Sophie Ellis Bextor in Concert at Plaza Live Orlando, Florida

As Sophie Ellis Bextor commenced her first ever American tour here in the year 2024, she worked her way across the northern cities (and a few Canadian as well) with triumphant results. Those of us in the southern regions of the country wondered if we would eventually get our chance to experience this glorious show. That concern was alleviated when we spotted an announcement in August that she was coming to Orlando, Florida. Having moved to Florida from New York a year ago, my daughter and I felt a twinge of “FOMO” following Sophie’s tour on Social Media. Now we had our chance to see her perform live at last, and quickly snapped up tickets. The fact that the show wasn’t going to happen till November didn’t matter, and actually gave us something to look forward to.

The show was at a storied Orlando concert venue that opened in 1963 (one of the cities oldest) now called The Plaza Live. Like many theaters spanning that timeframe, it went from a cinema, to a theatre space and finally the current music venue. Having already mapped out our route there and prepared what to bring in advance, the day of the show was problem-free and smooth sailing. On arrival (a bit early) we chatted awhile with those fans camped out in front hours before entry time who *have to be in the very front!* I’ve always found that location is not really the best spot for overall sound quality. Yes, you are *as close to the performer* as you can be, but you’re also often just under the stage monitors that provide the vocals and overall sound. A few rows back (which is where we wound up) is always the best for perfectly balanced audio.

Choosing to spend the time between sound check (which we heard snippets of from outside) and when they started letting people in (was around 7:30 pm-ish) my daughter Heather and I headed off to find a good place to eat. Since Heather loves Japanese culture, the second she spotted a restaurant to her liking we headed in. The Kyoto 5 Colonial Sushi & Grill was the right choice and we spent the leisurely pre-show hours dining like like connoisseurs of fine Asian dining.

Arriving back at the venue, the crowd was starting to grow and the line to get in getting longer. As someone who has a long history with Sophie, first as moderator of her official website and message board back when that was a thing (pre Instagram and all that) we have communicated from time to time. Discovering she was coming to Orlando, I reached out to see if we could meet once again, however briefly. The last time was over 14 years ago (!) at an event meticulously chronicled by this writer here.

Heather being a life-long fan (with her dad having been playing Sophie’s music to her since she was a very young child) would certainly be thrilled at the prospects. To my utter gratitude Sophie wrote back and said “let’s make it happen!” With all intentions well and good, my experience has been these things never happen *all that* smoothly, but we proceeded with confidence. The ticket venue rep handed us our comps (even though we had already bought tickets) as this was the only way to get access to some kind of “after show” access. I was hoping for the traditional sticker pass that gets you through the gatekeepers, but settled for a handwritten note on the comp ticket.

Meanwhile a beautiful moon had risen over the venue, adding another sign that this was to be a glorious experience.

Fellow fan friends on the internet from points far and wide (it’s wonderful how this connects us all) were almost as excited for our attendance at this show as we were.

The warmup act for the night was a popular local DJ calling himself Hulian who got the crowd movin’ n’ groovin’ and all warmed up for the main event. Special mention has to go to his clever “re-appropriation” of an iconic soft-drink logo to his own name.

With his set completed, the anticipation for Sophie’s appearance was buzzing through the crowd with electricity. I observed how the crew efficiently set up the equipment and silently tested out their tunings and audio levels. The drums were already set up, and both lead tech Josh and Jackson himself came out in the dim lighting to sit behind the set and make sure everything was right. Suddenly the lights changed and out came the full band, and then Sophie herself. The crowd burst with excitement as she launched into her now traditional opener “Crying At The Discotheque.”

 

 

Sophie dazzled instantly with her purple frock trimmed with feathery plumes at the sleeves and skirt line.  The band starts the show wearing those now famous animal masks first introduced during her Kitchen Disco shows.   As the crowd of adoring fans sing along, you can really notice how bass and drums sound so much fuller during a live show.  It's one more reason why you need to be there.

 

The second song (met with delighted squeals and applause) was her first completely solo single release "Take Me Home."  Having received the blessing and permission from original songwriters Bob Etsy and Michelle Aller, Sophie added lyrics and have made this song her own (sorry Cher).   Masks now off the band, the leggy, glamorous stars joyfully slinks her way through it all.

 

As Sophie has been known to do throughout this tour, she engages with the audience of whatever particular city she is in, talking about some of the interesting things unique to their area.

Her mention of Orlando's very first "theme park" - the now personally beloved Gatorland - even impressed iconic "gator queen" Savannah Boan. 

 

Next up was the ever popular fourth and final single from her debut solo album "Read My Lips" - the uplifting "Music Gets The Best Of Me."  Co-writing this one with the perfect-match-for-her-at-that-time songwriting team of Gregg Alexander (who's big hit with his band The New Radicals "You Get What You Give" is still played frequently on Alternative Rock channels) and Matt Rowe, is still one of her best.  Of note on this particular live performance is how much joy you can see in Sophie's face when singing this one.  She's literally beaming at points when dancing along with it.  Also noted is how the bass and drums really stand out (again, the benefits of being there live).

