Detailed track-by-track reviews have been the noticeable hallmark here at DaveCromwellWrites. When full new albums arrive from beloved artists, the desire to investigate every note and word attached to those records remains strong. Additionally, live concerts in support of those songs (which include classics from their entire catalogue) are eagerly attended, with an eye on capturing the mood and feel of that event. What results is an informed literary opinion on the artists intentions, as they present this music to their audience and the world.
The “before” and “after” explosive event surrounding international pop icon Sophie Ellis Bextor’s career has been nothing short of remarkable. Always a consistent hit-making singles and album creator in both her home country of England and throughout Europe, the worldwide success of re-released early single “Murder On The Dance Floor” has been a game changer. With the combined forces of that “wind in her sails” and a never wavering determination, we are now treated with the release of her 8th full-length studio album “Perimenopop.” This self-created word for her record serves as a testament to women’s strength and ability in remaining vital at every stage of their development.
The albums lead-off track (and second single after the advance release “Freedom of the Night” last October) “Relentless Love” has already become the current live show opener, complete with video imagery of Sophie’s whispered intro “all that I wanna be is by your side.” Once the synth, percussion and bass guitar groove commences, Sophie’s declared “fairground ride in a song” is fully underway. Working with production and songwriting pros Jin Jin, David Wrench, Karma Kid and Baz Kaye, her lyrics and vocal performance are what everyone is here for. The pre-chorus delights stating “the city is waiting to see a miracle,” concluding with “wherever we go it’s so immaterial – ‘long as it’s you and I.” However, Sophie’s continual love for 80’s era Michael Jackson disco shines through on a chorus that goes “if we're the sum of all we feel, then I'm forever on this Ferris Wheel,” where “we found relentless love.”
Second entry (and third single) “Vertigo” finds Sophie working with frequent writing partner Hannah Robinson, as well as producer James Greenwood. With no intro at all, vocals start immediately while accompanied by a steady dance-floor pulse and video game bleeps. At a tight 3:31 in length no time is lost getting to a pre-chorus of “swirling, whirling” and “mercy of the rush” via rising progression and disco-beat drumming. The culmination comes in the form of a chorus that is part robotic voice (the repeated song title after each definitive line) and lush two line declaration “all of my senses right from start, orbit the pull of my heart.” There’s even a musical bonus via a bridge where “Hurricanes” are rhymed with “jet planes” that “scrape the sky.”
Third cut (and fourth single) “Taste” comes accompanied by a clever animated lyric video that playfully accentuates the songs lighthearted nature. Collaborating with song writers Jon Shave (who also produced) and MNEK, musician/husband Richard Jones bass guitar playing is noticeable throughout. Even more concise than the prior track with it’s under 3 minute time, chirping synths and Sophie’s “You’ve got it” cycled punctuation line hooks you in. A descending, measured syllable voicing on verse lines “bay-by-I-don’t-know-what-goes-in-to-your-recipe” becomes a second sing-along earworm. As is pre-chorus “just-like – cit-trus – on-my-tongue” which ultimately leads in to the downward spiral title line chorus, fully harmonized and enhanced. Some serious cowbell joins into the overall fray of synths, funky bass and cascading background vocals.
Going full throttle into fourth album track “Stay On Me” (the sixth single, with symmetrically fifth cut and single “Dolce Vita” put forward earlier), Sophie penned this with a songwriting team of Caroline Ailin, Thomas Hull (a/k/a Kid Harpoon),Selena Gomez (a/k/a “worldwide superstar”) and Julia Michaels. Sonic Production was handled by Karma Kid, Kaye and Richard. Going all in on this one, longtime video collaborator Sophie Muller was enlisted to direct a lavish music video. Set against an opulent backdrop of Irish seaside landscapes and quaint indoor locales, SEB revisits her Eastern European storybook look first shown during the “Wanderlust” period. Vintage cars, stone slabs and Sophie flipping through paperwork create visuals for the smooth 60’s era soul chorus “you can have your pick here in this room.” That vibe continues with plinking guitar, descending keyboards and definitive chorus lines “everyone’s got their eye on you,” but “his eyes stay on me.” Bonus video inclusions are the adorable donkeys waiting by the door.
As previously mentioned, fifth entry and single “Dolce Vita” serves up what Sophie describes as her “summer holidays, escape.” Leaning heavily on American Philly-soul and early 80’s disco, it’s no surprise then to see former Atlantic Records staff songwriter and current Temptations member Ron Tyson involved with it’s creation. Karma Kid, Kaye and Richard produced, while a 14 piece string section provides all the necessary swirl. While Sophie’s lyrics for the most part stick to beach relaxation mode: “sand on my skin like cinnamon” – “move my body to recline” – “nowhere to go so I just take it slow,” there are touches of current events. The lines “like a phoenix from the ashes – my story’s starting to appear” seems like a nod to her resurgence in popularity. That revival now offers ample opportunity for this “good life” where “the air’s forever sweeter.”
Sophie opts for minimal production on the vocally intimate “thoughtfulness” with her Jon Shave/MNEK collab “Time.” Gentle keyboards and simple beats support vocals delivered with sincerity that prioritize personal connection over material accumulation. The Chorus once again emphasizes the SEB/Shave song-hook construct that accentuates precise vocal phrasing. “Time (stop)-I-can-give-you-all-of-my-time” followed by “and-there’s-nothing-more-precious-than (pause) – Mine.” A second hook immediately arrives after that with the “why don't we let it run, let it run, let it run - run away with us” dreamy vocal line. Synth bass is prominent, but used sparingly as a point of emphasis. A third movement comes via a bridge that finds Sophie following her first lines with an ethereal response.
