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.
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.
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.
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.
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.
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.
A combination of new and returning artists provide the material and inspiration for this August 2024DaveCromwellWrites music review. The discovery process of what’s being newly released is often a random one, with the direct outreach approach often the most effective. Whatever way music finds its way into one’s sphere, an appreciation of what is being heard is always the deciding factor. Four new recordings now serve as the subject matter for this current detailed audio breakdown.
The trusted recording label Sunday Records has been growing it’s presence here on this site, with more than a few of their releases showing up in recent times. So recent in fact, that last months notification (and featured track inclusion) of that labels recent “Beautiful Noise” compilation most-likely served as catalyst for another of their artists to reach out. The Proctors are a C86 / Sarah Records influenced indie pop band on the aforementioned label who recently released their latest album “Snowdrops and Hot Air Balloons.” A dedicated listen and analytical thought flow commences straight ahead.
Jangly, open-note guitar chords, rising bass, synth pads and a steady drum thump introduce “Summer Begins.” A bright-flute synth melody enters and seemingly merges into celestial background voices. Male fronted vocals with female harmonies at appropriate moments implore you to “be kind to yourself and don’t, don’t stop believing” and to “just go, go on feeling.” It’s a lovely throwback that lifts the spirits with rallying cries to not “torture yourself” and how “tears try in the morning sun.” Curiously, the hook concludes with the lyrical phrase “summer’s just begun,” and not the song title. In fact, no where in the song do those two words appear together. It hardly matters as the song bounces along on a joyful breeze while cautioning that “the world is full of broken hearts,” and how “everybody plays their part.” A positive outlook in the face of temporary trouble is the primary theme here, as “memories will fade” and “soon the sun will rise, erasing yesterday.”
Listen to this sweet song here:
Rising out of a distant ambient mist that slowly reveals to be icy synths and churning guitars, “Silhouettes” soon morphs into a full on bass guitar and drums driven four-chord progression. Things go quieter for opening lyrics indicating that “guilty tears won’t set me free.” It’s about love – or more accurately about relationships and how when you “step inside,” it can lead to “sweet sensations – and then lies.” A gorgeous male-female vocal harmony is then featured, and brings to mind the seamless beauty of The Raveonettes. The poignant lyrics state “it’s not a sin or crime, it’s just our sentimental point of view.” In search of a “remedy . . . to cure what poisoned you and me.”
Deeper track “Crystalline Part 2” jumps out at a brisk pace with chiming guitar chords in a descending progression, melodic driving bass and a wonderful tambourine strike on each 4 beat. Clever lyrical metaphors focus on stringed instruments, where “your voice is like violins” and “bells on your guitar” ultimately “kill me with your string machine.” It’s all wonderfully wrapped in this rising step dual-harmony appeal that asks “so why d’you do this now - take me to that Shangri-La? Please don’t do this now, put my head inside a dream.”
The whole album serves up one exhilarating track after another, making for a delightfully pleasurable listen.
New music from Philadelphia's Patetico Recordings is always a cause for celebration as well as a deep dive review. Label boss and primary musical creative force Tom Lugo is back with his band Heliocentric Overdrive and their latest single "Unnecessary." Two years ago a full review of their debut EP “Weightless” was given the CromwellWrites treatment on this site. In between then and now other Patetico releases have gotten their deserved analysis here as well. The time now has come to dig into this new release, and uncover it’s audio and lyrical essence.
The track opens with a touch of feedback before immediately launching into a downward driving progression of glorious sludge. It’s rhythmic force brings to mind those grinding gears on the abrasive half of Ringo Deathstarr’s “Tambourine Girl.” However, rather than launching into a contrasting perky pop segment (as RD does), this cut holds the rhythm but opens space for rough delivered lyrics. Presented in clipped spoken word cadence, the opening lines “Got an invitation - but you ain’t gonna go - got no time for parties - rather be alone” emphasize isolation over social interaction. Piercing sonic bursts from guitars ride over top of the low rumble stomp churned out by bass and drums. It’s a gritty affair that falls firmly in the heavy stoner-rock category. As if onetime same day festival headliners Mbv and Tool (quite a dividing line among attendees at that time) came together to produce this one song. A second lyrical couplet sheds further light on this internal struggle, stating “they say time is money - got none of my own - step up to the altar - I’ll bleed to get my own.” As the thunderous instruments continue charge forward, a chanting vocal repeats the sentiment “all this time – wasted away.” There’s even a subtle similarity to this tracks coda end-out and the Beatles maniacal “Helter Skelter.”