Next Sophie played one of the most popular tracks from her third album, 2007's "Trip The Light Fantastic," with the playful "Me and My Imagination."  This came by way of of selection from her now famous "wheel spin" where songs are listed on her spinner.  Wherever it lands is the song she will play.  It's a fun way to keep each live performance unique to that night.

The song is a product of her at-that-time collaborations with hitmaker/vocalist Hannah Robinson and Producer/songwriter Matt Prime.  Having reached top 20 on the UK Singles Chart, the chorus lyrics ask "try to keep me entertained,"  This particular live performance emphasizes keyboard chords between Sophie's verse lines.

After playing a spirited version of her song "Hypnotized," an early highlight of the night was when Sophie and her guitarist Pablo stepping out front for a heartfelt acoustic version of "Youngblood."  Calling it "the most romantic song she's ever written" the lyrics are touching and the performance equally breathtaking.   Originally appearing as the lead single off her fifth studio album "Wanderlust," it served as the beginning of her co-songwriting and production partnership with musician Ed Harcourt. It served as a “comeback success” of sorts for Sophie as it was her first single to enter the UK Singles Chart since 2011's “Bittersweet.” It peaked at No. 34 on the UK Singles Chart (spending three weeks there) and at No. 3 on the UK Indie Chart, making it her fifteenth best-selling song in her home country.  

As Sophie scurries off stage, the band begins playing an instrumental version of Hana's "Hearing In Colour."  The diva soon returned in a costume change from her purple outfit to a sleeveless yellow mini dress to complete the vocals on this synesthesia themed song.   That lead to her launching into this next song.

"Ready For Your Love" came out of a 2024 collaboration with award-winning electropop German DJ and producer Felix Jaehn. 

Returning to give the "wheel spin" another go, Sophie landed on this next song, much to the delight of the captivated audience.

The wheel selected the best song from her troubled (and transitional) second album "Shoot From The Hip" with the single "Mixed Up World."  A particular favorite of Heather's (and one would assume most young women) the final foray with songwriting team Alexander and Rowe emphasizes resilience over confusion, reminding oneself to "remember you're a real tough girl."

Next up was a wonderful Sophie leading sing-along rendition of "Get Over You."   Who can resists the sheer joy of vocalizing those "Ai Yi Yi Yi" segments.

Reaching the "medley" portion of the show, the highlight of course is Sophie's first ever hit song "Groovejet (If This Ain't Love)."   Created out of a collaboration with DJ Cristiano Spiller, who himself sampled his contribution from the Vince Montana Jr. and Ronnie Walker written and Carol Williams sung Salsoul Orchestra song "Love Is You."  Sophie penned all the lyrics, with subtle enhancements from co-writer Rob Davis.

The back half of the performance features funky guitar strumming, Ciaran's electric piano melodies and a heavy emphasis on percussion.  The hits just kept on coming now, with the latest single "Freedom Of The Night" followed by a near religious experience via a cover of Madonna's "Like A Prayer."  Both wonderfully done with Sophie recreating her video ribbon twirl, and cathedral lighting on the later. 

Then it was time for a number from her fourth studio album "Make A Scene'" and it's first single "Heartbreak (Make Me A Dancer)."   Initially released as a dual release between Sophie and English production duo The Freemasons (James Wiltshire and Russell Smalls). Songwriting credits were shared equally between all three as well as the inclusion of Richard ("Biffco") Stannard. It was a pretty successful hit for each of the separate artists albums, with some decent play in the USA. Reaching No. 1 on the MTV Dance Chart, it remained there for 13 consecutive weeks.

 Of course the most anticipated song was set to close out the main portion of the show.  Sophie told the crowd to "do what you will with Murder On The Dancefloor," so Heather and I did, dancing and singing along with everyone else there.

With this celebratory revival and stunning 2024 success for this track first released over 20 years ago, the song became a viral phenomenon after providing the soundtrack for a pivotal scene in Emerald Fennell's film "Saltburn."  That lead to it re-charting globally and marked Sophie's first entry on the US Billboard Hot 100.  The track now has over 800 million streams across all digital streaming platforms.  Co-writer Gregg Alexander has said that he's reconnected with Sophie after the song's recent success, and that he realizes things worked out as they were meant to be.  He's happy that new people are discovering the song and is content with riding the rollercoaster of the song's new popularity.

With the band now back in their animal masks, Sophie leads the crowd in a final sing-back-to-her celebration.   At the songs conclusion they all wave goodbye and head off the stage.  Most of us are pretty confident there will be an encore, but we clap and chant to bring her back all the same.

Not to be disappointed, Sophie and her band came back out on stage and launched into one of her most popular hit songs "Bittersweet."  Another dance floor success and third single from "Make A Scene,"  Adding Hannah Robinson again to the songwriting team (which included the three others who helped shape "Heartbreak") succeeded again in creating a universal theme most anyone could relate to.  This performance here tonight continued the sultry dance arm movements and overall joy of the live event.

As the band continued to play, Sophie disappeared once again until we suddenly heard a gasp from the crowd as she appeared in radiant light at the middle of the room.  Being helped up onto a riser, she sang an intimate, acoustic guitar accompaniment rendition of her best known song from her original band Theaudience, "A Pessimist Is Never Disappointed."