Ghostly voices open seventh track “Glamorous” with a distant preview of the eventual chorus (“hard, fast, silk, cool”). Writing this time with Norway’s Sigrid and Britain’s Finn Keane, Sophie touches on how the music industry can seduce you. Lyrics like “sweet on the tongue,” “deadly . . . dance with your heart” and “paradise – made of thinnest ice” all point in that direction. All that glitters is not always gold, as the chorus points out “I'm drawn to his light, getting burnt by the flame, playing with fire's a losing game.” Musically wrapping around this lyrical cautionary tale, however is a solid dance floor banger.
Reaching the albums “deep cuts,” ninth entry “Layers” is another collab with James Greenwood, who helps bring Sophie’s lyrics to light via a smooth subtle-funk production. Bathing her words in a slick sheen similar to what a band like Duran Duran does, Sophie explains how a longer experience with someone can be key in getting past difficulties. Once again there are multiple hooks to grab on to, like the keyboard driven “under the skin, we’re letting it in – keep reaching out, silence can shout.” Followed by the smoother, descending chorus “so lay on down, lay on down, lay on down with me.” Recognition comes through the power of being “always in my bed – under the covers.”
Closing in on the albums final three songs, tenth entry “Diamond In The Dark” comes from a writing session with her previous albums colleague Ed Harcourt and none other than living legend, CHIC creator Nile Rodgers (talk about Duran Duran, plus Bowie and Madonna)! As expected, there IS the signature funky rhythm guitar, along with that 14 piece string section and some bubbling moog bass from Richard. It’s classic 70’s disco on this one, and a real homage to the era that featured The Love Unlimited Orchestra. Sophie puts her own personal stamp on it with the dreamy “all of my, all of my, all of my, all of my senses” vocal line. Bonus points for the cheeky inclusion of the lyrical reference to “river deep, mountain high.”
Penultimate album track “Heart Sing” emerges out of a throbbing bass-synth and steady 1-2 percussive beat. Written with the team of Sigrid and Keane again, Sophie draws on her past memories to conjure feelings of melancholy and longing. Vocal techniques emphasize rhythmic cadence, like on the line “pulling me out – out – out – out” and “we had a sound – sound – sound – sound.” An initially subtle David Arnold arranged string section begins on the second verse, growing in intensity as the song progresses. The highlight (as always) is the chorus where Sophie’s vocals shine on lines “the echo of you haunts me – now I’m a lost melody.”
Reaching the album closer, we’re treated to the nostalgic “Don’t Know What You’ve Got Until It’s Gone.” Once again writing and recording with Luke Fitton and Hannah Robinson, electric piano stabs, softer synth pads, plinking guitar and Jackson’s steady four-on-the-floor beat moves everything forward. Verses feature Sophie’s vocals up close and personal, while a quicker delivery on lines “and they say never look back - It doesn't happen like that - sometimes the memories attack” add rhythmic weight. Introspection provides solution through a chorus that states “just be glad you had it, now (that) it’s gone – gone – gone.”
The long history of American based, Scottish fronted alternative rock band Garbage has been a lived-every-moment experience here at DCW. Every one of their albums has been owned and obsessed on since they began releasing them in the mid 1990’s. One live show highlight was catching the band in October 2015 during their 20th Anniversary of 1995’s debut album (lovingly chronicled here). With life’s changes and southern relocation, it was a thrill to discover Garbage was putting out an eighth studio album (symmetrical 8’s here in this Feature) “Let All That We Imagine Be the Light” in 2025. Their “Happy Endings” tour was announced in support of the record, with a stop at The Hard Rock Live in Orlando, Florida as an opportunity to catch them live once again. Both that show and the album’s songs are now reviewed below.
Opening both the record and their recent live shows with "There's No Future in Optimism" showcases Shirley Manson and the band (her “druids”) at peak performance. Released as the albums first single, a repeated intro line “if you’re ready for love” sets up the quintessential slick Garbage production and vocal hook “future, future, love, love, future.” Despite the title and some lyrical references to world unrest, positivity shines through on lines “you and I, we have a chance - we could leave this place and rewrite our romance.” Similarly, the lyrics “there is no future that can’t be designed - with some imagination and a beautiful mind” is the definition of optimistic.
Here’s the dramatic opening with this song at their Orlando show on Wednesday, September 3, 2025
The title to second track “Chinese Fire Horse” references Shirley’s birth year in the zodiac cycle. A forward charging guitar, bass and drums fueled rocker, the caustic lyrics deal with aging and fighting back against stereotypes related to that. As the vocal hook “wait a minute, wait a minute,
wait a fucking minute, wait a minute” repeats throughout, live show bandmates Shirley and bass player/backup singer Nicole Fiorentino join together on it with enthusiasm. The definitive line “I’vе still got my power in my brain and my body, I'll take no shit from you” puts an exclamation point on it all.
Third cut “Hold” was given it’s live debut and bonus treat for those of us in attendance at this Orlando show. The synth/bass heavy start-stop rhythm supports emotional lyrics referencing both current global chaos and personal intimacy. A one-two punch of hooks that name checks the songs title along with lines “don't let me go - just hold on tight - for our dear life” is followed by “we keep running, running, running.”
This clip captures that performance at our Orlando show
A modulating synth pattern introduces fourth entry “Have We Met (The Void).” Low-key near whispered vocals present an unwanted visitation “in the dead of the night” where “I don’t know who you are – all skin and bone.” The chorus (as expected) is bigger and bolder with the title line question followed by “I think you've mixed me up with somebody else.” Piano temporarily emerges as solo musical accompaniment, with vocals revealing a destructive relationship betrayal. While this overall instrumental performance is orchestral, the mood and groove stays ominous and accusatory.
Fifth track “Sisyphus” dips down into the smooth electronic realm with sequenced pulses as it’s driving force. The songs title and descriptive lyrics initially echo the mythological figure doomed to push that rock up a hill. However, it pivots quickly to overcoming obstacles with the dreamy chorus “this little body of mine is going to make things right.” Along with cautionary lyrics (“they’ll try to hoodwink you – don’t look away, take in everything whenever possible”) is a highlight sugar-coated hook that simply goes “On and on. On and on and on.”
