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.”
It’s been a minute since DaveCromwellWrites covered a live show (well, last November to be precise). While all too true that the recent focus has been predominantly on recorded works (not always the case as densely covered live event were a common occurrence on this site, not that long ago), this current feature celebrates a dazzling, multi-performance show. Also included are two distinct interviews (something else that was once as staple here) along with some studio recording reviews as well. It all adds up to yet-another thoughtful and detailed probe into this thing we call “rock music.”
When it was announced that Live Nation was putting on an “Eighties Goth Prom” at House Of Blues in Orlando Florida earlier this month on May 3, the opportunity to catch this event was there for the taking. Headlined by world renowned Depeche Mode tribute band Strangelove, the lineup also included The Cure tribute Lovesong, Not Nine Inch Nails tribute to NIN and The Electric Duke tribute to David Bowie. Having established a prior working relationship with the multi-skilled Julian Shah-Tayler via his solo work, the occasion to see him do his Bowie show and as an essential member of Stranglove was too good to miss. In addition to the performance, an interview was arranged with Julian and all the members of Strangelove. That full discussion follows below, along with a review of their recently released album “Rendition.”
Based out of Los Angeles, STRANGELOVE-The Depeche Mode Experience is a dazzling concert event. Bringing to life the very best DM songs, they draw from the artists 40 plus year career with accuracy and authenticity. Under the guidance of Brent Meyer (a/k/a “Counterfeit Martin”) his portrayal of DM mastermind Martin L. Gore on stage is a joy to behold. Frontman and vocalist Leo Luganskiy (a/k/a “Ultra-Dave”) is both a visual and vocal dead ringer for the charismatic Dave Gahan. Julian Shah-Tayler (a/k/a “Oscar Wilder”) is no stranger to this site, having reviewed a number of his albums here previously. James Evans (a/k/a "In The Fletch") is the bands Andy Fletcher in every similar way possible. Chris Olivas (a/k/a "Chris-tian O-gner") is the quintessential drummer every band would love to have.
The Golden Ticket
Necessary item for a smooth experience
Sitting down with the band an hour or so before they were to perform on this Saturday evening, the Q + A flowed in a professional yet-casual fun filled exchange.
DCW: Getting right to the heart of the matter, where do you see your place in this huge rock and roll music landscape?
Brent Meyer: The Question is do we have any back story beyond being a tribute band entity, because everyone views us in that light – in the context of coming to these shows. I started this project 18 years ago, and some people who’ve followed me from those early days only see me in this context are surprised to discover I do other things.
DCW: It’s the “onion” concept where there is more to an individual than just what you see on the surface.
Julian: And much more to make you cry (laughter all around).
DCW: Leo, what else do you do when not at this? Do you have a solo project?
Leo: Yes, I do my solo work and also a couple of side projects. Something I’ve been pursuing over a decade. Coming from a teenage dream to be the next alternative metal artist. Combining the elements of songwriting and being inspired by bands like Deftones, Korn and an archetypal teenage angst. Other influences are more sophisticated such as the Swedish progressive metal band Katatonia. Focusing on a heavier writing style with the music, but the vocals are very song oriented. As an artist you kind of want it all. To be equally appealing to the common show business factors, but you want it to be beautiful to anybody. It doesn’t matter if it’s techno, synthpop, rock or metal, sometimes you get lucky and discover a band that makes you overlook anything you ever thought you might like. When I was growing up I was in to more electronic music, which is completely opposite to something that is post-punk or heavy music. Then I discovered the band Placebo and it changed how I think of any of that. It was so completely out-of-the-box and it was the right time to discover it. They’re all stylistically different but there is a mood that you feel. For me, it’s the mood and the atmosphere that the band is bringing that matters more than what style it is. So when you are creating something of your own, you end up taking bits and pieces from all of that, while still trying to be tasteful if you can.
DCW: It’s been well-documented that keyboardist Alan Wilder left Depeche Mode due to the lack of credit he was given for all the work he did in the band. Would you agree with that assessment?
Brent: Absolutely. He was basically uncredited at least as co-producer on every album he was involved in. The quintessential Mode albums that defined their sound for most fans.