Every once in a while something totally unexpected comes out of left field and winds up in the message box. Such is the case of indie artist Ronaldo Vivo Jr. from the Philippines, who puts out music under the moniker obidya himig. Internet translators indicate that second word means “melody” which is an appropriate designation for this music. However, those melodies often come buried in the dreamgaze murk many of us weaned on My Bloody Valentine (and others) have come to know and love so well. The recently released album “Other Seasons” now receives a close listen and descriptive reactions to these recorded soundwaves.
Opening track “Footsteps” takes it’s cues from the aforementioned mbv’s “Loveless” by bringing together the essential elements of two-chord slog, crisp live-sounding drumming and unintelligible lyrics buried under layers of guitar sludge and pile-driving bass. Lyrical hook “glow like embers do” is merely suggested, and how could Kevin Shields not love this? He’s spawned a whole generation of acolytes, perhaps more than even The Velvet Underground once did. Liner notes indicate this solo-studio artist played all the instruments, so props in particular from this writer for getting the Colm Ó Cíosóig drumming down perfectly. Follow-up cut “River” goes even deeper down the loveless well with a slow crawling wash of ambient bliss. There’s a touch of Ringo Deathstarr here as well, especially in the guitar effects and romantic style vocals. The single line “see me under” becomes a repeated hook in this psychedelic trip.
“Olivia” is a brief (a mere 1:24) exercise in deep bass notes, rough charging guitars and enthusiastically matched drumming. The single word title line appears in a chanting cadence, floating inside of the mix. “Bless Me” is closer to the lo-fi, alt-indie acoustic guitar driven living room recordings described in the liner notes. No percussion at all, an accordion-like sound serves as the only other instrument is this ode to a “sweet and long love.” “Sun” changes course somewhat, bringing to mind the casual, laconic groove of J. Mascic’s Dinosaur Jr. “Close your eyes and see the sun inside your mind” is even sung with a hint of J’s lazy boy drawl.
There’s even bits of chill out trip hop with the one minute, twenty two second “Waiting.” Or a touch of pre-loveless mbv on the “Isn’t Anything” styled “Crystal Tears.” More dreamily romantic vibes are felt on the Ringo Deathstarr/Dinosaur Jr hybrid “Hollow Colored Evening.” Additionally, “Purple Sea” propels along via active drumming and a see-sawing melody. Final entry “Hallway Lung” serves up an under two minute instrumental of muted guitar strums and back-and-forth floating synth textures.
Check out this weird and wonderful recording here:
One more new to this site recording artist that recently released music is Alaska-raised, Washington State-based singer-songwriter/guitarist Mark Ward. His latest power-pop album “Let ‘Er Rip” is a tour de force of time-honored indie rock song craft. Taking cues from the initial pop “British Invasion” through the decades of similarly styled rock that followed delivers potent results. Combining singalong hook melodies with lyrics that run the gamut from serious to lighthearted, a descriptive focus on representative tracks follow below.
A crisp snare drum roll leads off the album’s opening track and first single “I’ve Been Around.” Chiming power pop guitars and paired bass patterns roll out the four chord progression with 80’s indie rock flair. Conjuring up The Records classic jangle pop track “Starry Eyes,” upbeat audio is countered by more sobering lyrical content. Recounting a brief bar encounter and one night stand, the aftermath is anything but happily ever after. When “the band was playin your favorite song” and they were “dancing and singing and getting along, “morning light” brings a realization “it was just one night.” The chorus hits hard though, as the track’s title line is all that’s needed, accompanied by euphoric harmonies and melodic guitar lines. Mark delivers subsequent verses with that Dave Edmunds subtle twang in his voice, while readily admitting “I’m not sayin’ I’m some kind of saint.”
Check out this catchy pub rock track here:
Follow up cut “Kiss Me Kiss Me Kate” doubles down on the Lowe/Edumnds Rockpile vibe, with it’s uptempo groove and sharp corner accents (special mention to the album’s drummer Dylan Mandel for his excellent work). Flipping the script on the previous song, the subject matter is one of a potential future together with someone giving “a sign you could be mine.” It’s a joyous ride packed in under three minutes with a lovely chorus and a touch of “it’s now or never” sentiment.
It’s a fully Merseybeat immersion on the brief (under 2 minutes!) “Love Me Once Again.” Of course The Beatles influence is there, but also perhaps a bit of Gerry and The Pacemakers, Herman’s Hermits or even Freddy and The Dreamers. It recreates the innocent charm of falling in love with that genres subtle flair, “when tomorrow comes around, we’ll be more than friends.”
