* * * *
* * * *
* * * *
* * * *
* * * *
* * * *
* * * *
* * * *
* * * *
* * * *
* * * * * *
Showing posts with label JAMC. Show all posts
Showing posts with label JAMC. Show all posts
Sunday, December 29, 2024
Best Of 2024 Year In Review: New Music and Live Show Coverage
The final month of 2024 offers an opportunity to highlight the best works presented over the whole year. For this music site, its annual “Best Of” collection celebrates the most significant artists written about since the beginning of this time period. Studio recorded music and video continued to dominate the bulk of analysis, with a significant return to detailed live show coverage included as well. Compiled here in monthly chronological order is the “2024 DaveCromwellWrites Best New Music Reviews and Live Show Coverage.”
Monday, March 25, 2024
The Jesus and Mary Chain: Glasgow Eyes - Album Review; We Melt Chocolate; Solitary Bee
Extensive deep-dive analysis is always the primary focus here at DaveCromwellWrites, and this month of March review continues that practice. Storied legends returns with their much-anticipated brand new studio album, delighting fans old and new along the way. Additionally, a frequently reviewed, trusted music label presents yet-another dazzling new find. Rounding things out is a side project from more recent new friends of this site, all helping to unlock the secrets of this universe.
It would be difficult to name a band more influential on the life of this site’s writer and extended family than The Jesus And Mary Chain. Their now 40 year recording career has served as the soundtrack for nearly every significant passage experienced in this matrix called life. Throughout their inception in the late 1980’s and prolific “first run” albums of the 1990’s made permanent marks on all of our most significant life events. The “second phase” JAMC revival commencing in 2007 brought numerous live show opportunities shared among those of us who understand how this all matters. Many a feature on those shows have been covered and detailed here on this site. When the band finally put out a new studio album after 18 years, it too received deep focus attention. Now the Reid Brothers are back with a brand new album “Glasgow Eyes” comprising of twelve original songs. As is only right, a close listen commences with detailed analysis of it all right here.
The album opens with electronic pulses and motorik drive that confirms early promo statements of “Suicide” and “Kraftwerk” influences on the first track “Venal Joy.” An instantly catchy hook “I’m on fire – piss on fire – don’t piss on fire,” leads into the first big power chords segment. A second female harmony voice joins Jim on subsequent lines “venal heartbeat filled with hate” touches on the bribery themed song title. Rising synth twiddles share space with the bands oh-so-recognizable lyrical style. “No I won’t give up and die” is a rallying cry for us all (especially those of their own generation).
“I’m alright – I’m OK” becomes the final message as the pace slows down to conclusion.
A tinkling keyboard nursery rhyme feel, plinking guitar strokes and vocal “ah ah ah’s” opens second cut “American Born.” The initial lyrics of doing things “with Americans” is inter-cut by chunking guitar bits and over-modulated keyboard stabs. Appearing to be a looser offspring of the more realized composition “Los Felix (Blues and Greens)” from their previous album, one would hope William is still being sincere with this homage to his on-going “new home” (that being ‘Merica), if one can still call California that. “Mediterranean X Film” continues the odd beep and boop sounds, while mixing in more prominent forward-plunking guitar. A female voice is first heard, reading off a list of items, before William himself sings the words “Churchill and De Gaulle – Berlin and the wall.” Here the instrumental backing is looser than previous rigid beats, with the drumming in particular displaying a touch of that “jazz” referenced in press releases. A minute in has the band shifting to a quicker tempo enhanced by twangy guitar. Williams continued vocal recitation echoes the playful, “less disciplined” style of his later stage demos.
Reaching the fourth (and “focus track”) “jamcod” once again draws on an electronic “Kraftwerkian” motif at the start. This time a more traditional JAMC style descending rhythm soon emerges. Jim’s vocals are front and center when he sings “the monkey’s organ grinder isn’t grinding anymore.” It’s classic Jim self-critique about having “seen this dream before” and “tears are what you want – tears are what you’ve got.” That all sets the stage for a momentary blast of HUGE powerchords and then back to that familiar downward-driving bassline. “Breaking up and then falling down and my heart beats much too slow” Jim continues, followed by the clever “notify the other brother there’s no place to go.” Another pass through the bridge and power chord (chorus), leading to a bridge of “vegetable, mineral, animal – I don’t know, what you want – what you need.” It all ends on a buzzy synth wig-out while the song tile is spelled out repeatedly.
Fifth entry “Discotheques” continues the conclusion of those oddball synth space noises, sprinkled around the primary descending guitar lines. William returns with his wispy vocals “everywhere around the world, every type of boy and girl, body heat and beat and sex, welcome to the discotheque.” Additional descriptions of William’s real (or imagined?) music venue with their “decks, drinks, pills and [fr]rills” are backed by this quaint, demo-level instrumentation. Points for the plunking guitar leads woven in and through the end-out. The album’s mid-point serves up the more serious, slow grinding “Pure Poor.” William vocals once again, “I wasted my time – this planet is mine – baby I was pure,” comes the late night foggy-trip delivery. The guitars are fuller, with some distortion mixed in alongside sludge n’ chime. A bright tambourine rattle provides midrange focus for the multi-layered noodling swirling around it all.