DCW: When I listen to his solo project Recoil, I hear so many of those distinct audio qualities.
Brent: The sound had all the Depeche Mode signatures, but it moved away from a pop sensibility, that melodic songwriting core, it was more about the atmospherics and sonic landscape. He chose to explore that, and who knows what Alan’s songwriting capabilities might have been in the band, given the chance.
DCW: James, your role as “Fletcher” in the band has playing keyboards and singing back-up vocals. Which do you feel more accomplished at.
James: I think I sing better than play keys. My vocals keep me going while I’m playing one handed Fletch lines. The ironic part was that he had more keyboards set up than any of the other guys, while playing fewer lines.
DCW: I saw Depeche Mode play Giants Stadium in New Jersey back in 1990 with the Jesus and March Chain as support. That was an incredible show, and I believe it was right when Martin started playing guitar with the band.
Brent: It was pretty much right then, that tour and the one before, the “Music For The Masses” one.
Leo: Arguably that might never have happened if “Black Celebration” and “Music For The Masses” didn’t lead up to what they did there. You can hear that stuff in songs like “Behind The Wheel.” If you reverse engineer some of their songs – their callbacks – and what they ended up doing in the future – the melody of “Pleasure Little Treasure” is basically “Personal Jesus” in a way. It’s re-conceptualized with an entirely different impact.
DCW: Do you think that’s intentional, or just a natural occurrence?
Leo: It’s both. Coming from their integrity and style and some of humor about it. Sometimes they’re really mopey and dark, and sometimes they’re really ironic. There’s beauty in that, and keeps you kind of wondering.
DCW: Have you ever met any of the DM band members?
Brent: Yes, absolutely. Martin is a big supporter.
DCW: He likes you?
Brent: He’s spoken very favorably about us in press and print. In a fairly recent press junket in New York Dave was kind of ‘taking the piss’ about how much time he spent watching our videos online.
Julian: Leo and I both worked indirectly with Ava, who is Martin’s daughter.
Brent: I have as well.
DCW: That’s cool. I caught a show by Dave Gahan’s daughter Stella Rose way downtown in NYC a year or so back.
Leo: I’ve seen some of her shows and met her briefly.
Brent: We’ve seen her in tiny clubs.
DCW: And she knows what you do?
Leo: She doesn’t exactly what I do, because it was more of an accidental meeting after one of her shows at Pianos. She’s more involved with her peers and the new generation of younger musicians that might not know about all the older stuff.
DCW: Some do, some don’t. I was always curious about what came before I was alive. There was a period of immersion into 1940’s and 50’s jazz, inspired by Kerouac’s “On The Road.”
Julian: Brent’s degree is Ethnomusicology. He’s the nerdy center of all this.
Brent: We’re both kind of the conservatory of things, with Julian and his Classical Music background.
Julian: We’ve occasionally done shows with a U2 band and they’ll bust out the Passengers song “Miss Sarajevo” and when Brent does the Pavarotti opera solo there is not a dry pair of knickers in the house! (Much laughter all around).
DCW: At one time you were training to be an opera singer?
Brent: I never had any illusion that would be something I could make a living at, but I did want to pursue the training that afforded and follow the through line in terms of symphonic composition. It benefits in terms of arrangement, even though it’s all midi and electronics, it still all directly affects this. Alan Wilder, very much a classically trained musician himself, even stuck little sampled bits into the recordings. The chords that start “Never Let Me Down Again” references Carl Orff’s “Carmina Burana.” There’s also Wagner samples, there’s Mozart Requiem, there’s all kinds of little easter eggs that he’s placed there in Depeche’s music. In fact they had a b-side of him playing Beethoven’s “Moonlight Sonata” straight up on piano, and I think that’s pretty cool.
Julian speaks to the audience
DCW: Let’s talk about your Strangelove recordings, specifically the “Rendition” album. Were you all in the same room when you recorded this?
Brent: Never! (laughter) Our original track and the Depeche songs were all done separately. The only one’s that had any of us physically together were when Julian and I did a live stream of all Martin songs and a couple of those are on the album.
Julian: “Sublime” is the song that Leo and I wrote. I had sent him a couple of tracks and he came up with something fabulous, vocally. We then threw it back and forth continuing to develop it, and then everyone put their parts on.