Watch and listen here.

Taking Sophie back to her very beginning as a recording artist, the Billy (Paul) Reeves penned song serves as an acknowledgment to her earliest days. As the 19 year old lead vocalist (and image) of britpot band Theaudience, this third single release from that bands debut album peaked on the UK Singles Chart at No. 27. Sophie has been performing this song from time-to-time over the years at live shows, and including it here was a perfect touch. Sophie's rendition here is note perfect, including all the “charm” alluded to in these almost too-sophisticated-for-pop music lyrics. Reeves was certainly a gifted songwriter and one wonders what he could have accomplished if he had gone as hard at it as, say someone like Gregg Alexander (or for that matter, Sophie herself) has. Nevertheless, THIS song is still a marvel after all these years, and would have been the perfect lead song to any of the numerous “coming of age” Hollywood movies that have come out over the last 20 years.  Coming full circle, it was "Saltburn" that did it for her.

With that the show came to it's conclusion.  As previously mentioned, there had been some communications with Sophie about meeting up to speak after the show.  However the venue staff were firmly in a get-everyone-out-of-the-venue-asap mode and it took some fast talking from myself to convince them that "no really - Sophie said it was ok to meet us!"  Fortunately, the staff member I chose to pitch my appeal to (I tried to pick the most friendly face) said she would investigate.  After a nervous moment or two, she came back to say "yes" - the communications chain she began the process through reach the right people and we were quickly escorted over to some chairs near the stage door.  As I observed instrument-tech and overall backline provider (and would later discover a surprisingly good wall climber to enter locked out of rooms) Josh Beanz break down the stage equipment, we were told someone would get us to head back.

That someone came in the form of tour manager Dominic, who was a friendly fellow that made sure we made it through the labyrinth of passageways leading to the stars dressing rooms. 

Dominic to the right of Jackson there

As we continued to wind through the passageways that lead to our destination, I asked Dominic about all the world traveling he'd been doing lately as tour manager of Sophie and her band.  He had a cheerful attitude about it all, and I must admit that getting to visit all those places while working has to be quite an experience.   We were sat outside the dressing room door and told to wait for Sophie to appear.

As we waited, taking pictures by the dressing room door signs seemed like a good idea.

Before we knew it, Sophie emerged from said dressing room, walked over to us and said "hello."  She had changed out of her performance costume and was now wearing a more casual t-shirt with patterns on it, and an angle length skirt.  She still had her stage makeup on and of course looked stunning.  After the obligatory 'how are you's' and "good to see you's' I introduced her to my daughter Heather.  Sophie was under the impression that she had met Heather before, but this was actually the first time.  We both agreed she must have seen her picture on social media and that's how she knew her.  Never one to waste an opportunity, I asked if we could take a picture together and of course she agreed.  Road Manager extraordinaire Dominic offered to take the photo and we commenced to that.

Happy times with Dad, Daughter and Idol

We continued to chatter about the show, her music and the fun things she puts on social media all the time.  For instance Heather wanted to know if she had named the three kittens that were recently born.  Sophie said she had not, because other family members had already claimed them, and she wanted to let the new owner name the kitty.

While we continued to talk, the bandleader, bass playing legend and super dad himself, Richard Jones emerged from his dressing room and joined us.  The talk became more animated now and I reminded him of a conversation we had 14 years ago, when I first met him in New York (at that pier show with The Freemasons I mentioned earlier).  I asked him if she still felt that Paul McCartney was his bass playing role model and he said yes he still was.  I saw Paul would be playing at the Corona Festival that Sophie and crew would be at soon and they were excited at the prospect of seeing him play again.  Once again not wanted to miss out on a photo op, I asked if we could take a picture with Richard.

Richard sporting his Loup GarouX t-shirt

We chatted some more and then Dominic asked if we would like a picture with all 4 of us together.  Never one to turn down such an opportunity, we commenced to take the best picture of all.

As we chattered on further, Sophie graciously secured tour t-shirts for Heather and I, and we joked about how we would walk side-by-side down the street to display all of the shows.  That, if fact is what we did a few days later.

Instagram searches on various Sophie-related hashtags provided surprisingly positive results as well.

Sophie and Richard were so friendly and down-to-earth - No star tripping here.  We talked about so many different things in the however-long-it-was (having lost complete track of time) we were allotted.  We said our goodbye's as they at least one other meet-up to get to, as well as prepare for a long over six hour drive to Atlanta.

As Dominic helped us navigate our way out of the venue - there was some climbing down off the stage involved - we headed out the venue and found ourselves out behind it.  Having to walk all the way around it, we spotted Josh and crew loading up all the equipment into the trailer that is pulled behind the tour bus.  Being a serial picture taker, I grabbed a quick snapshot of it.

Which also makes an appearance in Atlanta photo from the next day.

While I curiously watched the hard work that a tour crew must do to get everything securely in their places, none other than Sophie and Richard come strolling out from another exit area (right near to the tour bus) and commence to greet some fans who had waited there after the show to meet her.  

Drained as we were from this amazing show and incredible experience afterwards, it was all we could do to stumble to the car and head home.

