitars.
Emerging out of finger-picked open note chords, 8 minute epic-length “Mosquito” soon morphs into a full-throttle raging stomper. Tandem sung male-female vocals serve up impassioned lyrics with precise monotone delivery. Chord change segments shift away from the frontal onslaught momentarily, before returning with psychedelic guitar solos over the main progression.
“No Escape From You” adds a romantic-gazer feel to the proceedings, while maintaining the now-expected pummeling undertow. The Kevin Shields/Belinda Butcher vocal style is in full use here, both on the lovely verse progression and resolving title line chorus. Album title track “On Mercury Sea” is a two minute, 45 second ambient dreamscape of keyboard swells and layered, strummed guitars. A spoken word segment is introduced in the final minute, reciting what might be a fever dream about life's universal mysteries.
Sixth cut “Key To The City” nimbly blends pitch-bended, gazey guitars with a heavier bass and drums rhythm section. Space is cleared out on the verses for rising-progression tandem delivered vocal renderings. There's a particularly appealing high harmony that attaches on the end of periodic voicings. At over seven minutes in length, there's ample room for extended explosive instrumental forays. As stated at the top of this review, close-out track “Stop Waking The Sun” has been fully reviewed on this site, here.
Back at the beginning of 2022Big Stir Records tipped this site off to the talented North Carolina singer-songwriter Chris Church. The album released at that time “Darling Please” received a full DCW track-by-track review. Chris now returns with a brand new album “Radio Transient” which once again gets a no-stone-unturned analysis right here. Produced and Engineered by Chris and his wife Lori Franklin, familiar names from the previously reviewed album are back. Drums were played by Nick Bertling who also provided recording assistance as well as the overall mastering. Lindsay Murray of the band Gretchen's Wheel once again contributed lovely harmony background vocals. For his part Chris wrote (with notated additions) all the songs, sang lead and background vocals, played guitars, bass guitar, synth, keys and percussion.
The album kicks off with the noise-pollution-assault inspired space fantasy “GCRT” (which is an abbreviation for Galactic Center Radio Transient) from whence the album title comes from. Bass guitar driven in that Joe Jackson “I'm The Man” style, vocal couplets of exasperated frustration give way to more cerebral plateaus of fantasy escape “detached in the physical plane.” Yes, it's a complaint song (totally relatable) where acknowledging “incoherent emissions are free” accurately point out “yes of course it's you, it isn't me!”
Initial single “Going 'Til We Go” fuses a pretty melody chorus with lyrics on the joys of marriage and how “shopping” might possibly be the wife's second favorite thing in life (hoping her husband is still the first). The hook is gorgeous “anything you want to tell me, anything you want to sell me, I'm gonna buy.” Harmonies on those lines are perfection and capture the spirit of 70's creatives like Dan Fogelberg and other artists of that genre.
Listen here:
A propulsive drum pattern and oblique bass guitar progession mark out dance floor conundrum “I Don't Wanna Dance With Me.” The surprising ambient middle section (repeated once more near the end) is a welcome reprieve from an otherwise forward driving groove, lyrically fixated on a reluctant dance partner. The pace slows somewhat on the power ballad “One More Chance To Get Over You” (which is a great title and theme). The lyrics are excellent, with tender thoughts like “sold me on the plan,” and insightful ruminations “waiting game inside my dreams.” Additional over-the-target lines “it's either breaking down or breaking through,” and “when you look me in the eyes I'll be so strong” drive home how much pretending we actually do in this life.
The self-confessed Lindsey Buckingham/The Fixx/Hall+Oates inspiration is on full display with “I Think I Think I Like You.” Equally important to the overall sound on this one is the much-heralded Danelectro 12-string guitar which apparently provides the bulk of chiming twang on the entire album. The sugary background vocals are particularly sweet here, employed in an appealing elongated mode. Quirky synth sounds are sprinkled throughout the Darryl Hall/Todd Rundgren80's inspired “Already In It.” Minor chords (or are they 7ths?) tend to punctuate section ending lines, underscoring that “blue eyed soul” of the previously mentioned Hall+Runt. The lush romantic male background vocal harmonies emphasize that point further. Extra points for rhyming “starting to fall” with “ever need a wherewithal” and “right on time” with “shift the paradigm.”
Nick Bertling's rapid-fire drumming, Chris' Danelectro chime and Lindsay Murray's honeyed background vocal sheen reinforce the lyric heavy “Over And Out.” Loosely themed on “gossip,” the repeated ending refrain “you know you could always just stop” is good advice all around. While synthesizer plays a large sonic role on breakup song “Gotta Go Gotta Ramble,” the bass-guitar and drums interplay driving everything along is even more impressive. Once again, soaring vocal harmonies on the title line chorus lift the mood above it's subject matter.
Bass and drums provide the focused underpinnings for the popular bpm-dance-beat “Far Too Late.” Synth twiddles, elevated background vocals and an extended guitar-noodle mid-to-outro section add needed weight to lyrics that “rattle 'round like bumper cars in your head.” Video game samples make their way onto album closing track “Flip” which includes the appropriately related phrase “ready player one.” Standout lyric “we all need someone that we CAN do without” (emphasis added) drives home the absurdity of things we think we “need” and can't (but in reality “can”) do without.
The album is out on CD in record stores worldwide and streaming everywhere on March 24, and is up for pre-order at www.bigstirrecords.com, the BSR Bandcamp page, and online retailers now.
A year ago this month Canadian “mod” indie rockers Star Collector received an initial DaveCromwellWrites review feature on their video single “Green Eyes” off of their 5th album “Game Day.” The band is now back with a recently released 6th full-length “Attack, Sustain, Decay . . . Repeat.” Twelve songs in all, the DCW microscope now digs down into this latest work for a track-by-track review.