“For millions of years – and oceans of tears – baby I was – pure,” William implores. The final poetic riddle comes in the form of going to “the store” and discovering to be “poor.”
Bigger production values are present on the deceptively titled “The Eagles and The Beatles.” Deceptive in that one of those two bands are never mentioned, yet we get a litany of other legendary faves. Most notably, the center chorus hook goes: “I’ve been Rolling with the Stones, Mick n’ Keith and Brian Jones – Bill and Charlie have gone home.” Other than the early squealing synth noises in the beginning, it’s a more tight progression based around clean piano chords. The list of influences mentioned include “Dylan, Beatles (mentioned only once), Sex Pistols, Crystals, Beach Boys, Faces, Andrew Oldham (The Stones manager). Notoriously missing are The Ramones and The Velvet Underground - though a full song “Hey Lou Reid" – yeah – spelled like their own last name – closes out the album. Solid guitar chords and quality use of “Sgt Peppers”-style horns over a tight hand-clap percussion all contribute to it’s precise pop presentation.
Clean, higher-production electronica provides the musical base for the lyrically amusing “Silver Strings.” “You got nuffin’ but a deep fake lake of tears. You got one billion – shiny – fings (things) - I got six dirty silver strings.” Synths are used more traditionally as ambient string sections. Plunking guitar lines and paired bass comes properly synced to the drums. There’s also the curious secondary theme lyric “you get in the way – in the way – in the waaaaaay.” Reaching one of the album’s official single releases, the much-needed Jim vocals on “Chemical Animal” is highlight material. Everything that has ever been great about a JAMC song is rolled into this composition. Brooding, dark, tension, honesty, self-reflection and the things that troubles you inside. They lyrics are brilliant and perfectly match the musical mood. “Simplify – to get by – to nullify. There is something you should know. There is something I don’t show. I fill myself with chemicals. To hide the dark shit I don’t show.” William provides the necessary plunking tonal guitar lines between Jim’s cool, emotive vocals. “Please illuminate – please don’t hesitate. I’m not pleased to meet you. I don’t need to meet you. I don’t want to meet you. You don’t want to meet me too.”
Tenth track “Second Of June” is the more upbeat version of Jim and also a welcome treat. Clearly a love remembrance of the brothers dearly departed (and Sainted) Mother. Interesting to see this song of positivity and hope immediately following the bleakness displayed in the one just prior. Reciting their own band name, lyrics follow “there’s a storm behind my shoulder, there’s a blood moon on the rise.” Those final six words are repeated over as the overall instrumentation and vocals becomes elevated to a classic MaryChain conclusion. Reaching the penultimate album track (which also comes with an official video) is the love tome to Jim’s longtime relationship “Girl 71.” It’s a sprightly undertaking in both sonic and visual form, with Jim seated and strumming a guitar. There’s frequent Japanese writing flashed quickly as the guitar crunch powers everything along. With a “Wully Bully” style chopping organ rhythm running alongside the more dominant guitars, some have noted the progressions similarity to Judas Priest’s “Living After Midnight.” Duly noted, first impressions here thought it pointed more towards Lou Reed’s “Vicious.” Lyrically straightforward, it goes “girl, you got me – you got nuthin.’” The first run through its marvelously classic JimAMC chorus delivers the hook most needed. The video imagery often looks like multiple camera film panels next to each other. The “Girl 71” eventually shows up (it’s Jim’s actual partner) and becomes a duet of sorts. “Hey – we got sumpthin’ – I got you – we’ve got sumpthin’ – you got me – we got love.” As previously stated, the chorus is great: “And that’s gonna last a day – another day – another day. We’re gonna take the time – I cant get by without you – we got what we need. Hey – Hey – We got what we need."
Speaking of the VU icon, final cut “Hey Lou Reid” (spelling duly noted) is a bass heavy ramble from William of unintelligible garble and his trusty twisty synthesizer. That’s for the first two minutes, anyway. Clocking in at the longest song on the album, it morphs into a softer musing about “girls,” their “eyes” and “cold Alaska nights.” It plunks and twangs along for these back-end four minutes, before floating away in twinkles.
Additional Jesus And Mary Chain features on this site can be found here:
The wonderful gazey, post-rock label Shoredive Records has an uncanny knack for finding the best music out there. Many features on this site have covered previously unheard gems introduced from their catalog. This time it’s an impressive dreamgaze unit from Florence, Italy – We Melt Chocolate - delivering the goods once again. The band's latest album "Holy Gaze" is now featured in the Shoredive catalog, bringing further attention to it.