A truly memorable night with an iconic star who has been accurately described as having "stature that goes beyond the music, and she's now become a British national treasure."

Indisputably!

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A review of her most recent single and video "Freedom Of The Night" can be found here.

Stream "Freedom Of The Night" here.

Join the Sophie Ellis-Bextor mailing list.

Connect with Sophie online:

Facebook  -  Instagram  -  TwitterX  -  Official Website  -  Linktree

A Complete Review of Sophie's Full-length Album "Hana" can be found here.

A Previous Review of Sophie on this site (including links to all the other features on her) can be found Here.

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Investigative Reviews of Exceptional New and Recent Single Releases

This Edition of DaveCromwellWrites focuses on four new single releases from much beloved and/or highly regarded recording artists. While one continues their compelling resurgence by way of an expanding new audience base in the USA, others here stay the course with yet-another impressive release. Singer-songwriters are the primary focus this time, but there is always room for a bit of dreamgaze hazy goodness. Whether it’s higher-end glossy production or a grittier home studio offering, a few chords and a melody is always, it seems the right way ‘round.

What a whirlwind year 2024 has been for Sophie Ellis Bextor.  As a result of having her over twenty year old single “Murder On The Dance Floor” featured in the widely viewed film “Saltburn,” the track took off again and became an enormous hit. Much like the way Kate Bush’s “Running Up That Hill” had a similar resurgence after being featured in the popular series “Stranger Things,” Sophie was suddenly popular for the first in in America.  Long time fans of Sophie (this writer included) already knew how great she (and that song) was, but now all of the USA was singing along to MOTD repeatedly. A certain first daughter (mine) who already loved Sophie’s music from being fed all her albums over those 20+ years, was now saying how she heard it on the radio every hour. A first ever full headline US tour followed, along with TV appearances on the best late night variety shows. Now Sophie is back with a brand new single “Freedom Of The Night” and this sites review periscope digs down into it’s glorious details.

It shouldn’t be surprising the songs opening strains hearken back to Sophie’s “Make A Scene” era and two of that albums biggest songs “Bittersweet” and “Heartbreak (Make Me A Dancer).” Considering she co-wrote this with Richard ("Biffco") Stannard, who was heavily involved in those MAS tracks, the sonic qualities are instantly recognizable. Filling out the songwriting team here are performer/producer Shura and Duck Blackwell (and of course the ever present Richard Jones). Vocals commence within the first 10 seconds as Sophie commences to “wake up” and “put on confidence (like make up).” Bridge is arrived at almost as quickly (under 30 seconds) “I’ve heard dreams come true” with minimal backing of handclap percussion and upward fluttering synths – “come to the other side” she beckons (reminiscent of Familia’s “Come With Us”). Like the best great dance tracks it’s really all about the chorus and this one leaves no doubt. Hitting right at that 30 second mark, Sophie’s voice soars in “OhAh I can feel – Energy – I believe it’s healing me – OhAh All I need is sweet release” and the title line. Repeated again because that’s what these songwriters know works – how to make a dancefloor “banger.” The musical underpinnings are bubbling, bouncing bass synths and four-on-the-floor forward thump.

Sophie has already been quoted as saying it’s all about “that feeling you get when music gives you that lift, that empowerment.” That fits with the next (3 time repeated) hook line “Give in to what to do want.” Verse two mentions the “clock,” “time” and “a web made of moonlight” presented in a singular falsetto vocal register, against an animated heavy-funk bassline. That precise bridge to chorus returns to lock down that essential dance floor hook. This go round the “give in to what you want” comes with a repeated shadow vocal off in the distance. One more essential change with “ooooh – when the moon is high I feel this way” ultimately leading to “I Rise Again.” As an added treat, Team SEB brought in rising guitar superstar Chris Greatti (lovingly covered in this sites feature here) to play a blistering guitar solo. One final pass through the chorus (because it’s just so much fun) and then a sharp ending.

Check out this fantastic song here:

The Official Music Video has now arrived and it’s brilliant fun! Sophie decided to revisit the story of her original MOTD video, but now update it to years later (which of course it now actually is). However, this time she is a “stage mom/mum” and is coaching her own daughter in a similar dance competition. Bringing back essential people like video director Sophie Muller and central judge Colin Stinton, newer creatives like “Saltburn” Choreographer/Movement Director Polly Bennet were also involved. The biggest change (and delight) are Sophie’s adorable co-stars – the young dancers, which include a “Mini Sophie” (her fictional daughter here). The video opens with the mother/daughter team walking into the competition with their matching custom made “Team S E B” tracksuits. At the makeup table Sophie grooms her daughter and rehearses pageant smiles while glaring at the competition. Costumes are readied and the “en-er-gy” is commenced with swirling dancefloor moves. Amusingly, “mother Sophie” is caught peering over the judges shoulders and discovering the scores are not to her liking.