Chris: That track wouldn’t have sounded as good if I hadn’t gotten my drums on it the way I wanted.
Leo: That’s true. The ideas and construction were because of the combination between a very modern drum sound and a very live one. That’s why in certain moments you notice we kept the drums “naked” – a dry and clean sound.
Chris: When I got the general track, there was no vocals on it. There was maybe only the verse part, and a few other tiny parts to it. I got the vibe though, and put down a John Bohnam-esque beat. A similar feel to what I play on DM’s “Useless” and “Never Let Me Down.” There was a point where I wish I would have added a little bit more later on and do things a little bit different, but overall it worked out well. Eventually they started to cut things up and Leo added his elements of new electronics stacked on top.
Leo: Right. For instance some of Chris’ drum samples are more like a room sound, while others are from places that were bigger. You always want to go back and forth with the blending. Even back to the demos, where you like the original consistency, and combine that other sounds to make something truly unique. You don’t want it to sound like anybody else, and that’s what takes more time. When it clicks with everyone, is no longer distracting and it’s working, that’s when we say “yeah, this is us.”
Julian: I have to give a lot of credit to Darwin Meiners who mixed what we sent him, which was a lot of stuff.
Brent: A herculean task.
Julian: He did such a good job with it and made it sound like we might even be in the same room together to record it.
Brent: Which was definitely not the case. He had to craft all that together.
DCW: “Sublime” is positioned as the album’s tenth entry (with two remixes of it after that). The primary version is a guitar-centric, buzzy ambiance affair with forward drive drumming in support of Leo’s heightened vocals. The “thoughts of loving you/hating you” express universal relationship turmoil. “Let me in - I will disappear with out a trace - when i get what i want” becomes the emotional center. While “The pleasure and the pain - cuts me right out” suggests a release of personal ego, when experiencing the “sublime” of immersing yourself in the one you love. Heavy, chugging guitar leads a bold sonic conclusion that includes soaring vocals and elevated percussive elements.
DCW: Leo, do you write a lot of songs?
Leo: I think it’s safe to say “yes.” It’s an ongoing process for all of us. I can’t really call myself a “musician” (at this point) because you kind of have to be more well-known, but definitely ideas are happening all the time. Ideas, concepts, side projects – until something really clicks with a lot of people – this is when you become an artist. This is where people start putting you in a category “oh he’s a rock artist or a goth artist.” I think of those labels as something like winning an award. You can’t really give it to yourself, it has to be assigned by other people.
Digging deeper into the bands "Rendition" album reveals a treasure trove of audio delights. It opens with a wonderful re-interpretation of “Useless,” this time with emphasis on Brent’s sharp guitar figures coupled with Leo’s surprisingly fluid bass playing. The expressive lead vocals and precise harmonies from Brent and James are of course there. Julian’s keys and Chris’ drums also deliver at the exact levels the song calls for.
Ultra’s “Sister Of Night” leans on keyboards and electronic percussion to support Leo’s passionate vocals (with Brent and Julian background vox). “In Your Room” is essentially a solo track from Julian Shah-Tayler. He plays everything on it and does all the vocals. Having reviewed a number of his albums outside of this band already, the familiarity is not only in the song, but it’s overall production.
“Insight” comes from those “live lounge session” Brent referred to, and features his expressive vocals and Julian’s piano and backing vocals. The ability to bring this song to life in an intimate live setting is most impressive. Fifth entry “Mercy In You” flips the script with a solo piano and vocal performance from Leo. The “Songs of Faith and Devotion” entry becomes even more poignant in this stripped down form. “A Question Of Lust” comes by way of Julian back in his studio, building a solo version of this classic with all the tools and talents at his disposal.
Dipping back into their “live lounge sessions” Brent and Julian serve up an electric piano and synth extravaganza with the recent (2023) DM song “Soul With Me.” Brent’s powerful and expressive voice reflects the original’s beauty with resonance and reverence. Moving over to earlier era DM, 1985’s “Shake the Disease” features all the bandmembers (minus drums) with a stripped down entry. A near acapella version from all four vocalists, the minimal instrumental backing is all that seems necessary.
