As the summer month of August wind down and slouch towards Labor Day, DaveCromwellWrites heats up with reviews of exciting new releases. Long-time friends return with a brand new album, while more recently reviewed artists receive completed and updated focus. Full albums are analyzed with track-by-track priority, while adapted video releases serve to further heighten their associated tracks.
Fellow Sunshine State expats and long time friends of this site The Stargazer Lilies have a brand new album they’ve just unleashed on the globe. Having covered their prior release here exactly 3 years ago (as well as numerous other features for the better part of the last decade) its always a cause for investigation when this bands new music arrives. “Love Pedals” now adds to their strong catalog of heavy ambient gazey psych-rock. A deep-dive review here will now uncover the treasures within.
Opening track “Ambient Light” comes complete with a dark purple-hued psychedelic video treatment. With the opening strains of John Cep’s distorted guitar bouncing around in a rubbery pattern, vocalist Kim Field delivers angelic lines as if floating above. The title line comes up quickly with the phrasing “we’ll drone in harmony, in the ambient light,” where they also “psych out.” Its associated video depicts the principal members arriving home and engaging in tripped-out activities. As the grunge-heavy groove trudges forward, the individuals can be witnessed dancing around in animal masks, pouring drinks and playing favorite albums. Noteworthy classics spotted include The Velvet Underground and JAMC’s seminal “PsychoCandy.” As John chokes out an acid-rock solo over that buoyant bass rhythm, cat familiars appear in appropriate places throughout the video, along with those “pedals” that are “loved.” The final ambient light act is to “do some bedroom pop,” and we’ll just have to use our imaginations as to what that actually refers to.
Follow-up track “Love Radio Show” (which also comes with a “radio edit” at the albums end) takes a romantic pop motown feel and immerses it in MBV “Loveless” elements. A nostalgic ode to radio signals both cosmic and real. “So tune in the magic hour, to the signal up above” is how the chorus begins. “Beaming from the broadcast tower, sending frequencies of love” completes that passage. There is even references to the albums (and record labels) overall thematic imagery via lines “transmitting with flower power.” Careful production avoids constant guitar camouflage as verse 2 opens space for bass and drums and lyrics “My world spins only for you.” The guitars make great use of phase shifting to approximate radio waves static.
Third entry “Perfect World” also benefits from an associated video that juxtaposes current colorful AI trend interiors with self-shot black and white performance images. The audio opens with a Spector-esque singular bass drum beat and similarly minimal bass guitar. As the chord progression continues its slow liftoff, you are soon plunged into a David Lynchian experience in both image and sound. Kim's goth-meets-breakfast-at-tiffany’s styling swirls as she delivers thematic lines where “poverty would be no more, as would disease and making war.” For now this “perfect world” only exists in our hopes and dreams, but perhaps someday it will come true.
Check out this Utopian dream here:
Digging deeper, “By Your Side” continues the stark, moody ambiance previously established with added twists. What sounds like muted French Horns initiate a subtle melody before Kim’s voice presents lyrics with measured pace. It’s a story of redemption where one goes from being “all alone,” “companionless walks” and “partnerless talks” to the “only one who needs to be found.” The drum beat is forceful, providing foundation for Kim’s vocal delivery. As bass guitar continues it’s steady pace, John’s guitars wax and wane, with occasional dive-bomb strikes. Midway things get weirder, with a total ambient foray of propulsive guitar textures, along with Kim’s angelic voice returning for a final chorus.
“Shining Yellow” delves into that easy mid-tempo groove and feel, giving off fellow-associates Ringo Deathstarr vibes. Big shuffle percussion, downward drive progression and soft sensual vocals complete an uplifting sentiment. “Looks like the skies are changing, the sun shining yellow. Now that it’s looking lovely, we’re both feeling mellow.” A modern suburban Alice In Wonderland meet Nuclear Armageddon inspired video comes along with this song, encouraging you to find your own “Shining Yellow” utopia:
Sixth cut “Heaven Knows” finds John Cep covering all the instruments and vocals on a dreamy, gazey confessional. It’s soulful progression and out-of-phase guitars underscore lyrics about a “bizarre life I’ve lead.” Creating his own high-register angelic vocals, the title line takes that often used expression and attaches the question “why it’s the path that I chose.” “Trans Med” builds off a slinky bass line, growly distorted guitars and Kim’s sugary vocal delivery. John provides a variety of squalling guitar textures, blurring the line between “Transcendental” meditation and “medication.”