Featured track “Holy Ramen” comes with an inventive video putting the viewer in front of a bowl of that title-referenced soupy noodle mixture. Swirling gaze sounds commence and the image switches to a table view hosting that meal. Clarion bell guitar tones begin to strike as the face-down-view of ramen bowl also swirls. Much like JAMC’s “Girl 71,” Japanese language letters float into view and a screen behind the meal table projects clouds blowing by. As the dominant progression commences, well-placed snare drum percussion and hard-edged bass guitar drives a sophisticated undercurrent along. Dreamy female vocals begin with associated pale-faced, full-lipped, doe-eyed, properly-fringed hair representation. Two women appear opposite each other at the table set, engaging in conversation. The chorus hits hard with the full emotional power the best dream-gazer bands can deliver. It’s romantic, emotional, lyrically-vague, guitar-driven and uplifting.
While guitars supply a steady flow of hooky melodies, the bass rumbles along like Simon Raymonde of The Cocteau Twins. The two women (who may be the same one in split screen, one with sunglasses the other without) continue their meal and “conversation” (singing the song). The adorning chorus comes around again, bathed in an ambient wash of epic proportions and female harmonies. Drums stay powerful and focused, like Colm Ó Cíosóig in MBV or perhaps Daniel from Ringo Deathstarr. Three minutes in, a plateau is reached where sparser guitar notes and rumbling bass mark out a holding pattern. That leads to an explosive burst of sound and quicker-cut imagery. One more glorious chorus run encapsulating everything you love about this style music. The sonic headrush-to-heaven, angel-faced (and voiced) “dream-gaze” girl, and beautiful, heart-tugging melodies. The men even make a brief appearance dining at the table, enjoying that ramen delight across from each other.
Towards the end of 2022 this site did a detailed review of UK Power Pop Rockers It’s Karma It’s Cool’s single release at that time “A Gentle Reminder.” Lead vocalist Jim Styring is now back with a side project Solitary Bee and their debut single “Love Wakes Up.” Along with the track comes an accompanying official video. The DCW audio-videoscope digs down into this new output, in search of it’s essential atmosphere.
Melodic, finger-picked guitar notes float over syncopated drums and bass as the song commences. Jim’s vocal start soon after, stating “I caught the breeze of summer, time for our luck to change – the sunshine brought those memories, those long day feelings that remain.” The video comes in black and white imagery with gray overtones, depicting an impressionistic style of the human eye. Vocals continue “she said she’ll do much better, now that the sun’s her greatest friend – and all those colours blooming, will take her home again.” On to an uplifting chorus that goes “when the love wakes up - I’ll be right beside applauding." Now the video begins to add more images of families coming together on holidays as vocals continue “won’t ever let you go.” The images of mother and child in soft focus, holding hands and running in front of the ocean is paired with lyrics “maybe a little rain has fallen – but we needed it to grow.” String synthesizers become more prominent in the audio mix, adding tenderness to those sentiments.
Crunchy guitars begin to make their presence felt as seagulls fly over the oceans in sepia tone views. Voices continue “how green the grass plays restless, announcing winters gone – and all young couples courting, to build new lives upon and on.” Opening lyrics evolve on second pass through as “the warmest breath of summer, time for our luck to change – the sunshine brought those memories, to come flooding back again.” Once again to the lovely chorus, with it’s sophisticated bass guitar counter rhythm and lush keyboards. The video now depicts holding hands at candlelit cafe tables, mothers teaching children at the family keyboard and oscilloscope screens. Other images of vintage era outdoor gymnastics and similarly classic car rides. Lyrics continue “and petals are confetti, the ceiling’s not the sky – like a heart shot into orbit, exploding satellite. And the birds came back to visit, from a million miles away – but the weather was so perfect, they decided all to stay.” One more glorious chorus with staccato-stab guitars powering it along. A momentary pause, then back into a fully backed, gentle synth melody driven chorus. Coda lines “I caught the breeze of summer, time for our luck to change” is pleasantly followed by the softer echo “Love Wakes Up” vocal fadeout.
'Love Wakes Up' is taken from the EP Bloom. Available from all good digital stores.
Check the video out for it right here:
Photo by Mel Butler
Check out this upbeat track here:
Glasgow Eyes is out now on Fuzz Club Records. Order it here.
http://davecromwellwrites.blogspot.com/2015/09/the-jesus-and-mary-chain-live-in-new.html
http://davecromwellwrites.blogspot.com/2012/09/the-jesus-and-mary-chain-live-in-new.html
http://davecromwellwrites.blogspot.com/2012/09/the-jesus-and-mary-chain-live-in.html
http://davecromwellwrites.blogspot.com/2012/01/jim-reid-exclusive-interview.html
https://davecromwellwrites.blogspot.com/2017/11/the-jesus-and-mary-chain-with-mark.html
https://davecromwellwrites.blogspot.com/2018/10/caught-live-mahogany-jesus-and-mary.html
* * * * *
Check out this gorgeous gazer song here:
Connect with Shoredive Records via their extensive LinkTree
A recent review feature covering Shoredive on this site can be found here.