Final “rendition” is a solo vocal and piano entry of “I Am You” from Leo. Subtitled “Audition Version,” and given the short 1 minute in overall length, one wonders if this was an actual submission to gain entry into the band. Regardless, it’s beautifully done. The first “Sublime” remix comes by way of Julian Shah-Tayler’s recording studio laboratory. Extended in length, all the instruments from the original are stripped away and replaced by an array of synths and electronic percussion. Ambiance abounds with plenty of open spaces, allowing for Leo’s vocal track to stand out a bit more. Final entry is the second “Sublime” remix – dubbed the “Entre Nous Remix.” Stripped once again of all previous instrument, new keyboards and percussion tracks provide a bed for Leo’s lead vocals and the remainder of the bands backing voices. Both remixes are decidedly dance-floor ready.
Strangelove continues to tour throughout the summer and beyond. Check their Official Site for all the dates.
In addition to the Strangelove interview, a second one was conducted on this night with no-stranger-to-this-site solo artist Julian Shah-Tayler, shortly after his opening performance as The Electric Duke Bowie Tribute show. Numerous recorded works of his have already been reviewed here previously, and now the opportunity presented itself to interview the multi-faceted man in person.
DCW: Watching you play piano in your videos (outside of this band) you are very accomplished. Did you have classical piano training?
Julian: Yes, I was classically trained.
DCW: Yes, you also mentioned in a recent video interview that you were also on a path to be a doctor. At the same time as this, were you also getting piano lessons?
Julian: Strangely, my Grandmother was a music teacher, and she was very proud of my uncle who was a doctor. My mother is a lawyer, but she is also very musical. One year she won a Welsh music competition, and was very proud of that. So she would encourage me with music all the time. However, my family would have all liked me to be a doctor, but it just wasn’t my path.
DCW: When did you first start playing piano?
Julian: I was 5 years old. I loved playing instruments and doing musical things, but I didn’t particularly enjoy practicing.
DCW: Could you read the musical notation charts?
Julian: Yes, of course I read music.
DCW: At some point with the emergence with the 80’s synth sound and morphed over to playing these electronic keyboards?
Julian: I’m a little younger than that, so I didn’t really get into synthesizers until I joined this band here, Strangelove. Everything I did up till then was about recording studio work. Brent was previously describing how Alan Wilder would take pieces of orchestral works and include them. I did that as well, without any prior knowledge of what he was doing. I would take Beethoven or Stravinsky or Benjamin Britten and I would stretch my selections to make an orchestral sound for the stuff I did. I didn’t have any synths, only pianos so I would improvise in other ways. Like I would take the sound of a squeaking door, sample it and use that as a sort of keyboard sound.
DCW: At one time were you on a path to be a classical piano player?
Julian: I would have never been a classical concert pianist. I was, I wouldn’t say mediocre – I was good but not great. When you listen to Lang Lang you hear how spectacular and brilliant they are. I was always interested more in composing, and if you want to do that, you don’t become a classical pianist.
DCW: Early on you had the songwriter bug?
Julian: Yes. I wrote my first piano piece when I was nine years old, and my first song when I was 14. I needed to be self-expressive, that was very important to me.
DCW: When did you first make the move to the United States?
Julian: I came over with a band named Whitey, who I co-wrote a lot of stuff with. We had songs in “The Sopranos,” “Breaking Bad” and we did very well. We went on a tour with Peaches that was really good. So, that’s how I ended up in the USA.
DCW: You originally grew up in Leeds, UK?
Julian: I was born in Leeds, but didn’t grow up there. I went to boarding school in Durham, which was the basis for Hogwarts in the Harry Potter world. I then went to University in York and later moved to London when I was old enough to do the whole thing with music.
DCW: You’ve been a solo artist from your earliest days, but you also do these other projects.
Julian: I like collaborating with people, and especially with very talented writers. If something like Whitey comes along, it helps me learn. The same thing with Leo here in this band. Another I’ve worked with is Tiki Lewis who has really spectacular stuff. If I find people I like working with, that is a welcome diversion. However, it will never be my focus beyond what I do – it will be just another thing.
DCW: It sounds to me like you’ve gotten a number of songs in films, television shows and/or video games. Is that something you put out there to be found, or do you have people contacting you for specific projects?