The albums final track (before LRS radio edit) “Hold Tight” dips into the Beatles “White Album” era for sonic comparison. Open note arpeggio chords and its associated progression along with Kim’s whispered vocals conjure up the mysterious feel of a song like “Dear Prudence.” Guitar leads are pitch shifted and distorted in places, clean and unadorned in others. The final end-out is a series of vocal “ahhhhs” and wirey guitar lines over steady bass and thumping drums. As previously mentioned there is a “radio edit” of “Love Radio Show” included at the end, which shaves off about a minute and boosts the lead vocals a bit.
Previous Features on The Stargazer Lilies can be found on this site HERE - HERE - HERE and HERE.
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Earlier this year DaveCromwellWrites revisited California visionary synth artist Matthew Nowhere’s work, reviewing his collaborative song “Transforming.” Prior to that was an in-depth breakdown of the track and video for “Love Is Only What We Are.” Both cuts are included on the recently released debut full-length album “Crystal Heights.” With this complete collection that includes 11 other tracks fully available to acquire and digest, DCW now dives in to these recordings for a thorough analysis.
The album opens with “Transmission (Intro)” which offers up a one minute plus ambient texture piece that combines pulsing synths with robotic voices and celestial elements. That leads into the previously reviewed standout track “Love Is Only What We Are.” Next up is the chime-bell enhanced, synth-pad and bass note driven “Echoes Still Remain.” This instrumentation serves primarily to support a lyrical story whose chorus states “Immortalize - A lonely whisper. I hear it now - where echoes still remain.” A touch of electric guitar on the outro provides further depth to it all.
An Official Video comes with this song that adds a nuanced visual element:
The albums title track “Crystal Heights” comes on with a triumphant feel, capturing what those of us (who were there) loved about 80’s alternative synth-pop. There’s bits of Duran Duran (the percolating synths) Flock Of Seagulls and Depeche Mode all rolled into one original composition. A lovely electric piano coda enhances the final 15 seconds. Another just over a minute instrumental follows with the arpeggio synth progression and percussive
“Aquatic Envelopment (Interlude).” From there its on to the also previously reviewed cut “Transforming,” featuring vocals and co-write from Lunar Twin’s Bryce Boudreau. Shortly after that review was published, an official video for the song emerged, and is well worth checking out here.
Moody bass and deep percussion provide foundation for the synth melody enhanced, singular mantra voiced “Have You Ever Known.” Alternately, guitar features prominently on the nostalgic romance of “Ruby Shards.” Tapping into the alternative rock vibe of twangy guitar and synth combos, the chorus hits home with the lines “I found the pieces of your heart - ruby shards of perfect art - and I can only stand in wonder.” It’s a perfect homage to an era that gave us songs like Modern English’s “I Melt With You.”
Check out this beautiful sand and sea video that accompanies this song:
Another minute and change instrumental serves as a bridge link between fully formed tracks with “Stellar Enfoldment (Interlude).” Despite it’s relatively short length, a complete melody emerges by the end. This leads into the piano augmented, lyrically optimistic “Everything’s True.” With pacing and tone moving closer to a David Bowie/Peter Murphy precept, the chorus declares “Lovers and mystics sigh -
raising our hands up to the sky - everything's true.” Thirty seconds of meticulously crafted synth and guitar figures just past the 3 minute mark elevate the track further. “Silver Glass” comes on more gentle, with tubular bell keyboard textures providing audio appeal. There’s a subtle Caribbean Island feel to its underlying rhythm, as Matthew sings “O midnight sky, burning with electric light - but no one seems to see.” Additionally, the hook line “seven years have passed - pieces of silvered glass – rejoin - bringing us together at last” add focus to the songs title and overall intent.