* * * * *
Check out this light hearted, inspiring video and song here:
Connect with the band via their Facebook Page.
A previous review featuring members of this band can be found on this site here.
* * * * *
Friday, February 23, 2024
Beguiling Appraisal of New and Recently Released Music
As the early part of this new year 2024 rolls on, four must review artists bloom here in the ever-expanding DaveCromwellWrites universe. The act of writing is a rewarding (if solitary) pursuit that requires inspiration to make it work. The artists covered here have provided ample amounts of that, allowing sentences to spark and flow from a productive listening experience. With that, we dive into the February DCW reviews.
It was back in the weird year of 2020 when this site did a deep-dive focus on the music of Jody Porter. A full interview was conducted with Jody along with select cuts reviewed from his album out at that time. The artist is now back with his succinctly titled “EP II” along with the release of it’s first single “Light Up The Sky.” Anyone not-already familiar with Jody as solo artist will certainly know the band Fountains Of Wayne, of which he was an essential member. There have been other accomplishments as well, and links to all of that can be found below. For now, let’s dig into this latest song and find out how his work continues to evolve.
Ethereal ambiance introduces the track, like sonic waves floating in the breeze. Bass and snare drum kicks in along with a chiming descending guitar progression. A second, heavier guitar layers on as deeper bass joins in before it all comes to a brief pause. “Here you come – again. Wish I knew – where you began,” Jody sings with a sense of impending foresight. There’s a shadowing female voice harmonizing along with him as the story continues “there’s no one there – you light the way and light up the sky.” The overall feel is easy vibe groove, like the best of what a band like The Rolling Stones does. There’s a real “live” feel to it all, with guitar chords and drumming in complete sync with each other. That is to say, the complete opposite of the mechanized music we so often hear today.
“You never like to show – how you feel” continues the vocals, now with tasty guitar lines woven in-between. “When it all fades away – like you weren’t there” becomes a pivotal lyric bridged by a muscular guitar figure that returns to the title line chorus. “My way down – I’m on fire” completes that picture, leading into more intense guitar chord transitions. A brief pause once again for dramatic effect, then a gloriously killer guitar solo. Never forget that along with being a singer-songwriter, Jody is a celebrated lead guitarist. However, this is no “stunt guitar” play-a-million-notes-as-fast-as-you-can technician. Instead we get the feel and groove of a Keith Richards, combined with the slowhand skill of Eric Clapton. One more quieter ride through the chorus before launching into a powerful coda alternating between Jody’s restrained voice and the all-out belting from his female counterpart. Slashing, rumbling, pitch-bended guitars take everything out to it’s grand conclusion.
Last summer a previously unheard artist going by the name I’m The Villain contacted this site for a review of their latest release at that time. Finding merit in the track, it was featured both in the August 2023 review and again in the Annual End-Of-Year “Best Of” Feature. Now they’re back with a new single “Something Is Coming.” Once again recognizing the quality of this recording, it receives a detailed breakdown analysis below.
Against a backdrop of gentle strummed guitar and mechanized percussion, vocals begin right away, stating: “Reading the story, i know what you want me to Say, again.” It’s melancholy, yet somehow uplifting guitar chord on the word “say” (and repeated again on the next line word “today.”) The musical resolution comes with song title reference “But something Is coming, It comes with no warning again.” Second verse brings in bright keyboards, which adds a lushness and counter-melody to the proceedings. Similarly, the next chorus pass through has a longer held synth pad, filling out the sonic space all around. More lyrical clues add deeper understanding with the line “It's something you're waiting for, but you know you will hate it the same.”
At the songs midpoint a clever lyrical insight is revealed that references all the complexities of the various relationships we all have. Saying that there actually is “no pain or mistake” when we’re engaging in “love, wine and laughter with Friends that you hate.” Posing the universal question of how much we might actually “love” our frenemies. Truly one of the great puzzles of the modern age. Additional guitars have now entered the mix, providing glorious cascading arpeggio notes withing a more pronounced synth string backing. There’s more hope in the subsequent lyrics “but someone you love Wants to feel Just like you - and no one will laugh about the things that you lose.” The songs opening lines cycle through once more, this time with a strong extended guitar line running through alongside prominent deep bass guitar and aforementioned synth layers. The lush instrumentation drops back for vocal emphasis, leading the track to it’s gentle conclusion.
Find out more via their Socials - Instagram - Facebook - Soundcloud - Spotify
It’s always a pleasant discovery when musicians covered previously emerge in a reborn artistic endeavor. So it is with singer-songwriter-guitarist Jeff Moore, his cousin and drummer extraordinaire Jaye collaborating with new musicians on their freshly emerging band Glimmer. A decade ago, this site covered a number of their recorded works and live shows in a variety of locations, both big and small. What always shone through was a dedication to quality songwriting and the ability to deliver it in a live setting. The band has just release a new single called “Buried,” and the CromwellWrites sonic analysis gets to the heart of this track below.