Opening track and the album's first single “Feel It Comin' On” benefits from a lively video to accompany it. Bursting out of the box in full motion, power-pop guitar chords and snare-to-tom-roll-drumming thunders underneath memorable slide guitar riffs. Consistently thematic in style, video imagery colorfully displays the 4-point musical-reference meaning of the album's title. As singer/songwriter/frontman Vic lays the vocal lines, “It's all or nothing” becomes an immediate catchy bridge hook. There are elements of The Who-style full band punctuation on end-of-verse-lines “my time,” “what's mine” and “stone jive” - where, bass guitar, and power chords lock in for emphasis. On reaching the title line chorus, a smoother plateau is reached with somewhat softer vocals. Momentarily putting the slide down, lead guitarist Steve rips a killer solo, just after an amusing lyrical bridge that references “pie,” “cookie jars,” “pile” and “rile.”
Check out this super fun song and video here:
Next cut “Beat It To Death” doubles-down on that power-pop prescription, with slashing guitar chords and bass guitar/drums tandem accents. Sweet wah-wah pedal riffs add a momentary Clapton-esque feel to it all. “The Back Of Your Head” comes on initially with a quieter, unaffected vocal style paired against a single guitar only. With the band kicking in fully after a minute and a half, buzzing guitar chords and Keith Moon drum fills are the preferred modus operandi. The songtitle meaning ultimately becomes clear as a metaphor in being able to see what's coming behind you. “Halfway Home” comes wrapped in an easy cruise groove, musing on life's journey as one big circular adventure.
“Running Through The Rain” adds a rich sonic element of organ into the mix, enhancing background vocals and an emphatic chorus. Similarly, a big-time guitar riff stitching the verses together is only surpassed by the nimble-fingered guitar solo midway through. “Black And Baby Blue” builds around an acoustic guitar, soft brush drumming and intimate vocal reading. Dealing with confidence-turned-self-doubt issues, essential lyric “holds you down, without a sound, and what else can you do?” defines the mood.
“If We Can't Take A Joke” is propelled along over a buoyant bassline that runs like a snake through the entire track. Drawing it's title from a common expression, it's ultimately used as a summation for perceived unrequited efforts. “Crashin'” brings back that classic cowbell-on-percussion groove and crunchy chords/bass guitar tandem. Rhyming the title word with “fashion,” “passion,” “smashin'” and “trashin'” seems like the most sensible thing to do.
“Cross My Heart” is a gentle finger-picked acoustic guitar driven number engaging in clever wordplay about a serious matter. Namechecking two popular “Tonight's The Night” songs ( one referencing first love, the other devastating addiction) ending in eventual loss. “Broken Butterflies” rides a groovy secret-agent-man bassline under verses sung with deep-voice aplomb. Crunchy guitars return on a chorus that serves as something of a pep talk on the harsh realities of life.
“Nineteen Dream” comes on with an easy, gradual groove, saving the full-band bombast for emphasis on the weightier passages. Reflecting back on a life where “the years just fly away” but noting “still got some things to say.” Final cut “Don't Have To Fold” closes out the album with defiant conviction wrapped in a hard-charging rocker. Musing on the passage of time, it's title references a cardplayers “hand” in this game of life.
Dig into this whole album here, along with how to acquire it and the bands entire catalog:
Connect with Star Collector via their Social Media here: Facebook - Instagram
The frequently reviewed here vocalist Bryce Boudreau of the band Lunar Twin has collaborated with Italian recording artists Dead Miranda on a track off their latest album “Anima.” That records final track “The Valley Below” pairs Mr. Boudreau's voice with producing and recording artists Humbert Allison ( Vocals , Guitars , Bass and Synth) and Luigi Limongelli ( Programming and Effects , Drums). The results are an intriguing musical alliance that now receives a detailed review below.
A rising siren-like synth wave are the first audible tones before a deep-jungle percussive pattern commences. The mood is instantly dark and mysterious as the snap, crackle and popping beat slithers forward. Various textures make their way into the mix, like extended-note guitars and a variety of effects. Bryce begins his vocals in a hushed whisper, offering: “On the outside, in the night time ever wild in desert below.” The rhythmic pulse picks up with intensity, and repeated lyric “blood red moon” is separated by a strong guitar notation. A distant bubbling pulse commences underneath the more dominant bass+drums progression, adding one more ear-engaging level of sonic depth. The guitar figures become more frequent and intense, powering over top of the rhythms as vocal lines “Fly away/ I’m gonna fly away” and ultimately song title reference “In the valley below” bring the track to conclusion.
Listen to this killer track and find out how to acquire the entire album here:
Previous reviews of Bryce with his band Lunar Twin on this site can be found Here, Here, Here, Here and Here.
The relatively mild weather here in New York this current month of February has been a welcome respite. Presently spared from backbreaking snow shoveling and near sub zero temperatures allows more time for music listening and writing reviews. Back with brand new music is a long-time friend of this site and frankly at this point a UK Legend. Another returning collective has also released stunning new material in that most-beloved hazy-gazey genre. New to the site finds the recent work of an LA-based artist also receiving the now world-famous DCW detailed analysis.
Back in 2019 this site did an extensive historical recap and review of English recording artist Sophie Ellis Bextor on the release of her orchestral “greatest hits” album “The Song Diaries.” That album and this review both did well and all was sailing along smoothly. Sophie even managed to work in a trip to Japan in early 2020, before as she says “the world tilted.” Pinned down in our homes as we waited out this crisis, Sophie kept us entertained with her Friday “Kitchen Disco” internet shows. We were welcomed into her home for these half-hour concerts. Looking back from our perspective in 2023, those shows were a delightful silver lining, allowing a view into her home life and a temporary reprieve from not being able attend shows.