Julian: Both – all of those things. Currently I’m working on a tv script based around my music. It’s my story, and is a written 13 episode arc. The pilot is fully written, and the next 12 episodes have synopses.
DCW: Do you have the people in place – the contacts, to bring this to life?
Julian: I had all that before the global shutdown of 2020. A couple of production companies were interested in making it. I currently have one production company who is now interested and I’m collaborating with over the next couple of months to bring it to fruition. We will make it happen because I’m fairly confident the person I’m working with has the means to do it.
It was truly a pleasure to finally meet Julian in person, as well as all the other wonderful musicians working on this night.
Also performing on this night was an amazingly accurate The Cure Tribute show by the mesmerizing band Lovesong.
This show was the closest thing to attending a Cure live show, without it being the actual band! Frontman Rusty has got his Robert Smith down in not only sound, but all the physical movements diehard Cure fans have come to know over decades. In fact, the whole band is a precise, well-honed machine that reproduced every song brilliantly.
Even before details were hashed out with contacts in Depeche Mode Tribute Strangelove, a spot at this event was secured via Lovesong’s “win a ticket to the show” contest running on social media leading up to the event.
- - -
Even though ultimately not needed, the gesture was most certainly appreciated (and told them so in a brief chat after the show).
The unanimous consent among anyone who has experienced their show is they are the premier Cure live show out there (other than the actual Robert Smith and company).
Listen to this clip of "Just Like Heaven"
Who doesn't love the achingly beautiful "Pictures Of You"
Or the sheer uplifting joy of "Inbetween Days"
Perhaps it's time to go for "The Walk"
Or get lost in "A Forest"
Nothing captures the balance of doomy wonder than the instrumental passages of "Fascination Street"
I'm glad I got to see "The Cure" this year!
Lovesong continues their tour throughout the upcoming days as well.
Genre defining artists from formative years still putting out high-quality new music is always a cause for celebration. While some musicians may be content to rest on their laurels and ride the wave of their greatest hits, the ones breaking new ground are to be applauded. More than just that (the applause) a close listen and detailed analysis of their latest efforts are a must. This site recognizes these already established “rock stars” for their drive and ambition in creating brand new works that rival the best of anything else they’ve ever done.
Peter Murphy is one of those artists who continue to defy the odds of remaining relevant throughout multiple decades. Having witnessed his early days fronting breakthrough gothic-rock band Bauhaus (barely of age, catching them in 1979 at a downtown NYC club), his development throughout the following years remained a priority. MTV’s heavy rotation of US No. 1 single “Cuts You Up” from his 3rd solo album “Deep” (1989) lead to catching a brilliant live show at the notorious Manhattan night club “The Limelight.” More recently attended was Peter’s live show at the East Village venue Le Poisson Rouge during his Tribute To David Bowie Residency (meticulously detailed here). With the recent release of select singles over the last few months, Peter is now ready to unleash his first new studio album in over a decade “Silver Shade” on May 9. Produced by the impeccable Youth (Killing Joke bassist Martin Glover), who did a wonderful job on this comeback Jesus and Mary Chain album here, we now dive into Peter Murphy’s latest.
The album opens with one of three previously released singles, the driving bass and drums propelled “Swoon.” Relying on groove and mood over literal storytelling, ornamental lines like “I talked to the water loom” serve end-of-line rhymes along with curious thought. Well placed ‘Wa-Chung’ guitar chord bursts amplify the pre-chorus bridge and lyric “Preachers up to taste the fruit.” However it is the single word song-title chorus that emerges as the most creative studio sonics. Using his voice as an instrument, extended vocalizing under each repeated single title-line generates an additional hypnotic effect. More upfront and intimate lyrics “I am whoever who” followed by “What else can I do?” sheds possible insight on Peter’s sense of self and continued motivation to create.
Listen to this mesmerizing track here:
Follow-up “Hot Roy” churns along rhythmic electronic pulses that mimic sweaty dance floor grooves while maintaining a sense of foreboding. Lyrically telling of an emerging leader to a group – “our boys game was on – soon would be killer sounds.” While this descriptive imagery may be personally direct, it’s universal enough to apply to multiple topics. It’s essential hook states “we’ll march from the hollow – from glitter to gold” and “we catch silver bullets – we’re saving our hero!”