Moving into the back half of the album, sixth cut “Radical” opens with off-kilter toy piano before the full band joins in. With sultry vocals from Shirley and a noticeable backbeat from Butch Vig, the hooky chorus “all you got to do is save a life” instantly sticks in your head. This song is also where album title “let all that we imagine be the light” are part of the lyrics. Swelling synths and trip-hop percussion underscores seventh entry “Love to Give.” While Shirley readily acknowledges “everybody's a little crazy, I'm no exception to the rule,” it’s the descending progression chorus that clarifies with the simple (and sincere) phrase “I've got a lot of love to give.” A dreamy bridge section expands on opening “proverb from a cookie” lyric with the celestial “breathe, let me breathe” refrain.
A second single was released from the album with eighth track “Get Out My Face AKA Bad Kitty.” Twangy guitar serves as the musical focus between and around vocal lines. A song about fighting back against controlling powers, the chorus hits hard with guitars supporting lyrics “get out my facе, don't mess with me, we're exhausted” followed by Shirley’s ghostly background vocal “get out.” Flipping a well known phrase, “if you can't join 'em, you gotta beat 'em” becomes the ultimate rallying cry. The albums penultimate entry “R U Happy Now” builds off a deep drums-and-bass rumble. Descending synth lines eventually join the mix, supporting biting lyrics which are the opposite of any sincere question of “happiness.”
Clocking in at nearly six minutes in length, closing track “The Day That I Met God” could arguably be the best on the entire album. Certainly the most ambitious, a Pink Floyd-like sequential synth pattern provides the initial audio base for Shirley’s lyrical revelation. Written while recovering from surgery, the fever dream where “my life fell apart” and “I thought I’d lost my mind” is recounted against a driving rhythm. The backing drops out and only piano remains on the chorus that intimately states “and so there I was, face to face with God - It was everyone I'd еver loved . . . еverything I'd ever wanted.” A David Gilmour-esque guitar solo follows, played by Steve Marker, with the previous piano sections played by Duke Erikson (though each play both instruments).
Second time through the chorus has the full band accompanying, then switching back to just piano on an introspective bridge stating “all around and everywhere - all at once and anywhere.” Because of the severe pain associated with Shirley’s hip replacement and recovery, strong medicine was required. Hence the songs final musical passage referencing painkiller Tramadol with repeated lines “Tramadol, Tramadol - I found God in Tramadol.”
Check out the live debut of this song at the attended Orlando show:
Overall, this live show was an extra special treat as it was the first show on the final leg of the "Happy Endings" tour, and Shirley posted a lovely message about it.
The Hard Rock Live venue and it's attached restaurant is a great place to see a show, with so many artists memorabilia on display.
The attention to detail on things like this suspended from the ceiling instruments display below adds a stunning visual aspect to the experience.
As one would expect, the live show also included many classic songs from all their previous albums.
"I Think I'm Paranoid"
"Vow"
“Only Happy When It Rains” from their 1995 self-titled debut album was the shows first encore.
Followed by “When I Grow Up” from 1999’s multi-platinum second album Version 2.0
The setlist of everything played.
Opening the show was newer dynamic rock band Starcrawler who put on an excellent show of their own.
As the summer month of August wind down and slouch towards Labor Day, DaveCromwellWrites heats up with reviews of exciting new releases. Long-time friends return with a brand new album, while more recently reviewed artists receive completed and updated focus. Full albums are analyzed with track-by-track priority, while adapted video releases serve to further heighten their associated tracks.
Fellow Sunshine State expats and long time friends of this site The Stargazer Lilies have a brand new album they’ve just unleashed on the globe. Having covered their prior release here exactly 3 years ago (as well as numerous other features for the better part of the last decade) its always a cause for investigation when this bands new music arrives. “Love Pedals” now adds to their strong catalog of heavy ambient gazey psych-rock. A deep-dive review here will now uncover the treasures within.
Opening track “Ambient Light” comes complete with a dark purple-hued psychedelic video treatment. With the opening strains of John Cep’s distorted guitar bouncing around in a rubbery pattern, vocalist Kim Field delivers angelic lines as if floating above. The title line comes up quickly with the phrasing “we’ll drone in harmony, in the ambient light,” where they also “psych out.” Its associated video depicts the principal members arriving home and engaging in tripped-out activities. As the grunge-heavy groove trudges forward, the individuals can be witnessed dancing around in animal masks, pouring drinks and playing favorite albums. Noteworthy classics spotted include The Velvet Underground and JAMC’s seminal “PsychoCandy.” As John chokes out an acid-rock solo over that buoyant bass rhythm, cat familiars appear in appropriate places throughout the video, along with those “pedals” that are “loved.” The final ambient light act is to “do some bedroom pop,” and we’ll just have to use our imaginations as to what that actually refers to.
Follow-up track “Love Radio Show” (which also comes with a “radio edit” at the albums end) takes a romantic pop motown feel and immerses it in MBV “Loveless” elements. A nostalgic ode to radio signals both cosmic and real. “So tune in the magic hour, to the signal up above” is how the chorus begins. “Beaming from the broadcast tower, sending frequencies of love” completes that passage. There is even references to the albums (and record labels) overall thematic imagery via lines “transmitting with flower power.” Careful production avoids constant guitar camouflage as verse 2 opens space for bass and drums and lyrics “My world spins only for you.” The guitars make great use of phase shifting to approximate radio waves static.