When things began to open up again, Sophie started taking her “Kitchen Disco” shows on the road, much to the delight of live entertainment starved concert goers. In that time she also published a self-penned autobiography and cook book with her husband Richard Jones (which also pivoted off the “Kitchen Disco” theme, as in “Recipes From”). In addition to renewed print and tv appearances, Sophie continued her successful ongoing “Spinning Plates” podcast series, as well as spots as a DJ on BBC Radio. Now there is news of her next full-studio album “Hana” being set for release at the beginning of June this year. With this being her 7th album of entirely new material, an advance single “Breaking The Circle” has just been released and receives a detailed review below.
Deep, low-tone strings introduce the track before a cymbal swirl leads into the piano-driven progression. Sophie's vocals commence right away with her asking “do you want to know what I think?” Well – yes – indeed we do. “Do you want to hear what's in my head?” follows as a lively drum pattern thumps along in tandem with those hammering piano chords. “It's too early to go to bed” she continues. “Do you want to hear a secret? I think there may be a day when the sun doesn't rise!” Oh, my. She's posted how “it’s a song all about those philosophical conversations you have at 3am when anything feels possible,” and that may have contributed to its creation. However, one feeling here (along with the universal meaning of “breaking a circle” - ending some kind of cycle) is a reference to the current fears of a full-on nuclear war, where “the sun doesn't rise” because it's been the end of us all.
However, the mood switches to a change progression where she states how “I can see a new horizon in your eyes.” That pivots into the big chorus “here we go into the light of the great unknown” ultimately “soaring up into the twilight zone” to the resolution of “breaking the circle.” Moving forward there is a “crashing through” an “edge of destiny” calling out to “come with me and we can chase what the end might be.” Resolving with “and when the morning comes – will everything feel the same?” Late night existential musings indeed. The hard-edged piano rhythm and matched percussion continue to established a driving musical propulsion.
“Can you sit a little closer” she continues to ask. “There's a magic in the night time air,” with an uplifting rise in her vocals on that final word. Repeating the “night time air” again for good measure, the bridge-to-chorus cycles around once more, this time with an alternating background vocal line running parallel against. Additional vocal overlays include a celestial “here we go” and “come with me.” Other subtle sonic chances seem to have the hammered-piano motif morphing into a more synthetic keyboard sound. Sophie adds further vocal lines like “don't want to live like days gone bye” and “it's time to rip it up and let it die.” A quick-stop, dramatic pause momentarily punctuates – before the final Big Chorus takes the track out to its conclusion – ending on a final question - “and when the morning comes, will everything feel the same?”
Another musical collective having a bit of history here in the DCW metaverse are the Sydney, Australia new school fuzzpop and lofi gazer 5 piece band Trillion. After prior reviews of their EP's and singles here on this site, the group has now released their debut full-length album “So Soon Now.” Having previously waxed on about their “modulating glazed and gazey guitars,” “impressionist murk,” “blissful reverie,” “buoyant bass,” “billowy guitars,” - not to mention the “warbling” and “shearing” (oh, and there must be “shearing”), a head-first dive into these new tracks follow below.
Opening (and title) track “So Soon Now” wastes no time getting off the ground as it kicks in full-throttle from the opening note. It's aggressive stomp emphasizes the bands trademark 3 guitar approach over the deeper low-end of bass and punchy drums. Male-female tandem vocals echo the Mbv/Slowdive/Blonde-Redhead fractured cadence in both diction and mix placement. There's a touch of “romantic” feel with the swooning chords that also touches on what Ringo Deathstarr does so well. Follow-up cut “Lo-Fi Days” progresses at a more measured pace, with a delightfully muted clarion-bell guitar stroke standing out as an every-4-beat delineator. As the chorus explodes with guitars and voices all crashing together in a singular sonic meld, its impressive how the drums stay clearly defined within that fray. A momentary pause at the 3 minute mark serves as buffer, before the push to conclusion (which includes an enchanting :25 second ambient guitar coda).
Third entry “Atomic Sunshine” makes inventive use of echo and delay on the opening drum beats. That is soon met by a wall of dream-gaze guitars as a snaking bassline provides counter-melody underneath. Strong tandem vocals with the females voice mixed slightly in front sing out lyrics that can actually be heard. Extended passages of softer, easier-going sentiment connect with more dynamic bursts. The album's first video single release “Cherry Blossom” is a hard-driving, forward charging affair that is self-described as “a song about the judgement that comes with living life to the fullest.” An instant affinity was felt with this track as it's title is the same name as one of our beloved cats. Although we initially named her “Sakura” it was quickly translated to Cherry Blossom (and then just Cherry), symbolizing the ephemeral nature of life.
Check out this amazing song and video here:
Fifth track “Kusanagi” (also Japanese mythology referencing a sword that represents the virtue of valor) features classic gazey pitch-bended, down-stroke guitars, double-time drumbeat and brightly stated vocals. Strategic open passages of only drums and a single guitar give reprieve as well as setting up the explosive guitars and alternate chord advancement that follow. The single title word chorus matches seamlessly with it's associated progression. “Falling Down” clocks in at a mere 2:09 making it the shortest entry on the album. The shapeless razor-burn guitar churn and submerged vocals elicits recall of something Brian Eno said when hearing a particular MBV track – calling it “the vaguest song he ever heard.” That description would apply to this cut as well. Recently released second video single “Take It Slow” brings back the bass and drums rhythm support, anchoring everything under scorching guitars and subtle melody lines. Vocals float in and out with a multi-layered chanting cadence, and chord structures following clearly defined patterns. There's a bit more emphasis on the lower-end sonic hue cycle, as guitars pitch downward in a more blended form with the bass.