Bursting right out of the box in full motion, distorted extended-note guitars deliver the melody while rumbling center-line bass guitar and hard-charging drums lock down the beat. “I need to go – away,” is how the smoother, more soothing vocals begin. “Delusional – to stay” continues the sentiment, against less abrasive chiming guitar chords. That rips into a savage chorus focused on the title line, submerged behind a wall of fuzz. It’s beautiful and vague – like the best of My Bloody Valentine or The Jesus And Mary Chain. Verse two pivots back to the softer elements previously established. “Unusual – permanently changed” is one audible feeling picked up on (and easily relatable to).
A softer-sung, pre-chorus single-word “buried” propels everything back into that explosive chorus. One which blends voices, guitars and sonic ambiance into a blissfully complete grunge-gaze anthem. Twice through for classic sing-along effect and then on to a bridge change that feature a rising guitar line and thunderous drumming. It all suddenly drops out to just a single guitar and the vocals stripped bare, being “buried – face down.” As the other instruments slowing work their way back into the mix, the anticipation of one more ride on that frenzied chorus does not disappoint.
The good folks at Feel It Records have tipped this site to a brand new release from ferocious rockers The Follies. Leading in to the roll-out of their debut album "Permanent Present Tense," the single track “Brick By Brick” is out now for a full listen. Having honed their sound playing in those dingy clubs we’ve all been to more times than memory can recall, a deep-dive listen and analysis commences below.
An aggressively wirey guitar riff kicks the track off, soon met by thumping bass drum and rattle-trap snare shots. As those two instruments throttle along, a buoyant bass guitar gives depth to the slashing chords powering everything along. “Doors swung open – found the time at last” commence the vocals, sung in traditional punk-rock cadence. “Can't read omens” the singer continues, “how’s it all gone by so fast?” A quick-chugging bridge kicks in, enhanced by hyper-drive guitar riffs perfectly placed in those split second places. “Brick by Brick – wall the whole thing shut” goes the chorus, driven along by sharp-turn chord changes with locked in bass and drum accents.
“Put in motion – blurring all the past,” continues the forceful, monotone vocals. Leading once again to that quick-turn bridge stating how “this ain’t how you live” and that Ramones/Sex Pistols-style driving chorus that reveals how the “bricks” force you to “stay in the same old rut.” A guitar solo breaks out at this point, displaying a more advanced levels of chops. There’s almost a rockabilly feel to the playing, as if Brian Setzer was dropped in to guest-solo over a mostly punk rock song. One more cycle through the “this ain’t how you live” bridge, the title-line chorus and a repeat of the songs opening verse.
Check out this brilliant track here:
Previous features, including full interview with the artist can be found on this site here and here.
* * * * *
Check out this wonderful song here:
Read the previous review of I'm The Villain on this site here.
* * * * *
Check out this brutally gorgeous track right here:
Find out how to acquire it (and it's b-side) here.
Numerous features on this site covering these artists previous band can be found Here, Here and Here.
* * * * *
Dig into this propulsive track here:
* * * * *
Monday, October 23, 2023
Enchanting Probe into Quality New Album and Single Releases
Trusted recording artists who've established themselves here in the DaveCromwellWrites universe over the last year or two serve as the main focus for this current Music Feature. As one releases an instant-classic full-length follow-up to their previous brilliant album, another dazzles with a single as a bridge between their long-players. All of the above receive the no-stone-unturned deep-dive review this site is known for.
It's been two years since the last DaveCromwellWrites track-by-track review feature on The Suncharms. Back then a thorough and detailed review was given on their magnificent “Distant Lights” album. Now they're back with a brand new full-length recording “Things Lost,” once again released on the fantastic Sunday Records label. The full Cromwell focus is now turned towards the essential sonic pleasures this release has to offer.
The first thing heard as the album begins is a light crackle, as if a vinyl LP is being played. Cymbals quickly enter and then the lush, hooky guitar melody of opening track “3.45” push everything into motion. Lead vocalist Marcus Palmer wastes no time planting his multi-layered, sandpaper vocals down in classic Jim and William JAMC style. A subtle xylophone (or marimba) counter melody emerges as “records start spinning” and “my heart is breaking.” There's a gorgeous, snaking guitar solo weaving it's way through the center of the track, up against that romantic chord progression. A harmonica enters the fray in the latter half as well, on this song that appears to be about a recurring dream. “It always end the same – at 3.45”
The not-nearly-as-dark-as the title might suggest follow-up track “Satanic Rites” has more in common with Merseybeat than any kind of “devil rock.” In fact the title references British horror film “The Satanic Rites of Dracula” which apparently in this long-distance-love-lost song is the “only thing left behind” from their initial relationship. The guitar chords and vocals on this chorus combines power, beauty and melancholy.