Static electronic pulses, tom-tom drums, angular synth notes and crunchy guitars lead in next cut “Sherpa.” Most know that single word to mean someone who guides people on mountain-climbing expeditions. Since Peter is a known world traveler and has been a resident of Istanbul, Turkey for some time now, it’s not surprising for him to delve into this type of subject matter. “Workers looking for the day, looking as they say – looking for the mountain” are the opening lyrics. The rhythms are driving and straightforward, with Peter’s dramatic vocals exquisitely placed.
A slithering, near menacing groove provides the undercurrent for album title track “Silver Shade.” Also mirroring the name Peter calls his own personal record label, created last year to release rare live performances and previously unreleased material. “You got me throwing glitter in the lake” the singer implores. “Time to take a chance to jump and float” he continues, ultimately declaring “you’ve got me in the glitter river.”
Another advance single release is the bass-synth pulse and percussion driven “The Artroom Wonder.” Autobiographically revealed as inspired by “mysterious” and “cool intelligentsia” at school, “pretenders apart” give way to the “super smart.” Peter’s vocals are nuanced on each recited line, morphing from intimate delivery to full throat howl. With guest musician Justin Chancellor of Tool contributing to it’s deep bass undercurrent, well-placed guitar figures between individual vocal lines adds melody to mystery. Synthesized Orchestral movements add a grand scale in the middle, while references to “The server the Prophet- peace be upon him” suggests something more spiritual. Ultimately the song tile itself is briefly broken out as “the art of wonder” summing up this journey of self-expression.
Listen in right here:
A middle eastern rhythm runs through the electronic throbbing “Meaning Of My Life.” Triumphant crunchy guitars, icy synths and advanced-level drumming contribute significantly, as Peter passionately sings “I want to tell you!” The contrast between controlled verses and emphatic chorus creates a satisfying tension and release. Elongated voice-as-instrument segments coupled with otherworldly ambiance lifts everything further.
There’s a sense of foreboding and menace on the albums seventh entry “Xavier New Boy.” Continuing with less pop oriented song structures and extended lengths (with the last three all well over 5 minutes long) subtle piano notes add new sonic elements. Along with it’s bold, orchestrated chorus, protracted movements away from the main structure allow for experimentation, before returning to the dominant progression.
“Cochita Is Lame” moves away from the electronic based instrumentation for what sounds like a 1970’s era rock band. The synths used appear more as topical enhancements, again mimicking those classic late 70’s recordings. With it’s structure and vocal delivery, it’s as if Peter brought back Bowie’s Spiders From Mars bandmates for one more go at it. Lyrically touching on themes similar to Mr. B’s “Jean Genie,” a creative use of the studio pits voice against crunchy electric guitar for maximum effect.
Now fully into the albums deep tracks, “Soothsayer” shares a similar musical approach with the previous track. Coming on as a traditional guitar, bass and drums hard rocker, Peter’s vocals play along with a more shout-y, raspy style. Hooky background “whoo whooo” voices underscore Murphy’s warning to “never turn your back on” the oracle of the songs title.
Classical flamenco acoustic guitar opens the albums penultimate track “Time Waits.” Middle eastern strings and rhythmic percussive claps lay a bed for Peter to present his vocals over. “You’ve heard that time waits for no man” he sings with deep, elongated vocals. The combination of those hypnotic strings blended with elevating vocals and inspired drumming make for a truly gratifying listening experience.
Reaching this studio records final (and longest) song, all attempts at concise pop song are cast aside for the grandiose “Sailmakers Charm.” Moving from gentle piano driven chords to full dramatic presentation, there are parallels to Mr. Bowie’s later period work. Such as the adventurous song design and delivery of “Bring Me The Disco King,” Bowie’s “Reality” album closer. “So you get to the core,” Peter sings – “to show that you know – your eyes are blizzard – no white rain, no snow – as you tear apart – the sailmakers charm.” It’s poetic – mysterious – both understood and misunderstood as well, and fitting closure to this ambitious album.