When the line “I’ve heard dreams come true” is reached, there is mom Sophie coveting the prized trophy of flower-adorned silver dance shoe. Sophie grabs a bag of candy and starts giving it to the other dancers, causing them to become distracted and ultimately blow their routines. As Sophie manically cackles, we now understand her comment that this was a “What Ever Happened To Baby Jane” moment. She stares down and confronts a photographer capturing the whole thing and the judges are appalled. Hitting the songs glorious bridge is where “Mini Sophie” has her shining moment. Real and Mini Sophie now in matching outfits take their star turn in quick cut succession, whipping a long ribbon around in triumph. Complete chaos ensues as all the other child dancers begin acting out in distress. As the judges loses control of everything, Sophie and Mini make a bee line for the trophy and award it to themselves with delirious glee! It’s such bad behavior but soooo good in this video.

Stream "Freedom of the Night" here.

Join the Sophie Ellis-Bextor mailing list.

Connect with Sophie online:

Facebook   -   Instagram   -   TwitterX   -   Official Website   -   LinkTree

A Complete Review of Sophie's Full-length Album "Hana" can be found Here.

A Previous Review of Sophie on this site (including links to all the other features on her) can be found Here.

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Earlier this year the artist releasing music under the name I’m The Villain received a detailed review of their latest single (at that time) “Something Is Coming.” Now Gianmario is back with a lyrically introspective, instrumentally lush new track “The Real Me.” The DaveCromwellWrites laser focus is now applied to this current release, detailing the essential elements that flow throughout the composition.

Choosing to bypass any gradual introduction, the track commences in full motion with electronic high-hat ticking percussion and deep chiming The Cure style guitar. Chord progression and melodies are bold as they morph from major to minor key status with emotional sincerity. Vocals commence with initial lines that go “waiting for a real sign, I wash away the morning light. Find me - In your sweet song - and don't be sad, ‘cause you're alone.” As one would expect, the chorus is where everything comes together, with lyrics “I found myself in Dream and - I don't care if I'm still alive - I Just want to be the real me for this time.”

Extended note synth pads fill in the sonic space for a lush backdrop that enhances this reflective sentiment. There are subtle pitch bends on some of these synth textures that adds another level of melancholy and mystery, just lurking underneath. Just past the midway point an uplifting keyboard phrase provides a bridge to another round of vocals. A modulating pulse now repeats during this segment, combined with an additional descending sonic element. The beat drops out for an ethereal vocal passage accompanied by yet-another elevated keyboard enhancement. With full percussion kicking back in the chorus is repeated while that beloved Cure-sound guitar returns for an earnestly gorgeous outro.

Listen to this heartfelt song right here:

The track can also be streamed on Spotify

Follow I'm The Villain on his Social Media:  Facebook  -  Instagram  -  Soundcloud

A previous review of I'm The Villain on this site can be found here.

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It’s always a pleasure to hear from Lunar Twin songwriter and vocalist Bryce Boudreau, having covered a number of that bands releases here over the last few years. This time he’s tipping this site off to a previously unheard artist that goes by the name Matthew Nowhere. The promise that both Lunar Twin members (which also includes instrumentalist Christopher Murphy) are to make contributions to Matthew’s forthcoming debut full-length “Crystal Heights” is exciting news indeed. For now there is this current track “Love Is Only What We Are,” which receives the full DCW analysis.

Accompanied by an official video that opens with images of a swirling night sky, steady synth pulses are soon met by deeper bass, as the artists silhouette gradually comes into view behind floating overlays. A steady snare keeps the beat as melodic guitar figures join into the mix. As Matthew starts his lyrical journey. “right now I’m staring out a window - In a wall that’s made of ancient pain. This life has turned me into ashes” with the final line “But I love it all the same” delivered with high-gloss multi-layered voice production. As the second verse doubles down on “changing feeling” and “heartache” its all on the chorus to “give it a name.”  Which is does in an uplifting pop manner, relying on “la la’s” for vocal hook celebration, with the title line and ultimate resolve to “give this love away.” A noticeable bass line delivers full motion sensation throughout that chorus, before giving way to that steadier throb pulse on verses. Delving further inside the story, when you “have nothing left to say” then “I guess I can sing” is the answers. A moody synth-driven instrumental section populates the tracks mid-point, before returning to the primary rhythm. With images of flowers now filling the video screen, some tasty guitar licks are given the green light on the songs outro.

Check out this fascinating track here:

The song is currently available on all major streaming platforms Here.

Follow Matthew Nowhere on Social Media  -  Facebook  -  Instagram  -  Bandcamp

An in depth Feature on Lunar Twin can be found on this site Here.

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The always creative band The Suncharms are back with a re-imagined 2024 update on a shimmering “Things Lost” album track.  Originally titled “Torrential Rain” on that full-length record (dutifully reviewed in its entirety here) this new version has been shortened to simply “Torrential.”  Now featured on a brand new compilation “Aspirin Age Volume Four” (a shoegaze compilation), by Broken Sound Tapes, it it well placed inside this mammoth 48 track album.  A full DCW review comparison between the original and now updated version commences below.

Where the original album track featured a less-distorted sound focusing on shimmering guitar, hard charging bass and drums, this updated version enhances those same elements with bolder emphasis. Lead vocalist Marcus Palmer always brings a coarse edge to his dreamgaze vocals, and one can only assume those references to an “overgrown cemetery,” “angels with moss faces” and “broken tombs,” still leads to a search for “something to make me feel alive.” What’s particularly lovely about this track are the inclusions of counter melodies descending behind the forward charge, back and forth two-chord progression.