Reaching the penultimate track, “Persist3nce” features Lunar Twin band and The Antonio Family Singers. With lyrics and lead vocals from Bryce Boudreau, additional synths are provided by Chris Murphy. Those keyboard swells compliment bass and percussive pulses, as Bryce presents his lyrical themes with familiar soft-sandpaper delivery. Extolling the virtue to “give into art” in “isolation,” the additional background singers enhance lines “into the night . . . stars . . . sun” and “sky.” A lively drum pattern comes forward under later lines where “the midnight sun” becomes “midnight lust – after the rain.” Final entry “Crystalline Emergence (Outro)” closes out the album with a buoyant keyboard melody over bubbling arpeggio notes and steady whip crack percussion.
Previous DCW features on Matthew Nowhere can be found here and here.
An in depth Feature on Lunar Twin can be found on this site here.
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At the beginning of this year DCW reviewed the introspective, slide guitar infused Sueño con Belugas track "Mil Recuerdos" (A Thousand Memories). Audio only format at that time, a brand new video has dropped for this dreamy song with an amusing take on two people and they day they are having. One is experiencing frustration at all the challenges and pitfalls being thrown their way. The other appears to be sailing along in a happy state of mind, enjoying their good fortune.
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.”
As the opening third of this year moves into its next phase wrapped in a springtime hue, recent singles become the inspiration for a quality listen and subsequent review analysis. Along with this site’s frequent penchant for dreamgaze audio coupled with ethereal vocals, intriguing videos that add insight to the song’s story will receive descriptive notice as well. With three new artists garnering initial attention for their inspiring work here, an old favorite returns with a welcome new release.
New discoveries continue to find their way onto the DaveCromwellWrites soundscape. An artists personal motivation has a lot to do with that, as is the case of currently active Glasswing Butterfly. Primarily the solo project of Tunisian musician Hsin Trabelsi, who is an accomplished bassist with other musical projects, recently released a single and video for his song “Faded Dreamscape.” A focused review of both elements follow below.
Coming out of the gate in full flight motion, the track quickly powers along a rising chord progression, throbbing bass and sharp cymbal/snare drum percussive beats. Chiming guitar melody lines enter the mix, adding musical hooks to the proceedings. Quick moving images of trees passing by (from cameras shot in rear view mirrors), city street images overlaid along with an intriguing gray cat all make appearances. As skateboarders and shoreline images come into view, vocals commence with classic dreamgaze stylings. “I wish I stayed young-to feel the highs under the stars-days rushed away,” presented in an elongated cadence. The mood is reflective and nostalgic, in search of recapturing a feeling you once experienced. Campers, flotation tubes, game screens, flowers and starry skies all make an appearance against the backdrop of this shearing, hyper-drive audio force.
A dual direction pair of guitar melodies add both a rising and descending hook while images of escalators, camera film and moving clouds continue this surreal sonic exposure. As the track continues to buzz along its pleasurable impulses, vocals imploring “take me again to what felt good” runs parallel with views of mysterious locals and the ever present camera. A bright light in the sky and it’s reflection in the water below suggests almost religious or spiritual elements in this story. While a lone figure spinning inside a spiral staircase cuts to pathways walked in other (equally) exotic locales. The music never falters, continuing it’s relentless forward motion of low rumble bass, soothing vocals and clanging percussion until the final roll to conclusion.
Check out this amazing track and video here:
Follow Glasswing Butterfly on Social Mediahere and here.
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Another new band making their presence felt here at DCW are the Britpop-inspired grungegazers Square Wave. Their recently released single “Too Far” has the trio emphasizing their skills in an impressive way. Self-proclaimed influences of Nirvana’s “Nevermind,” Primal Scream’s “Screamadelica” and MBV’s “Loveless” can never steer you wrong. Other name-checked 90’s-through-present-times icons like The Smashing Pumpkins and Ride complete the need to take a serious listen and attempt to unravel it’s creative elements.