Included on the album as a bonus track is the surprise duet with Boy George, “Let The Flowers Grow” which was released as a single at the end of last year. Written in collaboration with Boy George and Producer Youth, Peter imbues the song with a spiritual nature in both lyrics and soaring orchestration. “I’ve been changing” they both sing in harmonious tandem – “and mama don’t know. Let her tears fall, and make the flowers grow. I am changing, now daddy can see - his reflection, in the mirror of me.”
Listen to this majestic composition here:
With those three previous singles mentioned out now, the full album will be released on May 9 via Metropolis Records. Order the album here.
Every once in a while a new album slips under the DCW radar due to a multitude of distractions. Such is the case with this sites already beloved band Night Crickets, who released their latest long player at the end of last year. Having previously written about them both here and here, there really is no good excuse for having missed their latest “How It Ends (?).” That omission is now being rectified presently, with a review of this latest recording. It’s well past time to see what this collective of David J (Bauhaus, Love & Rockets), Vincent DeLorenzo (Violent Femmes) and Darwin Meiners (mult-instrumentalist, mixmaster, manager) have been up to.
Opening cut “Red Mist White Knuckles” emerges out of an easy groove drums and bass guitar progression. Funky wah-wah keyboards and guitars layer on, followed by David J’s unmistakable vocals. Delivered in a spoken word, poetic recital manner, “your daddy was an angry man – you’re angry too” he begins. Leading up to the first song title reference “when they read the final will – a vial full of rest mist, and the urge to kill.” A bright tambourine rattles over 70’s soul keyboards as the story continues “you practice TM – it dials back the road rage.” The titles remainder comes in view, stating that “you tend to still white knuckle it.” Buzzy electric guitar power chords slash down as the thematic mantra is repeated.
Angular patterned tubular bells and subtle matched percussion introduce “The Story of War.” Spoken word sentiments spell out the grisly truth, with “rape of the innocents – plunder of riches – scorching the earth – dying in ditches.” It continues, “the oligarchs grow fat, and spit on the corpses. They fill their coffers with stolen gold, indifferent to fallen horses.” A well placed, mournful violin plays, as if at a funeral procession. Pointing out the atrocities going on in present times, “it’s richer to rich, and poorer to poor – the children are fodder – that’s the story of war.” An unexpected field recording coda is placed at the tracks end, describing one use for “crickets.”
Lively, vibrant drumming and descending guitar chord progression kicks off the quicker paced “Should Be Heaven.” With vocals sung out in full (moving away from the previous spoken-word approach) bass guitar joins in behind lyrics “should be heaven, but it’s only about the win.” Each subsequent title line is answered by changing follow ups: “but it’s only where to begin,” “but it’s all down to if and when,” “if we could only let it be.” A soaring orchestral chorus elevates the musical landscape, while voices overlay and cascade together.
The gentle acoustic guitar, violin and mandolin driven “Don’t Be Afraid” comes accompanied by a meditative video produced and directed by Ramzi Abed. You may recall his previous work with Night Crickets on their video for “A Free Society” (fully reviewed here). Depicting an initially relaxed atmosphere of rural life (cat strolling by, morning coffee in flannel shirt) prismatic images shift to military men as the songs dreamlike refrain “don’t be afraid” floats with surreal quality. With featured guest vocals by Jason Lytle of the band Grandaddy, the videos protagonist is seen staring at apocalyptic fireballs. Spoken word soon follows, and the heart of the matter states “the world seems like a sewer – an insane crazy place – with innocents names on bullets – and the executioners face, is that of a child.” Off-kilter synths provide a midpoint break, alongside more visuals of the man going about his normal routine in his home. Up against that come additional apprehensive words. “When the viruses are thriving – and hospitals are full – and the nurses burn from overtime . . . when the bells of your mortality – are ringing on a hill – the reaper and the weeper – two sides of the kill. Well all politics are divisive – never the twain shall meet - but the forests, they are burning – and all sides feel the heat – that’s cause for pause.”
Vibrant echo-y drums, electric piano and “Ohhhh” backing vocals set “Where’s The One?” in motion. “Love is just a word they say” the lyrics begin, “some will hear it everyday. I could hear it over again – maybe once or twice, I’d listen then.” Along with horns appearing under the chorus for added audio support, a tempo change occurs and bluesy organ riffing accentuates the essential “big, bright baby blue moon” lyrical hook.