When the chorus hits its all the feels you can imagine. “Knocked over by an arctic wave. Torrential rain, drenches my face. Something, to make me feel alive. A lost song, on a 45.” It’s no secret this website’s writer (yours truly) has had a long running admiration for The Jesus and Mary Chain. This track in particular seems to embody everything that is great about their influence. There’s bits of “Some Candy Talking” in the Spector-esque double stare drum shots and melancholy descending counter-melodies.  The soul searching story continues “Sat in crystal seas with you. Feeling the warm breeze. Dark thoughts are haunting me. What can the broken tombstones teach me?” One more pass through the chorus, and then that oh so MaryChainy magnificent final minute instrumental end-out.

Check out this beautifully updated track here:

Find out more about this compilation here.

Follow The Suncharms on their Social Media   -   Facebook   -   Instagram

The most recent prior review featuring The Suncharms on this site can be found here.

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Sagacious Dissection on New and Recent Album Releases

As these Autumn days usher in the back quarter of 2024, new music releases from artists both familiar and new receive deep listen reviews. A much anticipated new album from trusted label runners own band share space here with a first time entry. Rounding all of that out is the return of a storied and influential creative force that continues to mesmerize. Time spent immersed in the lyrical thoughts and audio sounds each of these artists present is both entertaining and enlightening.

Having already been acknowledged by the prolific Burbank, California music label Big Stir Records for “the wonderful coverage of so many of their releases over the years,” it’s always exciting to hear of something new from them on the way. This time it’s the label runners own band The Armoires with their fourth full-length album “Octoberland.” This site reviewed their previous album back in 2021 which now leads to anticipation of how their sound has evolved. Produced by Michael Simmons of sparkle*jets u.k. (who’s own work was reviewed here very recently) a deep listen and analysis commences below.

Opening track (and “indie hit single”) “We Absolutely Mean It” initially misdirects with studio-enhanced soft alien vocalizing before quickly launching into it’s forceful progression. It’s a downward pounding rock and roll romp driven by electric piano, thumping drums n’ bass, chugging guitar and violin (the cool ELO kind). Vocals come on in a modern synthesized manner, with quick cut accents by the band after each single line delivered. Unafraid to take a more intellectual stance, short sentence word play that includes “self-mythology,” “etymology,” “ambiguous” and “progeny” are delivered within the songs first minute. The punch line (if you will) is that “we mean it” with conviction and sincerity. A repeated change section provides a catchy sing-along cadence, while at one point charmingly emphasizes “truth,” “elderly” and “youth.” They even embed their own band name in verse with “we are The Armoires, anything could be inside” (which makes sense as it’s actual definition is a large wardrobe). Driving home the message that “this is a collective (and not a single point of view)” the end out declares “this is where we go big” followed by an Italian word “sfacciata” (which means a brazen boldness).

Check out this brilliant track here:

An ear tickling interplay between chiming guitar and bass introduces featured track “Ridley & Me After the Apocalypse.” Drums quickly pound in and the progression is off to the races. Warm viola creates a rising sensation, before the full-force descending progression glides along lush synthesizers. Delivering quaint, picturesque lyrics referencing life in the aftermath of cataclysm, there’s still time to note their own personal fashion styles “She's dressed in Victorian plaid . . . and paisley's the province of Dad.” There’s musical weight via tom-tom drums behind the rising vocal bridge that states “End times are so boring,” while the bouncy chorus and it’s time-honored vocal spell out of “A.P.O.C.A.L.Y.P.S.E.” adds a lightness to a subject we’ve all too long been conditioned to fear. “Character development” becomes the primary focus as the song concludes, and one can’t help but root for “Ridley” and the “tribe” to succeed with all the “world building” this is going to take.

 

Majestic piano figures and acoustic guitar lead off another of the album’s feature tracks “Here Comes The Song.” Blended soft voice delivery of vocalists Rex and Christina share similarities with the way Sune and Sharin do in The Raveonettes. Lyrically writing about a songs creation in a reverential manner (where it “sits on a throne” and is “the ruler of all it surveys”), it still has to “take it’s first steps” to eventually be heard. Quickly reaching the simple humming title line chorus, the full band enters for maximum effect. Biblical references to “Bethlehem” and “a place to be born” move the story forward, now enhanced by sumptuous violins. The progression is broken by a dramatic change with voices rising in pitch and additional questions on a songs true nature arise. Subsequent verses amplify intelligent literary care, but in spite of those qualities “The Song” ultimately “ate her up inside.”

Enjoy this wonderful song via this official video release:

 

Other featured tracks like the heart-tugging whimsy of “Music & Animals” is a joyful romp reminding us about what should really matter in this life. With a bouncy rhythm combining bits of happy-style The Cure with a slight country-western feel, twangy guitar and emotive violins stand out. Those Raveonettes-style (which is actually Everly Brothers-style) seamlessly blended vocals, present the question “how do we get by in this world?” The answer comes quickly with the songs title, because if you don’t love those two things there’s something wrong. Piano and bass guitar noticeably steps forward after a first pass through the chorus. Anyone who has ever had a long-time four legged friend can relate to the lyric “everyone needs a familiar to sing their secrets to.” A playful turn is taken with a twice visited call-and-response segment that alternates both vocalists sharing thoughts of their pets and song design. The album’s theme and concept comes fully revealed as here is the “Octoberland” everyone is invited to “visit when you can.”