Third entry “Perfect World” also benefits from an associated video that juxtaposes current colorful AI trend interiors with self-shot black and white performance images. The audio opens with a Spector-esque singular bass drum beat and similarly minimal bass guitar. As the chord progression continues its slow liftoff, you are soon plunged into a David Lynchian experience in both image and sound. Kim's goth-meets-breakfast-at-tiffany’s styling swirls as she delivers thematic lines where “poverty would be no more, as would disease and making war.” For now this “perfect world” only exists in our hopes and dreams, but perhaps someday it will come true.
Check out this Utopian dream here:
Digging deeper, “By Your Side” continues the stark, moody ambiance previously established with added twists. What sounds like muted French Horns initiate a subtle melody before Kim’s voice presents lyrics with measured pace. It’s a story of redemption where one goes from being “all alone,” “companionless walks” and “partnerless talks” to the “only one who needs to be found.” The drum beat is forceful, providing foundation for Kim’s vocal delivery. As bass guitar continues it’s steady pace, John’s guitars wax and wane, with occasional dive-bomb strikes. Midway things get weirder, with a total ambient foray of propulsive guitar textures, along with Kim’s angelic voice returning for a final chorus.
“Shining Yellow” delves into that easy mid-tempo groove and feel, giving off fellow-associates Ringo Deathstarr vibes. Big shuffle percussion, downward drive progression and soft sensual vocals complete an uplifting sentiment. “Looks like the skies are changing, the sun shining yellow. Now that it’s looking lovely, we’re both feeling mellow.” A modern suburban Alice In Wonderland meet Nuclear Armageddon inspired video comes along with this song, encouraging you to find your own “Shining Yellow” utopia:
Sixth cut “Heaven Knows” finds John Cep covering all the instruments and vocals on a dreamy, gazey confessional. It’s soulful progression and out-of-phase guitars underscore lyrics about a “bizarre life I’ve lead.” Creating his own high-register angelic vocals, the title line takes that often used expression and attaches the question “why it’s the path that I chose.” “Trans Med” builds off a slinky bass line, growly distorted guitars and Kim’s sugary vocal delivery. John provides a variety of squalling guitar textures, blurring the line between “Transcendental” meditation and “medication.”
The albums final track (before LRS radio edit) “Hold Tight” dips into the Beatles “White Album” era for sonic comparison. Open note arpeggio chords and its associated progression along with Kim’s whispered vocals conjure up the mysterious feel of a song like “Dear Prudence.” Guitar leads are pitch shifted and distorted in places, clean and unadorned in others. The final end-out is a series of vocal “ahhhhs” and wirey guitar lines over steady bass and thumping drums. As previously mentioned there is a “radio edit” of “Love Radio Show” included at the end, which shaves off about a minute and boosts the lead vocals a bit.
Previous Features on The Stargazer Lilies can be found on this site HERE - HERE - HERE and HERE.
* * * * *
Earlier this year DaveCromwellWrites revisited California visionary synth artist Matthew Nowhere’s work, reviewing his collaborative song “Transforming.” Prior to that was an in-depth breakdown of the track and video for “Love Is Only What We Are.” Both cuts are included on the recently released debut full-length album “Crystal Heights.” With this complete collection that includes 11 other tracks fully available to acquire and digest, DCW now dives in to these recordings for a thorough analysis.
The album opens with “Transmission (Intro)” which offers up a one minute plus ambient texture piece that combines pulsing synths with robotic voices and celestial elements. That leads into the previously reviewed standout track “Love Is Only What We Are.” Next up is the chime-bell enhanced, synth-pad and bass note driven “Echoes Still Remain.” This instrumentation serves primarily to support a lyrical story whose chorus states “Immortalize - A lonely whisper. I hear it now - where echoes still remain.” A touch of electric guitar on the outro provides further depth to it all.
An Official Video comes with this song that adds a nuanced visual element:
The albums title track “Crystal Heights” comes on with a triumphant feel, capturing what those of us (who were there) loved about 80’s alternative synth-pop. There’s bits of Duran Duran (the percolating synths) Flock Of Seagulls and Depeche Mode all rolled into one original composition. A lovely electric piano coda enhances the final 15 seconds. Another just over a minute instrumental follows with the arpeggio synth progression and percussive
“Aquatic Envelopment (Interlude).” From there its on to the also previously reviewed cut “Transforming,” featuring vocals and co-write from Lunar Twin’s Bryce Boudreau. Shortly after that review was published, an official video for the song emerged, and is well worth checking out here.
Moody bass and deep percussion provide foundation for the synth melody enhanced, singular mantra voiced “Have You Ever Known.” Alternately, guitar features prominently on the nostalgic romance of “Ruby Shards.” Tapping into the alternative rock vibe of twangy guitar and synth combos, the chorus hits home with the lines “I found the pieces of your heart - ruby shards of perfect art - and I can only stand in wonder.” It’s a perfect homage to an era that gave us songs like Modern English’s “I Melt With You.”
Check out this beautiful sand and sea video that accompanies this song:
Another minute and change instrumental serves as a bridge link between fully formed tracks with “Stellar Enfoldment (Interlude).” Despite it’s relatively short length, a complete melody emerges by the end. This leads into the piano augmented, lyrically optimistic “Everything’s True.” With pacing and tone moving closer to a David Bowie/Peter Murphy precept, the chorus declares “Lovers and mystics sigh -
raising our hands up to the sky - everything's true.” Thirty seconds of meticulously crafted synth and guitar figures just past the 3 minute mark elevate the track further. “Silver Glass” comes on more gentle, with tubular bell keyboard textures providing audio appeal. There’s a subtle Caribbean Island feel to its underlying rhythm, as Matthew sings “O midnight sky, burning with electric light - but no one seems to see.” Additionally, the hook line “seven years have passed - pieces of silvered glass – rejoin - bringing us together at last” add focus to the songs title and overall intent.