Low buzzing bass tones, ticking time percussion, shaking tambourine and descending bass guitar notes roll out the mysterious “Like An Avalanche.” Verse lyrics are delivered in a quick linear cadence with a hint of knowing sneer. The title line chorus alters vocal tone and background ambiance, using guitars and drums for emphasis. The downward bass progression returns in a more dominant manner, accompanied by those now signature booming, sonorous drums. Creative spaces are carved out for inserting odd synth textures. The verse/chorus cycle repeats adding psychedelic layers on its final pass through.
Mystical atmospherics and throbbing bass guitar lay framework for the spoken word “I Am Dead.” “I have levitated – floating through the forest at night. In the distance is the witch house – fading faces watching through the glass” are the primary poetic lines. An additional voice runs in tandem with these words, repeating them but doing so in a slower, more elongated cadence. Distant deep boom drums and reverse looped guitars further support what seems like a “Grimm’s Fairy Tale,” where the “house is approached as a full moon rises in the sky.” Those contrasting dual vocals (where the title line eventually emerges on that slower track) hearkens back to early Velvet Underground experimentation.
Mournful strings are used on the gentle dual voiced “What Is This Love?” Plucked harp notes and minimal percussion contribute to this meditation. “I smiled at you and you smiled at me, what is this love to you and me” is the universal question.
Opening with feedback and pitch bendy guitars, “Sunflowers And Starlight” tone poems lyrics “it’s dark outside – whether cold or bright, there’s pain out there.” Soon morphing in a more traditional song structure, vocals are now sung “still snow on the ground and now it’s raining.” A quiet pause happens at mid-point, before resuming with sparkling tambourine and the vocal sentiment “turn off the noise of the world for a while.”
Based around the phrase “The World I See Is Not The World I Want,” this co-write with actor Willem Dafoe emerges via measured tribal drums. Steady keyboard pads and fluctuating synths provide additional musical backing for alternating line “what in the world is the way of the world.” Midway the overall atmosphere seems to be floating away on clouds, before returning with defined drum beat and violins.
Previous DCW Features on this artist can be found here and here.
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It was the latter half of last year when this site became aware of recording artist Matthew Nowhere. Tipped off by Lunar Twin songwriter and vocalist Bryce Boudreau (whose own masterful work has been reviewed here numerous times) a detailed review was given to Matthew’s track “Love Is Only What We Are.” That cut was an initial taste of Matthew’s soon to be released debut full-length “Crystal Heights.” Another album cut has now been dropped in the form of a collaboration with lyricist/vocalist Bryce Boudreau with the mesmerizing “Transforming.” A deep listen and the thoughts that produces follows below.
Accompanied by a soothing YouTube visualizer, modulating synth patterns in that bright buzzy horn sound kick everything off. Percussion joins in alongside that recognizable Bryce vocal that name checks both the song *and* album title within the first 9 words. “Late at night” Bryce sings – “dreams alive – in crystal heights – transformed before our eyes.” The first instrumental break features synths echoing similar nostalgic 80’s sounds The Human League used on their hit “(Keep Feeling) Fascination.” The chorus continues to paint a picture of “palm trees bend the breeze” and “a child’s minds alive transformed before our eyes.” Everything pulls back leaving a standalone undulating synth pattern, soon joined by buzzing bass-synth running a counter figure, before percussion and thematic melody returns.
Bryce vocals continues “been awhile . . . the years go by – you know you can’t go back – or sooner learn to fly” he muses. A subtle shift in pace emerges here, with bubbling electronic backing and dominant guitar note strokes ushering in the next round of vocals. Bryce continues to croon “I’m not hypnotized….growing old to die… half awake the wind and waves late at night in crystal heights.” One more angular, cascading electronic note break leads to the lyrical resolution “to touch the heart … to touch the sky … we only seek … transformation … the highest peak … transformation … the highest peak.”
Listen in to this trance-inducing song here:
The “Crystal Heights” album - now available for pre-order - will be released digitally and on Limited Edition transparent blue vinyl on May 23.
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.
