Scholarly Musings on Laudable New Audio Releases

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.

A previous DCW feature on this artist can be found here.

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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.

Facebook     -     Instagram     -     Official Website
 
A previous feature on the band can be found on this site here.

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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)

Follow Sueño con Belugas and 3 Robots Records on their Social Media - Facebook - Instagram - TwitterX - Bandcamp - Linktree

A previous DCW feature on Sueño con Belugas can be found here (which includes links to many other of Hector's various collaborations).

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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.”

Experience this multi-layered sound design here:

Follow this artist on Social Media:

Facebook   -   Instagram   -   Bandcamp   -   YouTube

A previous feature on this artist can be found on DCW here.

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