Fuzzy bass guitar kicks off the proceedings. marking out a deep wobble groove till a snare drum shot hits as both vocals and buzz guitar commence simultaneously. Singing out the title line in an elongated cadence (“tooooo toooooo faaaarrr”) the three instruments lock together with precision, laying out a rumbling rise and fall progression. The lyrics are sharp and biting against churning rhythms “I see the freedom in your eyes, as you cross the divide – are you an angel in disguise, or just a trick” while a snaking singular guitar line runs parallel alongside.
Intuitive use of brief, less-intense plateau instrumental breaks keep everything from devolving into one single level of sound. The sharp rhythms and snaking buzz-guitar lines continue as vocals state “there’s the bug inside my brain, and he’s driving me insane – wish I could tell him to stop – but I don’t speak bug!” (Clever). All throughout are powerful instrumental elements occurring simultaneously, like quick percussive bursts on cymbals, those aforementioned slither-buzz guitar lines and the ever present lockdown bass. Two minutes in to this densely layers, very compact 2:52 in length track the chorus hook is revisited once more with dynamic punch, ultimately leading out to its explosive conclusion.
Another impressive new-to-this-site musical collective are the Filipino dream pop duo based in Dubai called WYWY. Having recently released their latest album "Whispers of Existence," the band states how it came about through six years of hard work and dedication. As one might expect over that length of time, it reflects a variety of experiences had along the way. One element of their impeccable sound is the employment of Slowdive’s Simon Scott for the album’s mastering process. A detailed breakdown on one particular creative audio track and associated video follows below.
Recently released video for their track “Disconnected” pairs minimalist audio dream-like ambiance with stark black and white imagery. Deep thump percussion is matched by sleigh-bell chimes amid a slow-moving David Lynchian atmosphere. Cars moving along city streets slowly reveal a bridge where the vocalist begins her tale. “It’s not easy” she begins in an ethereal, reverberated style that recalls Julie Cruise and her contributions to those essential Twin Peaks moments. There’s also an extended quality to her vocals, where end of lines sung have an emotional vibrato effect. Those pleasing vocal stylings were prominent with legendary singers like Harriet Wheeler of The Sundays and bands like LoveSpiralsDownwards on the indie Project label.
A mysterious video technique portrays her counterpart figure with an unrecognizable, distorted face. As if a constant moving “scratch out” of their facial features follow them throughout. They ultimately move on to where she is driving a car and her obscured passenger sits in the back. Her voice is quite beautiful in the most soothing and enchanting way. Midway through she sings “I am broken” leading to the title line “I feel disconnected,” as the pair moves on to a beach “I’m disconnected” she sings in the most angelic way. However, one must consider if the “disconnected” individual is actually the one with all that static covering their face. Moments later a break in the music gives way to the actual sound of computer modem having difficulty – well – connecting. Her voice now joins in with this electronic chaos – before the facially obscured person embraces her. The musical end out is lush and glorious, bringing to mind another beautifully retro band Cults.
Check out this wonderful video and song right here:
Speaking of the aforementioned band Cults, a somewhat younger version of the writer composing this review feature (13 years, in fact) made sure to catch their live show at the 2011 SXSW Festival in Austin Texas. Their breakthrough music at that time captured the perfect balance of timeless retro with technological proficiency. Developing an instant affinity for their sound and overall look (capably fronted by adorable vocalist Madeline Follin) a determined effort to catch as many of their shows at that time was accomplished. In addition to the above-mentioned SXSW show, additional appearances a few weeks later were caught at The Mercury Lounge in NYC, three months later at The House of Vans in Brooklyn, as well as a memorable casual face-to-face chat with Madeline at the bar in-between other artists appearances (she wasn’t even performing – just hanging out) at this show. Fast forward to the present, and the exciting news that Cults are back with a brand new single “Crybaby.” DaveCromwellWrites now digs down into this track in an attempt to detail all the wonders it has to offer.