There are many more inspired, finely crafted tracks on this album, well worth a listen. Check it out right here:
The month of July is always a reason to celebrate. Two important (personal) birthdays share this 31 day stretch with peak middle-of-summer enjoyment. Along with trips to parks, beaches and the pool, time has been allotted to critically examine the most compelling new music. While all the reviews here are of recent releases, more than a few tracks have been developing over a number of years. Trusted labels continue to support artists whose independent output are far more interesting than anything the current trends offer. DaveCromwellWrites does its part as well in this regard, with the below investigation.
When friend-to-this-site Shore Dive Records shows up with a new album to promote, it’s always a reason to take notice. When it’s a beloved artist previously reviewed here, there’s pretty much certainty it will receive a careful listen. Such is the case with the Phil Wilson lead project The Raft. The Liverpool, UK based musician’s full-length album “Summerheads And Winter Beds” was given a detailed review here a few years back. Subsequently Phil’s guest vocals on Xeresa album “IV” and the song “Fall Into Unknown” was given a thorough analysis as well. Now Phil is back with a new full-length “Look At The Patterns,” which receives a DCW focused review below.
Opening track “Save Me” starts immediately with Phil’s vocals, a cappella but layered and touched with processing. A single guitar stroke ushers following vocal lines, then finger-picked open note guitar figures fill in going forward. Fuller instrumentation joins in for the gentle, minor-chord enhanced chorus that states “I don't wanna change the world, it's not what I cling to. When love is failing . . . and fear remaining – doesn’t matter what I do.” The second verse adds clack percussion for change and depth, while lines “Stayed here for lack of anything else to do - And what you are is what I knew” is an insightful observation. Halfway through a whimsical guitar solo weaves around repeated vocal line “what I do” (as in it “doesn’t matter”). Following that are unanticipated heavy distorted guitar chords emphasizing lyrical thoughts “We've been praying lately for something to shape me -
Skimming books and papers - Looking for a clue.” A Trumpet plays for a bit and then back to the power chords on what has now become a powerful chorus.
Follow-up cut “Far Away From Here” bursts out of the box with a joyously bouncy groove driven along by off-kilter “wobbly” guitar tones. It’s a peppy pop song for sure, with Phil enlisting a back-up vocalist that adds emphasis to key vocal line. The single-phrase song title line chorus hits hard with near-gazey guitar chords and throbbing counter-melodic bass. The vocals punctuate it all with a catchy “Ah-Ah-Ah” end cap. With declarations to “hang on to my health,” the goal is still to find “a new start” – where? Well, “far away from here.” 2:15 in and a gentle picked guitar solo presents itself against that wonderfully churning warble backdrop. Additional lyrics “If I could only be around instead of underground - I could see you shine. It's hard to be a better man - Living up to all you can” add insight into the desire to get “far away from here.”
Check out this amazing track here:
Third entry “Calling Out” makes full use of that three-quarter time 1-2-3 waltz progression as beautifully as any Sundays song. A pair of Claire’s contribute female vocals in a primary way, adding further credence to the Sundays comparison. The chorus flips to a male dominated vocal blend, with dreamgazey guitars washing over it all. A tasteful blend of plinking guitars, throbbing bass and deep textured drum sounds complete the audio spectrum. A final 30 second coda appears with an a cappella vocal of the lyric “you don’t even know me.”
A slightly funky bass and drums groove serve as the initial underpinnings for “Memory Of A Day #7.” Blended vocals come on tweaked and textured as one is encouraged to “feel the breeze, see it in the leaves” so that “for a while we are free.” Soft female vocals join in for the second verse (the two Claires) “What a scene - We're a dream - Moment to moment - And for a while we are real.” All of that leads to a lush, dreamgaze chorus that reveals the albums overall title. The second pass through reveals the song title with “into the soul the memory goes.” The track is a brilliant blend of almost folk-music (quiet guitar picking) single brass elements (trumpet) and heartfelt emotions. “Windows reflect back two souls. Look at the patterns. Memories or dreams?"
A precisely syncopated drum arrangement and chiming Robert Smith style guitar tones guide fifth track “Wanda.” One more trio of backing vocalists are engaged on a sensuous chorus that implores “you can always smile.” Bass guitar and it’s six string counterpart create just the right length bridge to immerse yourself in yet-another luscious chorus.
Celestial angelic folk is taken up a level on the Jon Anderson and Vangelis sounding “Next September.” While the lyrics may be more earthly than those two aforementioned spiritualists: “You were lips you were eyes . . . You were hips you were thighs . . . Spent the night every night - Held on tight,” that sonic impression remains. A song of desire – to rekindle something once had - “Maybe I'll see you in Manchester next September. I'll come and stay the night re-live our nights in paradise.” The male-female tandem sung vocals are nothing short of gorgeous.