Other interesting cuts like “This One’s For The Swedes” emphasizes flamenco guitar, synths and Christina singing in a Debbie Harry-style cadence and timbre. “Ouroboros Blues (Crow Whisperer) is a delightfully bouncy song that moves away from the blended voices to alternating male-female verses. A mournful violin works it’s way throughout, adding a charming pathos to it all. “Green Hellfire At The 7-11” uses a Buddy Holly-esque cadence on it’s chorus, combining sing-along rhymes with more serious political thoughts. “You Oughta Be Cut in Half” blends two prominent genres into a single song. Life-in-a-Northern-Town-Britpop and early 80’s era-Blondie (again) may be the two halves actually intended. Points for the lyric “try living life as a levitating torso.”

The whole album is filled with one gorgeous track after another, and is out in full on October 11.  Preorder it in your choice of format - Vinyl, CD and/or Streaming, here.

Connect with all things Big Stir Records here.

A prior review feature on The Armoires can be found on this site here.

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A frequent way artists find their way onto this review site is by a simple direct message reach out. Such is the case with The Black Watch, a band fronted by John Andrew Fredrick (who did the reaching out). Naturally an initial listen to the artists previously unheard music is a necessity, and if the quality is deemed worthy (in this case very much so) a review is soon underway. John is one of those talented journeymen who creates brilliant music. An apparent 30+ year career of writing and recording had lead up to this recent album “Weird Rooms.” With ears tuned in carefully, the Cromwell analysis commences right away.

A quick word about this cover: It is a painting by English portrait and landscape painter Thomas Gainsborough. Considered one of the most important British artists of the second half of the 18th century, the soft image of that female evokes thoughts of another time. Gainsborough is actually more famous for another one of his paintings, the ubiquitous “Blue Boy.” For his own part, John Andrew Fredrick offers up his own original art on the back cover.

The album begins with a brief :31 second opening salvo “When You Find Forever” that approximates someone walking up the stairs, opening a door to a room with chaotic voices, strumming guitar and tuning in to a radio station that smoothly states “the best music all day long.” Then a few more seconds of twangy western music before abruptly cutting in to the albums first real song “Myrmidon.”  Pivoting off of four acoustic strummed guitar chords, the make-you-look-it-up title word “myrmidon” (from classical mythology, an unquestioning follower) is initially sung with cryptic phrasing. With no percussion, bass guitar provides the underlying movement, along with brighter electric guitar punctuation. Beatle-esque background vocals make a splash on the end of vocal lines “I forget where I’m at,” “don’t you find?” and various strategic points going forward. Drums and tambourine eventually kick in at the one minute mark putting the song in full motion. An equally mysterious semi-spoken word vocal line “I'm blushing like a carnation,” leads the track out to it’s conclusion.

“Miles & Miles” approximates a chill trip-hop percussive element under shimmering guitar and angular bass guitar lines. Against the backdrop of this subtle dream-gaze coloring are lyrics questioning motivation. How the “difference between the way you speak” and “carry on” “varies by the week.” And although one may be “all for opening up to change,” following approved dissension points may not be the clearest way forward. A wonderful rising buzzy ambiance provides musical interlude, with bass guitar and drums periodically let loose underneath. The final 30 seconds or so is laced with veiled spoken word samples, that appear to be in a foreign language.

The rarely used anymore word “Gobbledegook” (first used in the early 1940’s, but a child of the 1960’s remembers their mom using it a lot) serves as the title for this next song. The track is embedded with a style that straddles the line between “Isn’t Anything” and “Loveless” MBV.  It’s progression hearkens to the joyous uplift of “When You Sleep,” but it’s less distorted quicker and cleaner. John enlists a female vocalist to deftly shadow him on essential lines like “I wouldn’t stand for it, nor should you.” A lovely rising synth line hook emerges multiple times throughout, enhancing the quick strummed guitar and bass pattern. Lyrically the message is clear: “how can the hope of trust in them go well?” (the red pilled among us know who “they” are) - “it's gobbledegook & you know it is.” Double talk gibberish is dangerous when it comes from our so-called leaders.

Another “radio station” break comes via the :52 second “Without Protection” which declares “you’re tuned in to the one and only TBW 93.1 FM.” That sets up a finger picked acoustic guitar and mournful violin instrumental that is rather emotive and sentimental. Followed by more footsteps and a door opening, which leads direction into the next (and album title) song. “Weird Rooms” bounces out of the box with a perky strummed acoustic guitar progression enhanced by sharp plucked deeper toned guitar notes over top. Vocals start right away with a story of “hazy-past dreamlike endeavors.” Again enlisting female shadow vocals on the catchy change, “soft you now, your blushing skin, I breathe it in with all of me,” is a sonic delight. That the end-line word “me” is repeated for four more times with changing harmonies adds one more level of unexpected aural delight. There’s a lovely instrumental break just midway in, with Beatles-esque chiming lead guitar melodies over top of the acoustic guitar progression. When vocals return the song (and albums) meaning becomes clearer, stating “the strangest room” – the “weird rooms are not that weird to me.”