Check out this metaphysical video here:
“Close Your Eyes” comes on with that heart-tugging, gazey-haze that a band like the aforementioned Ringo Deathstarr frequently dabbles in. Vocals are appropriately submerged for maximum dreaminess, as those starry-eyed guitar chords churn away. Crafted melody lines emerge over the turbulent textures, exhibiting the power of a three guitar assault. “The Silent Sea” pivots off a backward-leaning guitar chord down-stroke before moving into four-on-the-floor structure. Pitch-bended off-kilter (or as they self-describe “offset”) guitars push the pace forward, while a singular unblended voice provide lyrics. A Sonic Youth-style breakdown emerges in an unexpected (but welcome) midpoint sequence. Final track “Sometimes it's Alright” is a symphonic tour-de-force of ambient experimentation. Beatless, shapeless and relying solely on texture, it is actually quite soothing in it's measured rise and equally gradual fadeout.
Check out this amazing album here:
Follow Trillion on all their Socials:
spotify.com/trillion
trillion1.bandcamp.com
facebook.com/trillionsydney
youtube.com/@trillionsydney6897
instagram.com/trillionsydney
twitter.com/trillionband
A Previous Feature Review of Trillion (which includes links to all the others on this site) can be found Here.
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The circular way an album or artist finds their way toward a review here on this site is a curious and fascinating one. In the case of accomplished recording musician Julian Shah-Tayler, the most-likely spotting of a recent Night Crickets write-up inspired contact regarding their own recent work. As it turns out, Julian has been making music in one form or another (both in bands and solo) for a substantial amount of time now. In fact, he's written over 300 songs, which is impressive by any measure. A full-length album of original songs titled “Elysium” was released a few months ago, which now receives a deep-dive review below.
Taking note of the vintage glamour cover image photo tribute (slyly recreating Roxy Music's 1973 “For Your Pleasure” which featured model Amanda Lear), we're already off to a great start. Opening cut “End Of The Line” combines electronics with funk-style bass guitar and deep-vocal stylings, immediately delivering on the Bowie/Prince hybrid influence promised in the liner notes. Catchy keyboard hooks after each chorus line and in-between verses serve up pleasing synth textures. A Robert Fripp-esque guitar solo and deconstructing end-out emphasize its unexpected conclusion. Second track “The Devil Knows” boasts the musical assistance from famous and accomplished friends in the guise of David J on bass and Mark Gemini Thwaite (henceforth referred to as MGT) on guitars. Having written about the famous David's latest output with new band Night Crickets just last month, it was 3 years ago when coverage of MGT's guitar mastery in Peter Murphy's live band first appeared here on this site. Both musicians add cachet to this intimate (yet danceable) lyrically driven song.
Romance and sensuality are the driving forces on the dreamy lovesong “Melt.” With vocalizing morphing between the aforementioned deeper-toned Peter Murphy and David Bowie's mid-range tenor, impressive lines like “I have to make you love me tonight” (as opposed to the more de rigueur “I have to make love to you”) stand out. “Secret” pulls together throbbing synth-bass, chunky soul rhythm guitar and hand-clap percussion on verses displaying a free spirit. The chorus is lively and upbeat, with horns behind extended words for singalong emphasis. A tasty, wirey guitar solo adds a dose of rock and roll to this pop confection. “Evolution” comes on full electronica with it's bright synth melody line and pulsating machine-driven rhythms. While still maintaining rhythmic continuity, the chorus moves into a smoother aural state, utilizing multiple-voiced harmonies for dreamy effect. Irregular guitar textures emerge as the song progresses, adding counterpoint to the dominant synth-melody line.
Opening with the howl of a wolf, “Lupine” builds around plucking bass notes and repeated audio sample. Morphing into a chugging guitar-bass+drums rocker, an analogy of human desire as an animal hunger is fully explored through the lyrics. “All Good Soldiers” continues that simpler guitar-bass-drums blueprint further by stripping it down to the basics. Vocals are delivered with an uncanny similarity to Bowie in both tone and phrasing. A substantial instrumental section allows for buzzing guitar forays, leading into a gentle bass guitar and softer percussive accompaniment. “Head Up High” benefits from a solid drum track and richly textured keys (via Sam West and Nathan van Hala, respectively) along with its beautiful melody and finely crafted lyrics. One of the best produced tracks on the album, the positive message presented makes it an instant favorite.
“Kintsugi” featured another guest drummer, as Chris J Olivas (Berlin) lays down a raucous pattern underneath new wave guitars. Lyrical references to Japanese precious metals repair techniques serve as a metaphor for the emotional turmoil of the heart. “Earthquakes” combines ambient synths, a bold, rubbery, bouncing bass-line and heartfelt vocals that encapsulate the best 80's new wave singers. In this instance, Cy Curnin of The Fixx comes to mind. Additional lyrical points are given for working the thematic imagery of “shifting tectonic plates” in as an allegory for (once again) emotional devotion. “Bet Your Life” is an acoustic guitar driven composition that layers in elements of buzzing ambience, busily descending bass-lines and metallic percussion. It's extended coda rewards the listener with an enveloping instrumental dreamscape. Resolving all the themes laid out in the previous songs is final cut “Darkling U.” Syncopated electronic keyboards and percussion are met with an angular bass pattern, creating an otherworldly, futurist dance track. Elements of industrial emerge in the harsher tones and aggressive forward pace. While the songtitle reapportions something the aforementioned Prince would do (change “darling” to “darkling”), it feels more Nine Inch Nails in the synths and execution. Kudos once again to Nathan van Hala for the clarity of mix and to all involved in its brilliant production overall.