Reaching the penultimate track, “Persist3nce” features Lunar Twin band and The Antonio Family Singers. With lyrics and lead vocals from Bryce Boudreau, additional synths are provided by Chris Murphy. Those keyboard swells compliment bass and percussive pulses, as Bryce presents his lyrical themes with familiar soft-sandpaper delivery. Extolling the virtue to “give into art” in “isolation,” the additional background singers enhance lines “into the night . . . stars . . . sun” and “sky.” A lively drum pattern comes forward under later lines where “the midnight sun” becomes “midnight lust – after the rain.” Final entry “Crystalline Emergence (Outro)” closes out the album with a buoyant keyboard melody over bubbling arpeggio notes and steady whip crack percussion.
Previous DCW features on Matthew Nowhere can be found here and here.
An in depth Feature on Lunar Twin can be found on this site here.
* * * * *
At the beginning of this year DCW reviewed the introspective, slide guitar infused Sueño con Belugas track "Mil Recuerdos" (A Thousand Memories). Audio only format at that time, a brand new video has dropped for this dreamy song with an amusing take on two people and they day they are having. One is experiencing frustration at all the challenges and pitfalls being thrown their way. The other appears to be sailing along in a happy state of mind, enjoying their good fortune.
Two full-length, track-by-track album reviews are the featured output this time here at DaveCromwellWrites. An overdue return to greatness comes by way of legendary creators and long-time friends of this site. It’s always satisfying when one can reignite feelings of excitement and admiration that an artist initially stoked in you. These moments are what you live for, and should never be taken lightly. Equally important is a brand new album from more recent contributors (to this site, anyway) who’s timeline of productivity mirrors the first entry. There’s a starting point for everything, and the focus here is on these latest works.
When the original “Pe'ahi” album was released by The Raveonettes in 2014, an in-depth review of it was conducted at this website. That actually served as the ninth full-length review of this bands work here spanning a time period from January 2009 through September 2014. The review writing done earlier (which goes back as far as 2003) is now lost to the wind and dead sea scrolls of now defunct hyperlinks. Post Pe'ahi (1), an epic 3,744 word review of their “2016 Atomized” album was published here in January 2017. Following that was an August 2018 one-on-one interview with the bands mastermind Sune Rose Wagner. After a long hiatus The Raveonettes recently released a much anticipated follow-up to Peahi, simply titled “Pe'ahi II.” DaveCromwellWrites now digs into every essential aspect of each track with recharged purpose.
True to the opening tracks song title, the album starts with horror movie sounding plinking toy piano notes on “Strange.” It’s a 1950’s style stroll progression before the primary forceful guitar chords commence to chug along with bass guitar in tandem. The familiar Everly Brothers-style blended Sune and Sharin vocals deliver opening lines “Whenever we try it's a waste of - my time – yeah. Whenever we fight do you feel it? You bring me to my knees and tears.” Melodic guitar figures follow, immediately underscoring what gorgeous songwriting this is. Wagner laments about losing someone to “a boy who looked like me,” pointing out how “strange” it is “to go from the other side to this.” It all leads up to an angelic chorus that states “when we try – can we feel it’s ok” – “and it feels just like love.” That euphoric moment is ultimately countered by sparser instrumentation and comedown sentiment “it’s a waste of you and I.” The tracks final minute is an ambient dreamscape of metronome clicks and hisses over a simple keyboard rendition of the melody.
Check it out:
Follow-up cut “Blackest” starts out just as mysteriously, this time approximating a jazz combo with busy free-form drumming and soft reverberated electric guitar. Pulsing bass notes soon begins and spoken word as if from a radio broadcast can be faintly heard. All of that is obliterated when forceful buzzing guitars burst into the mix, soon joined by a power-thump drum beat. One more layer adds on with a descending “detective story” guitar melody. All of that suddenly drops out leaving behind changeover “ooohs” and a stark rendition of the songs lyrics. “When I rise on my wave - the moon shows her face. A lonely dot at sea - a lonely girl coming straight at me.” The trademark Wagner long slithery guitar groove is never far away, and the one here is everything you could want. Cycling one more time through the lyrical passage, Sune’s guitar follows with a flurry of melodic lines against moody backing instrumentals and an eventual thump-n-bump drum beat outtro.
An official band lyric video accompanies this one:
A syncopated rhythm between driving guitar and stutter-stop drum pattern immediately kicks off third entry “Dissonant.” Harmonized Sharin and Sune vocals jump in, delivered quickly at one more alternating tempo. “Come and get beside her - just pretend you like her - this love is all yours to fake” is the opening, disillusioned sentiment. “I tend to harden up when our love is set to go - I wanna give it up for someone I don't know” completes the hit-and-run encounter. A musical callback to “Attack of the Ghost Riders” follows to much surprise (and delight). With that initial verse/bridge progression cycling though again, a quick stop deep bass buzz plateau is reached at the minute-and-a-half mark (and lasting over a minute) before it’s percolating build-up launches back into one more verse.
A classic, straightforward drum beat leads in the official lyric video enhanced track “Killer.” Melody kicks in by way of a tinkling bell sheen on its descending chord progression. Rough guitar chords slash underneath as dual sung vocals commence. While the verses are catchy in their own right, it’s the chorus that hooks you in immediately with the battle-scarred relationship lines “Kill for love, and make it so I don't care. Most of the time, I felt so alone.” After a second pass through it stops abruptly, with elegant piano notes and finger snaps in it’s place. Percussion returns, adding a steady current under the extended piano melody. Another subtle change halts that progression for brief arpeggio guitar notes, before returning to that relentless forward march. It’s an unusual (and unexpected) coda that measures half of the entire songs length.