On to album title track “Things Lost” pairs classic jangle guitar with smooth, low-key Reid-style vocals for maximum effect. A rumination on times past, “taking me back to my younger self” evolves into “boxes of light (that) have disappeared.” Wonderful interplay between an undulating bass guitar, light touch drumming and dominant hook guitars all contribute to a perfect listening experience. Special mention for the keyboards added at the end. Fourth entry “Whitby” combines a romantic night in that North Yorkshire, England seaside town with more Dracula references. “Looking out at the abbey from Bram Stoker's room” and “no fresh blood on the scene” would suggest as much. Along with mentions of “an everlasting night” and “no reflection in the mirror” make this simultaneous “northern soul” homage an instant classic.
“Daylight is Here” pivots off a reverberated “Be My Baby” drum into and easy-groove guitar line. With verses delivered in that now familiar Marcus style, the songwriting brilliance of having a guitar melody running simultaneously in-tandem with vocals is always a delight. A song about staying “to hear the bands last song” and missing your train is a truly relatable commuter choice. A lovely twangy guitar solo provides an audio link between night before reverie and this early morning comedown. “Red Wine Kisses” powers along a 4 chord progression that melds bright chiming guitars with snaking bass progression and slap-crash drums. A lovely female vocal harmony pairs with Marcus on the wistful chorus that goes “Red wine kisses – I'm sure gonna miss you – even though it never began.” The appropriately placed guitar solo is once again, exquisite.
“Dark Sails” rides over a bold and buzzy anthemic lead-guitar figure with acoustic guitars strumming underneath. Quaint lyrics about getting “a postcard yesterday – strange in this digital age,” are delivered with classic 90's MaryChain/Chapterhouse aplomb. An angelic female voice returns to harmonically enhance the title-line chorus. Additionally, subtle keyboard elements appear as backing on subsequent verses and again at the songs conclusion. “Demonic Eyes” joins a plaintive guitar-melody hook with tambourine rattle percussion. An introspective look at oneself via train ride through nostalgia that includes actors circa 1964. “Do you explore?” is the essential question. It's answered earlier on, with “people so intimate – I'm eager to explore.”
A shimmering guitar approximates the audio equivalent of what song title “Torrential Rain” might sound like. Straightforward hard charging bass guitar and drums lock down a solid rock rhythm. Lyrically referencing an “overgrown cemetery,” “angels with moss faces” and “broken tombs,” leads to a search for “something to make me feel alive.” The final minute instrumental end-out is truly magnificent and soooo MaryChainy. Final cut “Last Tram” emerges out of distant clangs before laying down a bouncy, merseybeat groove. A rising counterpoint bassline adds an unanticipated additional melody to the progression. Further unexpected elements develops in the form of an intimate spoken word end-out. “I'm always chasing the girl with the Autumn coat,” he states - “and the last tram that never arrives.”
Back in February of this year, the DCW audio-scope did a thorough listen and breakdown analysis of talented and multi-skilled artist Julian Shah-Tayler's full length album “Elysium.” With both that album and this particular deep-dive review receiving critical raves from the most discerning listeners, the hope for a follow-up combination was anticipated. We have now arrived at that point with a new single from the artist having recently been released. A full investigation into this new song and video for “Fall Apart” follows below.
As the video opens with morphing imagery of stylized boy and girl animation (credited to Kaiber AI), synthetic keyboard tones reminiscent of the classic AHA track “Take On Me” poke out an instantly catchy melody. Briskly paced percussion also conjures up an 80's feel, complete double-clap accents on the turnarounds. “You can watch my life fall apart - in broken hearts - before your very eyes” Julian sings in his familiar Bowie-esque style. A song of heartbreak, there's no bitterness here as the singer instead shows how much they still care, focusing on his lost lover's “beautiful eyes.”
An enticing synth-bassline stands out in the open sonic spaces as a second series of lyrics evoke images of “skin on skin” and “violence suffered all in silence.” The emotional churn continues where an attempt to “show you paradise” deteriorates into “ split our needs in two” ultimately leading to a dramatic audio peak on the final word of “a reality I just can’t face.” Classical strings (via synths) accent the lyrics on subsequent passages, along with fluttering percussion rising up underneath it all. A cascading buzzing drive to conclusion that includes real or synthetic guitars brings everything home.
Connect with Julian Shah-Tayler/The Singularity via his Social Media here.
A Previous Feature on Julian and his music can be found on this site Here.
Listen to and find out how to acquire this dreamy recording here:
Check out what Sunday Records has to offer via their links - Official Site - Facebook - Instagram - TwitterX - YouTube
* * * * *
Check out this amazing track here:
* * * * *
Wednesday, August 23, 2023
Thought-Provoking Assessment on New Full Album and Single Releases
A long-time favorite has re-entered the DaveCromwellWrites world with a brand new full-length recording. Alongside that is a previously never-before heard artist offering up their unique take on a 90's era classic. Finally an often reviewed, most-respected label has remastered and reissued an earlier catalog EP. Every song on all of the above mentioned releases now receive the infamous DCW track-by-track review.