“Swallowed” returns to that MBV/Ringo Deathstarr hybrid that so many in the “gazer” community have such affection for. All the adored earmarks of quickly strummed electric guitar (although not particularly distorted) quick snare drum fills and a rising pitch-bend element nod in homage to that beloved genre. Even the song’s title itself seems like it could have been on “Loveless.” John sings in boy-girl tandem with a female vocalist that beg further comparisons to the Kevin-Belinda style. It’s two minutes of sonic bliss, yet the lyrical story is not that happy. “you swallowed all the lies he told, I don’t have to tell you this – the world will” and “willingly I'd share the blame, I wonder if you'd say the say the same.”

The full album release is jam packed with one delightful track after another.   Have a listen for yourself right here:

 

Follow The Black Watch on their Social Media here   -  Facebook  -  Instagram

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A little over a year ago legendary psych-rockers The Telescopes album “Of Tomorrow” was given a thorough listen and review here on this site. Now this boundary breaking collective driven by founder and frontman Stephen Lawrie are back with a brand new release titled “Halo Moon.” With a body of work that encompasses over 30 years, The Telescopes have directly influenced multiple generations of experimental musicians world wide. The time is now here to dive into this latest release and find the secrets held within its sound waves.

Opening cut “Shake It All Out” builds off primitive thump percussion surrounded by grinding organ-like keyboards. The pace is deliberate like a metronome with Stephen’s vocals emerging in an unhurried manner. Calling into question “your very soul,” leads to a realization “it has no place in your mind.” As the progression oozes relentlessly forward, a chorus of sorts emerges which implores that you “shake it all out baby, shake it all out now.” Guitar and bass move up into the mix, adding sonic color to the overall proceedings. There’s caution at points in Stephen’s lines, like when he states “don’t let it turn your heart to stone.”

Featured video track release “For The River Man” builds around a back-and-forth sawing harmonica riff (with green glowing video imagery to match), jingling percussion and deep thumping bass. Distant sonic elements flow across the sound field at various times adding an otherworldly sensation. Stephen appears and begins softly delivered vocal lines in drowsy tones, with his video imagery reading them from what appears to be an ancient manuscript. “Go tell the river man, I’ll be there when I can,” is how it initially is told. With the reveal that he’s “headed for another land” you notice the ghosting voices impressively that trail along a number of these lines. Recurring images of that single note pluck on bass guitar float into view as Stephen rises a step in pitch on vocal lines stating “go tell the sky above, everything you love. Tell it to the trees, as you please.” The essential hook overall is that warm harmonica riff that mirrors a lonesome dove, 1930’s dust bowl vibe. The story continues: “fell into the sun – day is never done. It goes on and on – never done.” Reaching what is essentially the song title line chorus, multi-layered higher harmonies add a deeper hue to it all. “Tell it to the breeze” Stephen furthers, and “all it guarantees.” All throughout the video a flowing backdrop (like sunlight on water) runs behind from right to left. The track concludes with additional harmonica phrasing over a rushing river flow.

Watch and listen to this entrancing composition here:

“Come Tomorrow” emerges out of alternating electric guitar strokes, modulating keyboard textures and a strong bass line moving through the center of it all. The percussion is basic but forceful in just the right places, like a New Orleans funeral procession. Stephen’s vocals come on with a touch of processing, as if singing through an electronic device that synthesizes voices. A long reedy keyboard pad (sounding like a harmonium) is paired underneath these vocals, as the voodoo percussion clinks along. The voices become fuller and more natural sounding on the essential central theme that goes “no more weeping – no more sorrow” leading in to the song’s title line.

“Along The Way” is a five minute guitar punctuated meditation that leads you through an internal journey of self-discovery. “Lonesome Heart” builds around a three-quarter time signature, relying on dual guitars (power chords and single riff melody lines) , ambient keyboards and minimally placed percussion. The title track “Halo Moon” moves at a thoughtfully measured pace, with instruments syncopated at angular entry points. A mysterious rattle-pulse accents the track at periodic intervals, as the songs title is chanted like a mantra to shining celestial body.

 “Nothing Matters” chugs along a straight trap drum set pattern, with downward driving guitar lines and complimentary keyboards. A distant thunder-boom adds depth to the sonic spectrum as vocals float over and above this driving rhythm. The albums final track “This Train Rolls On” is cinematic in feel and epic in scope. A gong is repeatedly struck as keyboard pads, cymbal rushes and strangled, note-wrenching guitar lay a trance-inducing field for the vocals. At six and a half minutes and the albums longest track, it serves as a fitting conclusion this ambient, introspective collection. 

Get to know this hypnotic record, which is out now on Tapete Records.  Order it here at this link.

Follow The Telescopes on their Website pages and Social Media  -  Tapete Records  -  Bandcamp  -  Facebook  -  Instagram  -  TwitterX

Previous review features on The Telescopes can be found on this site here and here.

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