A steady hard-edged guitar riff is the opening force driving next cut “Lucifer.” Motorik percussion joins in with measured pace, offsetting the guitars urgent nature. Softer higher range vocals spell out what appears to be a demonic fever dream. Bass guitar and more bottom heavy drums usher in the next passage adding a bit more grit and a touch of funk it it all. That is emphasized even further once the original hyper-drive guitar riff returns. Another more spacious audio section change includes lyrics indicating “Lucifer” is a woman who “never felt love” is “tired of all the fighting” and “wants to walk alone.” Cinematic in scope, the primary driving guitar hook once again moves out and open spaces emerge in its place. The tracks final minute is a blend of softer alternating guitar riffs, scratch-buzz percussion and ultimately deep buzzing synths.
Distant, chiming guitar ambiance is the deceptive fade in on forward charging rocker “Speed.” Sune’s vocals are pitched into a slightly higher register as he delivers loosely related strung together lyrics alternating between hope and defiant resignation. “My hope died down I can't explain” (negative)
“Somewhere I know that I belong” (positive), “Don't sell your soul you're young not old” (positive),
“Don't waste your time you're one of a kind” (more of a pep talk). True to the song title, it’s fast paced, tasty guitar lick driven, and while the percussion is hissy and somewhat buried, there’s lots of angelic background voices floating all throughout.
The percussion stops momentarily leaving only guitar fuzz to emphasize lyrics “Got hit by a car and emerged unharmed” (well that’s good) “A failure in life means a winner in hell” (what?). Other lines that stand out, like “I don't wanna die without having tried” (good advice) and “You're jealous of me for what I've done” (that seems rather personal and one wonders who that is aimed at). The final verse let’s it all hang out, with the lines “I belong to this generation of filth” (self realization), “I was pushed into life entertained by war” (we’ve talked about this directly interviews and related song reviews),
“we're pretty and blessed to have met with death (?!), “cause I know when he comes I'll take his hand” (yeah, I suppose, but don’t wanna think about that now – or ever – when it happens it happens – nothing you can do about it).
Reaching the albums penultimate track, “Sunday School” emerges in full motion from the get-go as a quick-breeze ditty. With emphasis on vocals and lyrical story telling rather than instrumental depth, it’s the perky, harmonized chorus that instantly connects. “What if you met him on a rainy day, he wouldn't get a word you say. This ain't no darling little Sunday school, cause he'd kill for love but not kill for you.” Bonus points for adding bell-chimes on the bridge section “and all the things that break you down, he never cared at all. Another time another place, he never cared at all.” That is follow by single throbbing tone, with distant voices as if coming from a far off radio. The final verse include lyrics too intriguing to ignore, with “fucked dates go to their graves” (!?), “young men end their lives” (negative), “young girls become wives” (positive).
Final cut “Ulrikke” brings back the harsh distorted guitars and thunderdome drumming for it’s abrupt shock-to-the-system intro. All that drops out quickly on opening verses that culminate with the line “make me indestructible as I am.” That intro noisy instrumentation returns, now sounding like an approximation of a train chugging down railway tracks. The second verse (same as the first) benefits from trip-hop style percussion and distinct, stylized recitation (and pronunciation) of the words. “Make me feel like finding someone - who can never do right and can never go wrong” becomes the catchy (if somewhat puzzling) refrain.
It's a wonderful album overall, and a reminder of the seemingly effortless ability Sune Rose Wagner has in writing, recording and bringing a record to fruition.
Connect with the band and find out how to acquire the album via this link.
Finally, at full track-by-track review of all 12 "Atomized" song can be found on this site here.
* * * * *
Around two and a half years ago this site did an extensive review of Canadian indie rockers Star Collector’s 6th studio album “Attack, Sustain, Decay . . . Repeat.” That was the result of being impressed by their (and subsequently reviewed here) video single “Green Eyes” from fifth recording “Game Day.” Now the band is back with their just released seventh album "Everything Must Go!" Expecting nothing less than another power-pop masterpiece, DCW digs down into this latest output.
The album opens with overall title track “Everything Must Go!” along with a full video production. This title name is something you would see on retail stores looking to move all their merchandise in one last blowout. That doesn’t seem to be the case however with this band, as their meaning is more universal as in letting material things go (“cause you can’t hold on to it”). The track (and video) comes into view initially via mix-master drummer Adrian Buckley’s subtle backmasking followed by a propulsive beat. Slashing guitar chords jump in, delivered by Vic Wayne and Steve Monteith with
Tony Kerr’s bass locking to this progression that echoes The Who’s “The Real Me.”
Vic’s vocals are less Roger Daltry and more Alex Chilton in timbre, as he calls out for you to “come along for the show.” There’s an early “easter egg” for classic film buffs with the lyrical reference “Warriors, come out to play” (if you know the scene, you never forget it). Continuing it’s anti-materialism theme “we ain’t any richer than our memories,” “can’t put a price on feelin’ this way” and “you can’t buy tomorrow” leave no doubt as to what “must go.” In classic power-pop fashion, a blistering lead guitar break by Steve at the two minute mark is tasty indeed.
Check out this song and video here:
Second entry “Victory Dance” builds around wiry slide guitar and hand-clap-style percussion. A chugging mid-tempo groove, lyrics tell a tale of “we” (us) vs “they” (everyone who isn’t us) with an unconcerned “And we laughed” hook resolution. Big chiming guitar chords and fluid bass propel third track “Shining Example.” A higher-register backing vocal harmonizes with Vic on verses, while the change is solo voice intimate. The overall feel is closer to Neil Young and Crazy Horse than traditional power-pop.
Stacatto percussion, slithering bass and open note guitar figures lead in the subdued “Queen Bed.” Gentle female vocals (courtesy of Renee Suchy) join Vic on the understated “fight or flight” segment and following chorus. Those essential backing vocals become more prominent as the song progresses through this tale of returning to single life. Angular prog-rock accents provide instrumental change hooks for the torn memory saga “Black Nostalgia.” A particularly busy bass guitar line runs throughout, and especially stands out on the ethereal “Ah – Ahh” chorus. Vic drops his vocal timbre down low for the emphatic final verse where “the brutal truth” is addressed once and for all.