Heavy bass guitar plod and similarly paired drum stomp supply framework under the 2/4 time parable “The Boy Lives On The Wind.” It’s a marching progression with that bass guitar reminiscent of Paul McCartney’s inspired playing on “The White Album.” Interesting chord changes deeper in allow for a sonic respite and prevent repetition fatigue over it’s five minute length.
Check this one out here:
Reverberated guitar chords chime from multiple directions on curiously titled “The New Brighton Witch.” A previously unheard female voice adds a response melody in counterpoint to Phil’s primary lead vocal. In fact, the apparent actual subject of the song’s title turns up to convey a spoken word incantation at the tracks end.
Quick chime guitar strumming and precise counterpoint bass notes introduce the dream-folk tinged “She Gave Me A Crystal.” A trio of background vocalists are carefully synthesized into key sections, the first being a rising step “I can never tell you what you are – the sun and the stars.” A minute and a half in on this over 5 minute track has fuller instrumentation filling everything out. In particular, a buoyant bass guitar creates figures between the more grounding drum beat. The harmonies are lush, ethereal and utterly exquisite.
The album’s final entry “In The Morning When You Rise” builds around finger picked acoustic guitar notes, strummed backing chords and subtle “ahh ahh” backing voices. Quick in pace and ¾ time (or is that 6/8?) soft opening lines ask “What can I do? What can I say to get out of the way? What can I do to be fully alive?” Exploding into a full-on dreamy-gaze rock production with stabbing guitar figures, a once-again soft plateau is reached. Tender male and female voices blend together asking “how can you shine?” before revealing the songs title line. One more lovely build up of cascading voices, full band and an emphatic chorus leading the track (and album) to it’s conclusion.
There seldom is too much passing between musical releases from Sheffield UK based indie-gaze band The Suncharms. Having reviewed their full-length album “Things Lost” here last October, the band is now back with a contributing track on Sunday Records recently released multi-artist collection “Beautiful Noise.” This isn’t the first time they’ve contributed to one of these collaborations, as their track “Liquid Through My Hands” on 2021’s “Something Beautiful” release was featured here at that time. Anticipating a glorious listening experience once again this time around, their track “Saddest Sound” is given the DCW analysis.
Beginning with ambient synth-like textures, open string guitar figures lay out the four chord progression. Secondary guitars enter in with subtle pitch bend counter melodies as drums, bass and jingle tambourine fill out the sonic spectrum. Lead vocalist Marcus Palmer soon emerges with his familiar sandpaper vocals offering a soothing delivery of the song’s title via subtle psychedelic layering. Rhythms pump back and forth underneath as extended guitar note melodies ride over top and ever-present tambourine-on-snare beat marking time. After minute and a half in, a second melody line emerges echoing the opening refrain via clean twangy guitar. The heartfelt vibe is easy-going, with a touch of bluesy greats like Knopfler and Clapton. The descending bass guitar pattern warmly ushers in another round of Palmer vocals. One more guitar line enters the mix two minutes in with a deeper tonal quality, ultimately blending in with those other guitar figures already in progress.
It was just a year ago when this site did an extensive review of SoCal pop rockers sparkle*jets u.k. and their indie hit covers collection "Best Of Friends." Trusting the recommendation of frequently reviewed Burbank, California label Big Stir Records, an over 800 word highlight analysis of that record was produced. The band is now back with “Box Of Letters,” their first album of original material in over 20 years. DaveCromwellWrites turns it’s audio-scope on these brand new tracks, searching once more for the continuing evolution of what is “pop rock” music.
It’s a bold move to open an album of new material with a cover, but that’s exactly what happens here with the purpose statement “This Will Be Our Year.” Tapping the ageless Zombies classic, it serves as a testament to the endurance of finally breaking through. Packed into a succinct 2:29, the core members of Michael Simmons, Susan West and Jamie Knight make their presence felt immediately. Michael’s lead vocal tone and register share the same reedy quality of those guys in Squeeze (either Difford or Tilbrook, I confess to blurring who is who), with a touch of McCartney as well. Ultimately it’s a celebration of something that “took a long time to come.”
As the band is know for alternating lead vocals, “Goodbye X3” becomes the first entry from Susan West. Written with fellow bandmate Jamie Knight, classic rock and roll keyboards drive the songs rhythm. Sung with a bratty, adolescent flair, the title line chorus brings to mind 80’s pop sensations Scandal and their hit “Goodbye To You.” It’s a breakup song of course, and a sending off of “yesterdays problems.”