Check out this eclectic album here:
Connect with Julian Shah-Tayler/The Singularity via his Social Media here.
As the first month of 2023 continues to unfold, new video creations on already beloved songs dominates this JanuaryDaveCromwellWrites entry. Audio innovations of expansive ambient explorations also receive deep listen thoughts and analysis. Finally the commencing of noteworthy live-show tours are noted here as well. It all adds up to an exciting entry into this continuous flow audio and video innovations.
This month kicks off in style with a brand new Official Video Release from one of this sites favorites – Turbo Goth. Having written a number of reviews on their releases over the last four years, news of their latest “high gloss” video comes as a welcome treat. Creating a stunning visual accompaniment for their song “Ready For Something New” shows the New York City living, native Philippines duo of Sarah Gaugler and Paolo Peralta expanding upon their hypnotic audio and visual appeal.
With quick cut visual images commencing along the song's opening distant muffled voices, we see jewelry on a dresser, the duo in a red rowboat and then sleeping against the dresser with an ornate ink drawing in view. A hand momentarily picks something off the ground and a golden phone flashes into view. Silver streaks of glittery makeup are displayed on each of the members eyes. A gorgeous shot of the duo on a pier looking out on a tranquil lake is offset by Sarah's glamorous attire (including silver high-heels). As the duo rises from their slumber and cut to rowing on the lake, the track commences in full with cascading title-line vocals over a dreamy, trip-hop feel. The golden phone reveals its purpose with Sarah delivering her vocal line “let me know when you're on your way” into it, as the duo looks resplendent all in white.
A compass appears as an item of significance as does a single white card with symbol on it, serving as code and clue for the journey ahead. Pairing with the lyric “it seems like we both like the same things – the same dreams,” are images of the all-in-white duo strolling hand-in-hand through a field. These stylistic impressions enhance the audio's shuffling electronic percussion and chillwave vibe. Lyrical statements “I wanna watch the stars with you” evolve into “I'll drive us to the Milky Way.”
A variety of camera lens techniques like moving the duo in and out of focus emphasize an overall dreamlike quality. “Hold on to the sparkles in the air” is one more magical line, juxtaposed against images of intricate tattoos and Paolo's guitar. Kudos to the director and cinematographer Michael Gaugler for all of this stunningly beautiful imagery. Also props to Patricia and Michael for the incredibly unique wardrobe design. The ultra-glamour in natural settings makes for a perfect combined modern fashion and spiritual experience. Sarah wearing heals to go rowboating and impossibly long eyelashes are both amusing and stimulating visuals. Finally the video credits a “special appearance” by “Josie” - who most certainly must be their equally gorgeous cat.
Check out this strikingly beautiful video (and song) here:
Previous Reviews of Turbo Goth can be found on this site here, here, here and here.
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Unique electronic multi-instrumentalist Matt Catling writes, records and releases music via his project name Under The Sun. Based out of Suffolk UK, the just-released three track “Ocean Breeze” EP is on much respected Shoredive Records imprint. Mixed by Darren Barnes (Trillion) and mastered by Simon Scott (Slowdive), the result is an exceptional sonic achievement of experimental creativity, and ambient instrumental explorations. While the artist namechecks My Bloody Valentine, Seefeel, Boards of Canada, Just Mustard and Jesu as points of reference, Holger Czukay and Ulrich Schnauss also come to mind. Detailed track-by-track descriptions follow below.
Your imagination and meditative thoughts are immediately engaged when listening to opening (and title) track “Ocean Breeze.” With the choppy-water cover-sleeve image providing an initial visual guide, rising synth pulses echo it's descriptive title. Swirling within distant alarm-like oscillations are softly whispered voices. An electronic percussive beat commences within the churn, floating forward and then back into mix. It disappears completely at the minute-and-a-half mark, leaving only an ambient void – before all the previous elements drift back in. One interpretation of it all might be the actual hypnagogic state-of-mind experienced after a lengthy time lost at sea. Similar hallucinatory accounts have been chronicled by super marathon runners (which last for days) or any kind of lost-in-a-natural-setting over a length of time. A brief rush of harsher metallic sound is injected near the end, before everything quietly dissipates into the wind.
Second track “Whirlwind” continues these ambient explorations using uncomplicated percussion patterns and an atonality within its overlaying sonic atmospheres. The audio equivalent of wind blasts develop alongside a singular flute-like slow-moving melody. Distant vocal incantations emerge once more, adding an element of possible ceremonial magic. The layers become thicker – denser – before allowing space again for coarse guitar bursts and those mysterious chanting voices.
Final cut “Soft Focus” slowly rises up out of the abyss and is subsequently met with unadorned chiming guitar strokes. As the aural surroundings commence to billow up, additional motorik drumming and muffled vocalizing stream into the mix. Bass guitar notes become noticeable just past the compositions midpoint, with percussion and the more dissonant audio turbulence momentarily subsiding. The final minute emphasizes all the elements previously described, before wafting away to nothingness.
Longtime popular recording and live show Canadian rock band The Trews are about to embark on an international tour. Having shared stages and/or rubbed elbows with legends like The Rolling Stones and Jeff Beck (gone too soon, but never to be forgotten) the US leg of their “I Wanna Play” shows begin next week, with a stop at New York's City Winery on January 25. With the recent release of their latest album “Wanderer,” expect to hear a substantial number of those new songs at the shows.