Referencing the Greek myth of Sisyphus, “Roll That Rock (Up That Hill)” bounces along briskly with contributions from guest musician Adam East (guitar, bass and vocals). Each lyrical burden is met with a definitive “And I don’t mind.” A soft plateau mid-song change section indicates that even if you “scream into the vacuum, everyone’s [still] a critic.” “Overblown” is an easy, breezy groove with lyrical focus on interpersonal turmoil. The question is asked “would you really be better off alone?” Frequent references to “the devil you know” describes multiple outcomes.
“Heavy On You” comes into focus via distorted buzz-fuzz and a-cappella vocals. When the mid-tempo cruncher rhythm comes in, a cautionary tale spells out how “a special kind of fresh hell - when you look at yourself - heavy on you and your mirrorball.” Bonus points for the thoroughly savory guitar lead running through the center. Bright acoustic guitar and melodic bass guitar melodies usher in the merseybeat tinged “The Best Thing.” Clever wordplay combining descriptive terms “bushwhacked,” “ransacked” and “gobsmacked” focuses on a spirited literary approach. Essential statement “the best decision you ever made was doing nothing at all” rings ultimately true.
Light touch drumming and prominent bass guitar provide instrumental backing for the vocally intimate “Static.” There is a simple yet inventive nod to the songwriters plight with the line “searching for a chorus in a never-ending verse.” Quick paced chunky guitar rock returns for the lyrically opaque “Section 8.” Ostensibly about the rental housing assistance program often referred to by that name, a penetrating guitar riff adds necessary melody between each line of the verses. Jungle thump drumming, slashing guitars and a hyperactive bass guitar pattern propels penultimate track “Shakedown The Breakdown.” As hoped for, a smoking lead guitar solo rips n’ rolls at multiple points throughout. Because when you come down to it, “We all need a gang in this cold town.”
The album closes on an adventurous direction for the band, breaking from their signature power pop style with “Your Version Of Me.” Written as a collaboration between Vic and long-time friend of this site Jody Porter (most recent review on his music here, with linkbacks to numerous others) the groove echoes Pink Floyd’s “Wish You Were Here.” Building off an instrumental demo Jody presented, Vic’s lyrics build from original intentions with the lines “You were banking on a new religion - a grift you kept on the sly.” The songs title refers to how everyone we come in contact with has their own personal “version of you” and how that differentiates somewhat among all of them. No one can know everything about you, as such only have their own impression of you. “Now, I’m free… and not your version of me,” becomes the definitive statement. It’s a gentle and introspective way to end an album that overall is loaded with one fine song after another.
Dig in to the album here:
Find out how to acquire this groovy power pop album at their Bandcamp
Four captivating new and recent musical releases are the focus here for this summertime DaveCromwellWrites. Extensive deep analysis is given to all aspects of songwriting, sound design and (where necessary) lyrical storytelling. The styles covered this time around include indie rock, nugaze. postpunk, ambient, dream pop, drone, ethereal and minimalism-experimental. Creating new works inspired by the pioneers in those genres that came before them, thoughts flow here from what is now being heard.
It was little over a year ago when this site became aware of an exciting new band based in Nashville, Tennessee named Hushhh. Following the release of their debut EP "Summer Medication," the group dropped a video for their track “In My Head” which garnered a detailed review here. Now they’re back with a brand new five track EP “Poison Glass,” surpassing expectations in every way. A focused DCW review is now given to this explosive new recording.
Opening the EP with the run-on-sentence titled “Youwon'trememberme,” a tone is immediately set via hyper-precision composition and recording. Speed-strummed guitars and locked-tight bass and drums support clear vocals riding over top. The spirit of early aughts power pop is imbued (think Simple Plan, Third Eye Blind, Good Charlotte) throughout both musical rhythms and lyrical theme. “Down in the pits, I could not see, I hid low and lived in misery” is how the chorus goes. Concluding with “I’d hate to have to leave - You won’t remember me.” It’s tough emo-boy angst set against harder edged sonics with near prog-rock like riff breaks.
Title track and single “Poison Glass” bursts forward via syncopated drums and power riff guitars. There’s an industrial buzz and sharp angularity on the chord phrasing that bears similarity to a band like Helmet. Vocals are different though, emphasizing smoother tonality and an elongated diction. Ruminating on the “waste” of carrying around sadness and “hate,” the distinct rhythmic change to a slower pace accentuates the inability to “find a key out of this dream.” At midpoint one more change occurs that suggests a revelation underscoring the prior request to “wait for me (that I hope to) crack these feelings that blind what I see.” The final minute is an ambient plateau that further implies resolution.
Third entry “A Passion For Sadness” starts out more sparsely with subdued tempos. Chime accents are place on key lyrical line ending words “take,” “stay” and “break.” An emotional build continues until just after a minute in, when a big dynamic music and vocal wash takes over. “Put me back together like you always do” is the plea. While this soft to frenzied style does tap the self-professed Smashing Pumpkins style, the vocals come closer to the alternative metal style of the Deftones.
Penultimate track “Stone Path” combines angular hard-edged rhythms with busy chord changes and punctuated lyrics. Pausing before the last word of lines is an effective composition technique. “I let myself - - - drown; Waves of - - - doubt; More lost than - - - found; I let myself - - - down.” Extended instrumental segments showcase cohesive skill among the traditional two guitar, bass and drums lineup. While the big hook “We lose all hope when gravity comes down” is what you’ll ultimately sing along with, the actual caution comes the title line included “Don’t step off the stone path, where heartache is found.”