An initially twee sentiment with playful piano chords and clacking-shell percussion introduces the ultimately scathing “Princess Needy.” Blending Burt Bacharach style songwriting with bigger faux-horns production, the lyrics hit the mark again and again. “How dare the rest of us make her sad? Don’t you people know the world revolves around her?” Two minutes in, there’s a sudden tempo shift into a funky progression where 70’s “soul” voices proclaim “She’s gonna tell everybody about it.” From that point on it morphs between the initial rhythm and what sounds like the orchestral band ELO, perhaps not so subtly referencing bits of their hit “Evil Woman.”
Susan returns as vocal protagonist on the lyrically cheeky “Love Burn.” Straightforward twangy guitars are joined by shorter melody enhancements for a fun reading. Comparing heartbreak to something that can be remedied by a “bucket full of salve” is an amusing take. Two minutes in and a mad distorted guitar solo (of sorts) commences, before ultimately giving way to the all-important cowbell. Wrapped around that is a rather melodic chorus featuring a somewhat perplexing repeated line “I’ve got a heart in my song for you tonight.”
The obvious Beach Boys musical reference (“Don’t Worry Baby”) on the intro to featured cut “I Can’t Wait For Summer” is a welcome touch. Michael Simmons immediately pivots to his own melody as his lyrical story unfolds. Taking some poetic license here (or perhaps this SoCal resident *did* experience “cold, snow, bare trees” at one point in his life) references to “sandals on” and “drive the coast” seem more appropriate. Lush harmonies fill the air on key moments “someday soon the sun will shine” and “when we take that magic ride.” There’s even a touch of Phil Spector on a brief “Be My Baby” sonic breakdown. As well as a harmonica solo that fits perfectly during the “A magic summer” outro.
It’s a deliberately measured pace “stroll” progression driving Michael’s existential view on “Little Circles.” Contemplating our importance in the world, and “hoping that someone will notice” is offset by the knowledge that “we’re nothing special outside of our own little circles.” Classic Beatles-y harmonies make it all sound lovely nevertheless.
Co-written by all three principal members, the Susan sung title track “Box of Letters” emphasizes quick rhythmic changes on story telling lines (“Way – back – I remember.”) Looking back in time on a lengthy relationship that produced a collection of physical correspondence seems quaint in this age of digital communications. Those “frozen moments” and “pictures too” are now the domain of Social Media. While Susan belts out each line with gusto, it’s still the little things – “a matchbook, flower, and a napkin of embarrassing poetry” that matter the most.
70’s era soft rock/r+b electric piano (with that very specific reverberation) creates the sonic territory for Michael’s “Where’s The Moment.” The feel is similar to Paul Carrack’s 1974 hit with his band Ace “How Long (has this been going on).” Wrestling with making plans and “trying to recapture something great” takes away from the joy of living in the “now.” That provides the impetus for pop hooks “Why can’t I stop and just be? Just tryin’ to shake anxiety,” and “but where’s the moment? I can’t find it, somebody tell me how.”
Susan’s voice is used for maximum pop potential on the bouncy, Michael penned “You Complete Me.” Built around brightly strummed guitars and electric keyboards, clever lyrical turns like “I’ve got 90 cents, you got a dime – you turn my change to dollar signs” is as playful as it sounds. There’s even a surprising Electric Sitar solo in the middle, giving it all a late 60’s feel. However the catchy chorus of “thing is youuuuuu complete me baby (with full handclaps) does that make us co-dependent or what?” is what sticks in your head.
Chunky, distorted rock n’ roll chords and slithering bass are featured on the lyrically clever office-worker anthem “I’m Away From My Desk.” Anyone who has ever had this sort of employment can totally relate to this running out the clock behavior. “Making copies, pourin’ coffees, killing time” leads to thoughts of “putting in for some Personal time.” Fellow label mate (and previously reviewed here) Nick Frater is credited with “Abbey Road Handclaps.” and their layered impact is felt. Additionally an 8 year old Julian Knight chips in on the soaring, harmony-laded background vocals as well.
An instantly pleasing guitar-drums trade off opens the vocal ladder climb “One Two Tango.” The Cheap Trick influence is strong here on the “one two three four five six seven ten” followed by “I’m counting on” background vocals refrain. Robin Zander would surely approve. In fact Rick Nielsen and Bun E. Carlos might nod approval as well on the tight rhythmic back-and-forth between guitar, bass and drums.
The album’s closing track is a cover of “Hey Grandma,” Moby Grape’s opening cut from their 1967 debut album. Showcasing the bands live sound, the track was recorded that way to show off their stage chops and dispel any illusions they can only play in a controlled studio environment. It’s a boisterous rendition, and a fitting send off for an album that has so much packed into it.
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