Their most recent video and single release from the album “Enemy” is a chiming pop-rocker built over descending chord progression and prominent bass-guitar line. “I know what it's like to be – the enemy. I will never be set from – of what it's like to me” is how the opening, self-reflective lyrics go. With that refrain serving at the songs repeated focal point, alternate rhythms on each verse steadies out the pace into a more-forceful guitar chug, while lyrics expand the tale. “Sad child with your heavy eyelid – looking out at the lonesome highway. For 20 years you've seen this coming” - with the big, repeated, full band emphasized-accent resolution “Open Up Your Eyes.” Quickly followed by the question “are you sure that you're alright?” The production is big, bold and impeccably recorded -as good as this sound can get. The video is top notch as well, showing all the band member in a live-like setting, with subtle overlays and close-ups for clarity and emphasis.
Check out this killer track and video here:
As stated above, the band begins an East Coast to Midwest leg of their tour soon, and all the tour dates are listed here.
Last summer, news broke about a new musical collaboration between multi-instrumentalist Darwin Meiners, former Violent Femmes drummer Vincent DeLorenzo and none other than long-time fave David J (of Bauhaus and Love & Rockets fame). Dubbing the band “Night Crickets” (the name taken from a conversation relating to something filmmaker David Lynch said), the full-length album “A Free Society” eventually made it's way into the world. Included with that news was a video for early release track “The Unreliable Narrator,” which received a detailed review here on this site. Positive responses to that warranted it's inclusion in the Year End Best Of Review right here. A brand new video has just been released for the album title-track “A Free Society,” which has been produced and directed by Ramzi Abed. Once again we focus our analytical point of view on this audio and video release.
Building around the albums percussion driven, tom-tom and shaker enhanced jungle-rhythms (you can almost picture the “crickets”), dominating bass guitar lays out a progression while quick images of the bandmembers putting on (or already wearing) sunglasses come into view. Shifting to a cigarette wielding David J inside what looks like an old school tv set, (and looking more like William S. Burroughs as the days go by) he begins reciting the song's lyrics. “Image if you will, a free society – where the empty horses can run wild and ad hoc. Without fear of variants – variants of concern.” Darwin reappears holding his six string Rickenbacker, and the chord change with David's harmonized “A Free Society” chorus is delivered. David continues “where the conversation is between Juliet and The Thimble” against images of $100 dollar bills in mysterious hands. The tracks most poetic (and curious) line is next “and Oumuamua' is visiting from a galaxy far, far away,” depicted in brightly lit, upward gaze imagery.
Snare drums kick in right in sync with Victor's triptych image, as the cash is shown burning with flames similar to the those on the album cover. An organ joins the audio mix and David continues these lyrical musings with “where the boss and the frail pagans can be at peace, in the house of heat.” The money continues to burn as does David's cigarette while images of the other bandmembers float in and out of view. Credit this pitch-bended, twangy guitar figure as catalyst for a hook entry into the title-line chorus. The drums become more clattery and guitars develop rougher edges while images of Mr. J and his bandmates flash into view. The final descriptive lines are revealed as “where the voice coil comes down the Traceaphone. And the Dark Watchers, Los Vigilantes Oscuros' are listening to . . .” Whispered – dramatic pause - “. . . Night Crickets” as David holds up the album cover. The cash continues to flow (and burn) and is that “Juliet” we see there briefly?
Check out this very cool song and video currently streaming on the bands Facebook and Instagram pages.
2022's final month offers a time for revisiting music reviews composed and compiled here on this site throughout the year. The annual “Best Of” highlights those notable artists written about since January. A concise listing focused on each months entries in sequential order brings attention once again to the most engaging releases of 2022.
With the New Year came a fresh crop of album and single releases that were followed by full-length recordings later on. Most of these artists have been developing their individual style for a number of years. Featured on indie labels with consistent track records, the first month of 2022 saw this site digging in to a variety of creative songwriters and sound designers.
Frequent contributors to this site Big Stir Records rolled-out their first major album release of 2022: “Darling Please” from acclaimed North Carolina singer-songwriter Chris Church. A remastering of songs recorded a number of years back, the artists re-imagined his original vision aided by modern recording studio facilitation.
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Along with the lyric-heavy vocal music frequently reviewed here, this site has also made it a point to feature quality instrumental releases at times. The Seattle-based soul-jazz groove machine Delvon Lamarr Organ Trio first released the single “Don't Worry 'Bout What I Do” and full album Cold As Weiss via Colemine Records.
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Good Eye Records introduced an exciting new track "Boscobel," which served as the first single from new to this site band Sooner's debut album, Days and Nights. Sooner specializes in blending alternative rock, dream pop and gaze with romantic female lead vocals.
The Kool Kat Music label released “Wish I Could See” by Cheap Star. Fronted by Swiss-French musician Remi Vaissiere (who wrote, sings lead and plays guitar on all the songs). A distinct 'Americana/Powerpop' vibe runs through it all due to the artists long-time relationship with seminal late 80's/early 90's Posies frontman Jon Auer. Brought in to produce and mix the record, Jon also plays a variety of guitars and keyboards on nearly all of the tracks. The Posies connection doesn't end there as respected drummer Brian Young (a member of that band during their major label years from 94-98, before moving on to The Fountains of Wayne and then The Jesus and Mary Chain) delivers outstanding percussion on every one of these new songs.