Press releases indicating that new music from long-admired Cloudland Canyon had been trickling in over the last few months. Having already been a devoted fan of the purposefully vague and mysterious output from this creative force since the mid-2000's, each new single release added to the excitement. Now the full-length album is here, and for this reviewer it brings back all the memories and reasons for that initial fascination. Led by former New York and now Memphis based electronic music master Kip Uhlhorn, the artist has tapped into the mutual admiration of Spaceman 3/Spectrum's Sonic Boom (Pete Kember) for production assistance. The result is a magnificent collection of otherworldly music tuned into those dreamlike states some of us experience with each night's sleep.
Opening track “Circuit City” bursts out in full motion with no buildup, careening along at a bustling pace. Familiar deeply reverberated male vocals commence over (or is that under) a repeating AI voice pattern that sounds like the word “my, my, my” in perpetuity. There's a distinct pop chord progression at play, complete with a chorus (even if the lyrics buried beyond recognition). While the title line can be made out occasionally, that's hardly the point. Many wonderful sonic elements emerged throughout this over 6 minute opus. The percussion is busy, with bongo-like textures fluttering up (and then away). A driving synth-bass takes a dominant position at the 4 minute mark, with the previously bubbling sonics fading back. That sets the stage for a “battle of robotic sounds” (of sorts) to follow.
Follow-up cut “Internet Dreams” wraps itself in a dance-floor ready krautrock beat that pulls elements from both German electronic pioneers Kraftwerk and Tangerine Dream. Vocals come delivered with primary force from a strong female voice. “Losing time – barely there. Lose myself – light as air” are her opening lines. The hook comes in the form of a “Oh, Oh-A” vocal resolution at the end of each line delivered. “If I felt your touch – I might break apart” she initially concludes. Reading the artists statement that this song deals with something “you've already lost” and “our tendency to romanticize the past,” play out with the lyrics “old dreams light up my screen.” The suggestion that these “in tattered dreams” may be more “destructive” that we initially realized are summed in the the final repeated vocal hook “since you went away.”
“Future Perfect (Bad Decision)” taps into the dreamlike state and relaxed ambient pastel groove that initially caught the attention of this reviewer on their previous releases. Even though the rhythm is clearly defined with strong percussion, there's something about those vague and heavily reverberated vocals that instantly satisfy. Perhaps it's the dream pop and “gazey” music of initial practitioners like The Jesus and Mary Chain (and later on The Raveonettes) that has forged a connection with this sound. Something about the shifting voices that are just out of reach (like in a dream) find an emotional touchstone. The melody is romantic and builds slowly, creating the sensation that some kind of angelic experience is just over the horizon.
“SEA TACT / Whispering Waves” opens with a pulsating drone that continues while aggressive drumming thunders up from underneath in the mix. A variety of sound patterns begin to appear, some melodic and others adding to the hustling chaos. The halfway point introduces an elongated background vocal counterpoint to this otherwise hyperspeed sensation. Those vocals evolve into a more semi-coherent chanting phrase that sounds like “you don't say it's alright.”
Reaching deeper tracks, “LV MCHNS” combines buzzing brass synths, mechanized rhythms and icy female vocals that taps into the realm inhabited by bands like Ladytron. “Spacebar Blues” comes off as a less calculated studio jam, based around Kip's guitar and voice working out this “blues” progression idea over a ticking drum beat. Additional sound layers added on give it a fuller off-kilter appeal. Final entry “Gimme Tension” returns with full force everything that makes Cloudland Canyon so engaging. Swirling synths – check; forward charging percussion – check; anthemic dreamgaze vocals layered and distorted beyond recognition – double-check! Like most everything on this entire album – it's music to fall in love with someone - in an alternate AI universe.
Every now and then you get a message from a contact on Social Media that you haven't really interacted with. Such is the case with an Italian musician who puts out recordings under the name I'm The Villain. His latest release is a personal tribute cover of the song “Nutshell” by Alice in Chains.
Starting the track off with an acoustic guitar and 808 drum machine, an introspective, homespun feeling is the initial vibe. Getting right to the vocals, you can hear passion within his lyrical delivery. He's got Layne Staley's vocal inflections down, as he retells about “misprinted lies,” “the path of time,” and how “I fight this battle all alone.” Soon a series of slinky, echoed telecaster guitar riffs enter the mix adding depth and texture overall. Reaching the second verse and the desolate lines “my gift of self is raped” adds on to the guitar layering creating a near metal-slide feel amid the echo. While the acoustic strums throughout, those wirey guitar figures weave around with determined anguish. Building to an emotional sonic peak, the percussion, guitars and synths come together in a cacophony of sound. A single high-pitched guitar figure continues to rise, leading out the the ultimate conclusion of the strumming acoustic.