The EP’s closing song (and single) “Tainted” begins with solo voice backed by simple guitar strums on the opening lines. Bass and drums slide in for the second round through, before full sheering buzz guitars soar in for emotional punch. The sparse instrumental and introspective vocal cycle returns, before lyrics “I’m going down the drain with you” trigger another gazey guitar burst. Despite the self-effacing song title, there’s hope in essential lines “Heaven’s a leap – Heaven’s a dream.” The songs final minute serves up an uplifting instrumental passage as a fitting end for this impressive release.
Listen to this high quality EP and find out how to acquire it here:
Follow the exploits of Hushhh via their Social Media on Instagram - Facebook - and through their Linktree.
Never one to let too much time pass between releases, Patetico Recordings label boss Tom Lugo is back with a new track “Loyalty & Blame” via his Heliocentric Overdrive project. A truly collaborative endeavor, Tom’s guitar and vocals are joined by Ian Falcon on bass and Lem Pidlaoan on drums. Recorded at his Studio in Havertown, PA, Tom produced, mixed, and mastered everything at
Laboratorio Soniko Studio in Middletown, PA. DCW now commences with a careful listen and serves up inspired thoughts on this tracks essential contributions.
Rising up out of a shimmering ambient wash, drums and bass soon lead in a majestic chord progression. Moving at a slower, more deliberate pace, the overall vibe would not be out of place on one of The Cure’s more cinematic albums (like “Disintegration”). Tom’s obscured, buried-in-the-mix vocals however, moves everything closer to My Bloody Valentine’s genre. One minute in and the first lift off is achieved via powerful layers of guitars, quicker change chords and slithering bass. Continuing the emotional rise, a plateau is reached where the instruments suddenly stop and only ambiance remains momentarily. Soon drums and bass lead it back to the songs fuller structure, with verse and chorus sections revisited with even more purpose. A powerful musical segment follows with bass guitar and drums providing sharp accents within the sonic swirl. One more fade (as if ending) before everything kicks in once again for a triumphant final minute coda.
Check out this grandiose track here:
Follow Heliocentric Overdrive and Patetico Recordings via their Social Media.
It was a mere four months ago when Sueño con Belugas band leader and 3 Robots Records indie label boss Héctor Caolo Alvarez introduced the first two tracks from latest record “Ataque con rayos electrónicos” (“Attack with electronic rays”). At that time those two songs “Velocidad” and "Mil Recuerdos" were given a focused DCW review. Now the dreamers of white whales are back with more cuts from this evolving recording. Once more into the fray, a deep listen sparks descriptive thoughts on what is being heard.
New entry “Love Evolves” opens the record with drone and melodic guitar figures overlaid on top. A driving bass emerges underneath, creating a counter-rhythm to the continuing guitar notes, before the full band joins in on this primary progression. Rising keyboard notes and wah-wah guitar enters the mix before powerful vocals commence from María (Malow) López. Two minutes in and a sharp turnaround finds the tempo shifting quicker as Hector joins in on vocals for tandem harmonies. A minute later, another tight turn accent bridge ushers in one more passionate Malow vocal segment. Precise instrumental breaks create momentary space before launching into a two minute vocal chorus and bold driving conclusion.
Another new entry “Flying high” is an easy flow groove instrumental that builds intensity via traditional guitar, bass and drums. Subtle layers are added on with each pass through the progression, and the overall feel is sunny and optimistic. Along with Hector’s obvious guitar work throughout, special mention goes to Gardy Pérez for his additional contributions on guitars and delays. Third new track (and fifth overall) “Portal” is a heavenly ambient piece that is solely built around atmospherics. In true Brian Eno fashion, the overall form is merely suggested, while still containing dense layers of sound. The album that comes closest to mind as a point of reference in the brilliant 1983 release “Apollo: Atmospheres and Soundtracks.”
Check out all of these song currently available on this album here (including how to acquire it)
At the top of this year, experimental ambient artist Andres Alfonso Lugo returned to this site for a deep dive review of his Los Dientes Hundidos en la Garganta project. Those eight total compositions dubbed “DRONINGUITARFEEDBACKS” was fully covered here track-by-track. The musician is now back with a new lengthy piece “Posthuman Multiverse.” Although a fully instrumental work, the title suggests ruminations on theoretical and philosophical perspectives. With ears “wide open,” DCW digs in to the nuances of this sprawling ten minute audio formation.
A swirling hiss introduces the composition, as if rising out of an alternate dimension. Additional textures flutter in (and then out) of focus adding elements of movement within this overall shapeless form. With everything created out of (only) guitars, bass and loops, the sensation is not unlike Lou Reed’s controversial “Metal Machine Music,” although no where near as harsh. A minute in and the ambient wash pulls back, allowing a more structured, calming guitar figure as primary focus. The sensation now is calming, as if meditative. One could imagine floating slowly on a river, staring at clouds and losing all sense of time.
Andrés provides liner notes that speak of an “existence and identity” that is “no longer confined to a single reality.” These audio waves of sonic serenity here provide an expressive soundtrack to this conceptual theory. After five minutes in, lower tones begin to emerge underneath, adding harmonic structure to the floating sensation on top. As subtle elements gently cascade into focus, the vibe is very much Eno, Budd and Lanois (see the 1984 classic collaboration between those three “The Pearl” as reference). Approaching the final minute, a distinctive whooshing textures boldly enters the mix, joining an ever expanding guitar tones and voicing cacophony, as sound equivalent to “multiple planes of existence.”
Dave Cromwell has been writing about music since the dawn of the internet age. In addition to the steady flow of features here on this site, he has been a regular contributor to The Deli Magazine (both Print and Web) since 2010. With numerous Print Issue cover features and weekly contributions on the Deli website, scores of artists have received the Cromwell point of view. Along with ongoing contributions to this site and The Deli Magazine, Dave has written for Dingus, My Social List, The Waster, Spin and Rolling Stone magazines.
.jpg)
.jpg)