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The music of Dead Leaf Echo is no stranger to this site, having covered their recordings and many live shows for over a decade. Notwithstanding some personnel changes one could hardly be surprised at over that length of time, the current lineup has been relatively steady the last few years. After completing their first Latin America tour, they released a six track EP. “Milk.Blue.Kisses.And.Whalebone.Wishes” is the mysterious and poetic title, serving as something of a hybrid to the song titles on it.
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Austin, Texas heavy-groove blues-rockers The Dizzy Bangers received a detailed analysis on their song “Painted Bruises,” which displayed an advanced level of musicianship and lyrical mastery within the heavy rock genre.
Equal measures of industrial electronics, heavy rock, seductive vocals, black-clad fashion glamour and spirituality are woven together in the music of Turbo Goth. As popularity continues to grow in both their native Philippines and adopted home of NYC, the duo of Paolo Peralta and Sarah Gaugler released their album “Awakened Imagination.”
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The always busy Brighton, England based Shore Dive Records contributed this month, promoting their 111th release featuring Stockholm, Sweden's We.ThePigs. This full-length album highlights a lovely collection of female vocal dreampop, harsh Sonic Youth-like guitar noise and even a JAMC “tribute” as well.
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Enticed to check out the music of already established indie rockers Star Collector proved to be a prudent endeavor. Working in the classic 4 piece, two guitar, bass and drums formation, an impressive level of vocal harmonies lift them above rudimentary “garage band” status.
The folks at Shoredive Records seem to instinctively knows what will fly here at this site. Offering the labels 116th release featured an artist out of Chicago called “Glitter Assassin.” That cool name along with the promise of noisy guitar layered indie pop with a heavy gazer influence received the full DCW analysis.
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Respected Label BIG STIR RECORDS rolled out the first in a series of singles highlighting Finnish power-pop guitar group The Bablers. An appropriate CromwellWrites deep-dive ensued.
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An interesting musician recording under the name Friends from Moon released a concept album titled “Astray.” It's epic and incendiary track “Marvels beyond Madness” garnered intense listen and review.
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The Rosie Varela Project released their album “What Remains,” with its single track “Fault Line” receiving a wordy investigation.
Four exciting new audio and video releases summoned attention for the month of May . Storied legends with lengthy discographies (still going strong) share space here with newer established artists along with debut entries as well.
Legendary gothic death-rock pioneers Christian Death have a long history that dates back to their original formation in the 1980's. Equal parts adoration and controversy have continued to surround them ever since. Featured track and video for “Beautiful” from their 17th studio album “Evil Becomes Rule” received primary focus.
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Inspired by a 75 million year old rock formation in Thailand that when viewed from above, create the visual illusion of a family of whales, 3 Robots Records indie label artists Sueño con belugas released their epic track “Normal.”
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With the release of her latest album “Tresor,” the evolutionary vision of musician Gwenno reached a new pinnacle. The title track and it's accompanying video provided a unique journey into her Cornish and Welsh history.
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A collective calling themselves Seedsmen to the World released their debut album on Blue Arrow and Birdman Records. Combining elements of trance-drone and folk music, it's offbeat qualities sparked further investigation.
Frequently featured label Patetico Recordings returned to the DCW realm with a new collaborative effort Heliocentric Overdrive and their debut EP “Weightless.” Their melodic-pop tracks are fuleed by a precise and frenetic delivery.
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If it seems like there is yet-another Shoredive Records artist being featured here on this site every other month or so – well, that's because it's true. One of the busiest, most-consistent labels out there, something new, exciting and previously unheard of appears in our listening sphere that simply can't be ignored. This time it was mysterious dreamgaze from Montpellier/Paris going by the name 40 Days Without Water.
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Another independent label discovery was the Peruvian based Chip Musik Records. It specializes in ambient, electronic, chillwave, experimental, glitch, dreamgaze, vaporwave and experimental artists from all over the world. Their release Lego 15 – Pulsos de Bosques (Forest Pulses) is an extensive collection of music from Central/South American and other international locales.
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Sometimes a record is released in a low key manner with little fanfare, and the band moves right to playing live as a means of showcasing this new material. Such was the case with Tight Lips debut EP, which was released at the end of March. With bands and audiences reconnecting at live shows again, the opportunity to focus on this previously uninvestigated recorded music presented itself.
The good folks over at Big Stir Records released a full-length album by LA psych-pop rockers Maple Mars. Titled “Someone's Got To Listen,” it's the band first album in over a decade, and debut for this label.
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Andres Alfonso Lugo is a Baltimore-based recording artist who's work has been featured here on DCW numerous times. While those previous reviews focused on the bands he belongs to, the current work here being delved into is his solo project Los Dientes Hundidos en la Garganta. With that phrase translating into “the sunken teeth in the throat,” the music created is less ferocious (though still quite powerful) than that expression would suggest. Andres provides guitar, loops, programmed drums, bass and synth, while enlisting contributions from Ferran Pont Verges (Die Noia Futuriszka) with guitars, voice and mixing on "Loops of Energy."
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Receiving news about a new project involving long-time fave David J (of Bauhaus and Love & Rockets fame) is always welcome. Busy as he's been over the last few years with revived live shows, hearing about brand new songs and group collaboration peaked curiosity. The debut album “A Free Society” by newly minted combo Night Crickets also includes Vincent DeLorenzo (from Violent Femmes) and multi-instrumentalist Darwin Meiners. Drawing their name from a conversation about something David Lynch said, the recordings came together via audio files shared between Los Angeles, Milwaukee, London and San Francisco. Their music video and song “The Unreliable Narrator,” received a detailed review.