A recent release from our friends over at Shoredive Records find label boss Nicolas Pierre Wardell (a/k/a Nico Beatastic) reissuing his 2015 BEATASTIC EP number 2 in newly remastered form. As the record was originally the second in a series of four, it's title goes by the numerically accurate 02 2002 02020 2 (Remastered). A careful listen inspires ideas, thoughts and words below.
Epic opening track “Butterflies” clocks in a nearly 10 minutes in length. As one might expect, there's a lot going on in that timeframe. Buzzy brass synths kick it all with quick rhythm, panning back and forth the sound field. Other synths begin to wade in, creating a more drone-like effect. As Kraftwerk-ian percussion clips and hisses, a distinct bass guitar pattern emerges creating movement underneath. Gazey guitars begin strumming busily and the thump and crack of drumlike percussion enters the fray. At the 3:20 mark a momentary halt and held ambience serves to set up oncoming vocals. Delivered in elongated diction, it's more like a mantra, before something approximating a chorus emerges. That's followed by some hard-edged (and ear pleasing) bass guitar riffing. Halfway in and the drums, drone and vocals run through that melodic chorus once more. At six minutes the track breaks down to a synth only segment that reprises the songs intro. Backward looping over top always gives this reviewer a Jimi Hendrix-in-the-studio sensation (since that's where it was first heard) or perhaps even Beatles “White Album” vibe. Vocals float in and out with “ohhh ohhhh ahhhh” placement showing keen awareness of what a studio recording can accomplish. Pushing forward into the final 2 minutes, all the previous sonic elements return in full force for the grand finale.
Following cut “The Ebb And Flow” comes on with high-pitched synth pulses, before solid drumming and vocals join in with a full progression. Fast strummed “gazer” chords are positioned over top of it all, along with harmonized melodic vocals. A shearing guitar and drums instrumental breakdown adds powerful juncture to the final vocal conclusion.
“Perfect Moment Perfect” emerges out of an ambient mist, before high-hat and snare percussion enter in. Vocals come on initially softer and introspective – as single line guitar figures weave around. As the synth pads rise and fall back, percussion stands out in front of the mix – as muted voices sing about taking a “moment” and “make it perfect.” More guitar lines step forward in a dominant way, as the song moves to it's conclusion.
After an ominous deep-buzzy synth intro, “Try Harder” quickly shifts gears as it bounces along bright strumming guitar and a solid drum pattern. Vocals come on in a softer, undistorted way, providing contrast to the bold rhythmic undercurrent. A Cure-like bass guitar and drum break provides thunderous reprieve before vocals return with the song's repeated title-line. “Stop Crossing Oceans” takes that bass guitar driven, matched with higher note six string guitar pairing and rolls it out in classic (once again) The Cure-style slow-build progression. Distinct forceful drumming joins in and the lyrical story commences. The dynamic chorus leans into gazey guitars (not really Robert Smith's thing) moving everything over to a more modern dreampop vibe. The song “ends” (then it doesn't) as a two minute coda floats everything away with textured guitar finesse.
The previously unreleased “Winter Bliss” emerges out of rising muted percussion before full-blown gazey guitar shear over top. The track then alternates between quiet verse passages of intimate nature (repeating the word “birthday”) and the shearing guitar enhanced chorus that goes “embrace me with a kiss – feeling the winter bliss.” Final cut “The Ebb And Flow (Country Version)” replaces the original's “fast strummed gazer chords” with down-home pedal-steel variations. Bass guitar and drums fall into an easy slow groove as the vocals are given an appropriately fresh reading as well. Country banjo pickin' can be heard within the mix, behind fiddles and those haunting pedal-steel strains.
There's a distinctive (once again) Jesus and Mary Chain feel on the slow, rambling two-chord appeal of “Recursive Excursions.” Choosing an undistorted guitar tone (like much of JAMC's 2nd studio album “Darklands”) sawing easily between chords, rattling tambourine and backing synth pads join in. Vocal delivery comes on soft and casually harmonized “we're not disappointed – just look where we've been.” Continuing in the aforementioned Reid brothers style, harsher electric guitar chords commence. From this point on, the actual Velvet Underground inspired source is more clearly revealed.
Another focus track “Two Point Zero” takes the quicker paced dance-floor electronica of earlier offerings and combines that with the preceding JAMC style vocals. A deep twang tone serves as a sonic balance point within shifting cacophony. With all that intentional aural chaos, a vocal hook “I don't want anyone but you” is purely evident. Plucking synths are pared with just enough percussion to generate the necessary forward motion. A timeless 80's through 90's feel abounds throughout, as if everything Depeche Mode, Howard Jones and other synth-pop pioneers of that ilk were put in a blender and poured out into this song.
Acquire this album at their label Medical Records HERE
Follow Cloudland Canyon on their Social Media
* * * * *
Check it out:
* * * * *
Listen to and find out the multiple ways to acquire this album here:
* * * * *
Subscribe to:
Posts (Atom)