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An inquisitive individual who records and plays live music under the moniker 77 Apes caught the attention of DCW through their steady persistence. It is a solo artist endeavor where lyric-heavy songs are accompanied by acoustic and electric guitars, fleshed-out with background rhythm tracks.
Longtime friends of this site The Stargazer Lilies released a video for first single “Bending The Lines” in advance of their 5th studio album release “Cosmic Tidal Wave” via Floravinyl Records. The track and video receives appropriate fragmented windswept reverie.
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The steady output from Philadelphia's Patetico Recordings assures ample opportunity for frequent reviews here on this site. This particular month saw the release of “From the ashes” by Stellarscope, which featured a precision review of single track “All the lies.”
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Influential bands of the 90's continued to re-emerge with new material, which was welcome news to audiences who have missed them. Consider the Portland trio – No 2 – back with their third album, but first in a number of years. Fronted by Neil Gust who originally shared songwriting duties in Heatmiser (along with Elliott Smith), No 2 rose out of that bands ashes in the late 90's. The album titled “First Love” was released on Jealous Butcher Records.
Heavy blues rock has always been a particular favorite here at this site, and nobody does it better than Austin, Texas-based The Dizzy Bangers. Though relatively new here to the DCW orbit, a number of reviews have already made their way into prior features. The band returned once again with a new video release for their song “Painted Bruises,” earning additional commentary and analysis on it.
Turning attention once again to one of Shoredive Records releases found this site focusing on the recording project Xeresa. Simply titled “IV” (as in album number 4), the fully named Nicolas Pierre Wardell (previously only known as Label boss Nico Beatastic) serves as the bands primary catalyst. Painstakingly recorded between 2019 and 2022, each song features guest vocalists, some who have full releases on the parent label. Each track was built in the more common now than ever way of sending instrumental basic tracks to each respective artist for their creative additions (predominantly vocals).
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UK Power Pop Rockers It's Karma It's Cool released the track “A Gentle Reminder,” accompanied by an in-studio style video performance, providing visual imagery of the band performing. This perfect slice of powerful pop music received a full DCW breakdown.
It had been a year or two since new Lunar Twin music entered our universe. The enigmatic west coast duo returned with “Beyond The Sun,” the first single release from their upcoming album “Aurora.” Bryce Boudreau (vocalist/songwriter) and Christopher Murphy (multi-instrumentalist/producer) continue to expand on their sonic vision with this new material. “Beyond The Sun” received a close listen and complete review. A full nine track album is due soon, with another track “Android Dreams” available now to acquire and listen to.
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Returning here for another review is the work of Baltimore-based recording artist Andres Alfonso, who makes solo music as Los Dientes Hundidos en la Garganta. While that phrase loosely translates to “the sunken teeth in the throat,” Andres composes his ambient works with guitars, bass and heavy looping. What comes out of that are wonderfully dreamy experimental ambient electronic soundscapes. The second single “Configurations” from latest album “Infinite Past” on Jak Jonson Tapes has recently dropped, and got the full review treatment.
An in-depth Interview and hotly anticipated EP Review shared space with two full-length, track-by-track reviews from trusted labels and artists. With one returning and another first-time creator receiving detailed analysis on their latest recordings, the quest to make sense of it all carried on without limit.
When press releases about a new band called The Buckleys started showing up via email over the last two years, an appreciation for the music and image they were producing was instantly felt. With the band recently coming to New York, Nashville and LA for press stops and personal appearances, I was honored to catch up with them for a face-to-face interview.
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Back in May of this year, ambient dreamgaze collective Sueño con belugas were reviewed here on DCW for their introductory track “Normal” in anticipation of upcoming album “Memoria Cósmica.” With the release of that full eight song album, a chance to dig deeper into their sound presented itself.
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Bookending Big Stir Records first major album release of 2022 (as mentioned here at the beginning of this Feature) was their final release of the year, “Sounds In English” by Sweden’s Richard Öhrn. Best known as the guitarist and one of the songwriters for the indie pop band In Deed, this release serves as his solo debut.
The Kings and Queens of that glorious Astoria music scene – GIFTSHOP, performed two notable live shows that certainly qualify for “Best Of 2022” designation. Back on the final day of April the band played at Otto's on NYC's lower east side as part of a benefit to aid Ukraine.
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Treating the audience to many of their classic tracks like “Despicable,” their careful selection of classic covers contribute to a total live show experience. Check out their glorious rendition of The Cars “Just What I Needed” on this night right here.
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A more recent show went down earlier this month at beloved Astoria, Queens venue The Shillelagh Tavern. With dazzling frontwoman and lead vocalist Meghan having morphed from platinum blonde to bright-fire redhead, the band ripped through another killer set of originals and choice covers.
Opening with perennial favorite “Purchase,” they hit the ground in high gear and everything was “soo good – soo good.”
Was great to hear an updated version of “Same” which also included room for Jordan to showcase his drumming skills. There was the how-does-she-do-it hyper-speed vocals on “Things I Feel.”
Damian and Matt - axe-slingers on the corners.
Other enjoyable tracks played were "Stylish Junkie," "Spooky Halloween Christmas" along with bring-the-house-down covers of "Creep" and "Only The Lonely" (a clip of which can be heard at the end of this Instagram Post here).
Dave Cromwell has been writing about music since the dawn of the internet age. In addition to the steady flow of features here on this site, he has been a regular contributor to The Deli Magazine (both Print and Web) since 2010. With numerous Print Issue cover features and weekly contributions on the Deli website, scores of artists have received the Cromwell point of view. Along with ongoing contributions to this site and The Deli Magazine, Dave has written for Dingus, My Social List, The Waster and Soma website magazines.