With instruments commencing in full motion, cathedral chime bells, rhythmic bongo-toned percussion and deep twang guitar lay out a rising progression. Madeline begins her vocals with the lines “bad company – is every day the same routine?” Sung now with a more mature quality to her voice, the diction is still clear and alluring. Fellow band cohort Brian Oblivion underscores each vocal line with mysterious instrumental emphasis. Heavy phased-out drums thunder the next moments, with a forceful ascending guitar stroke behind the vocal line “I’m slowly losing sympathy.” The chorus hits perfectly one minute in on an off-kilter double-clang guitar chord and FX’d drum roll. “Crybaby” she sings out in full now as shaker tambourine highlights the moment. Her voice is harmonized on the title word with a trailing of synthesized extension.
Photo by Shervin Lainez
The second verse and chorus follow a similar pattern with subtle instrumental features like rat-a-tat snare drum touches. Forward rhythmic motion comes to a brief slowdown on the bridge section that implores one to “dry your eyes, baby – turn off the scream.” A buzzing low-tones synth pulses hard underneath as glocken-chimes trade off with single-note guitar tones. The final run through of this mesmerizing chorus features wobbly synth undercurrents, an emphatic shadow vocal reply after each primary “Crybaby” line and appealing snare drum rolls. Essential subtext vocal line “so caught up in your misery” points to the bands insight on how the song is a call out to both sides of codependency.
Check out this intoxicating song here:
The band has announced a U.S. Headline Summer Tour, play Lollapalooza in August and will support Vampire Weekend this Fall.
Previous Features and Videos on this band, exclusive to this site follow below.
Cults - Bumper - live @ Mercury Lounge, March 31, 2011
A duet between Cults vocalists Madeline Follin and Brian Oblivion - which they announce from stage as "a song you can dance to" (and Madeline dances through every one) - the back-and-forth vocals are appealing on many levels.
Cults - Most Wanted - live @ House of Vans Party - June 30, 2011
The loveliness of Cults is apparent for all to see. I am quite the fan of their retro (yet modern) sound.
Despite being sandwiched between wild bands that encourage complete audience mayhem - Cults won the crowd over with their sweet, soulful sound. Here is "Most Wanted"
Cults - You Know What I Mean - live @ Mercury Lounge, March 31, 2011
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Cults - Go Outside - live @ Mercury Lounge, March 31, 2011
Cults performed one of their most recognized songs - "Go Outside" live at The Mercury Lounge. Mixing Motown, 60's girl group and flat-out Diana Ross with The Supremes stylings (all embedded in guitar-and-glockenspiel enhanced layers and tasteful usage of samples) - it's retro with a modern feel.
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Here is that same song at Day Party @ Emo's - SXSW - Austin, Texas, March 18, 2011. Start the third day of SXSW with a must see show (cause that album is so incredible). Cults did not disappoint.
A quick look at the sights and sounds and a minute clip of “Go Outside” (because we all did).
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Cults - Rave On - live @ House of Vans - June 30, 2011
Compelling new releases kick-off the Fall/AutumnDaveCromwellWrites music review feature. Long-time indie-legend dreampop recording artists share space here with newer experimental ambient creators, and post-gaze, power-pop psych-rockers. Deep dives are the order of the day, with an attentive ear for sonic details still the primary focus. Audio, photos and video continue to provide the inspiration for this careful analysis.
We American's who haven't been afforded the luxury of traveling abroad and traversing the globe occasionally are unsure of exactly where certain country's are. Take Estonia for example – where exactly is that? Trusty internet searches are the charm these days and one can see it is one of those former Soviet Union locales that borders the Baltic Sea and Gulf of Finland – now considered Northern Europe. The reason for this particular curiosity is a relatively new release from Estonian dream pop band Pia Fraus. Having heard about them for years, it was eye-opening to discover they've been at it (off and on) for 26 years! Their latest album 'Evening Colours' is out now on digital, with a vinyl release set for September 28th. The Cromwell focus on these artists work is long overdue.
Opening cut “French Exit” comes on with an instantly romantic feel (which will extend through all the songs). The guitar riff hook is of the descend-then-rise, start-stop variety, with drums providing a counter motion throughout. An advance promo promise of “shimmering layered male-female vocals” makes an immediate entrance, bringing to mind what Sune and Sharin did so well with The Raveonettes. Chorus hits and the dreamgaze feel goes into overdrive, with full ambient washes and melodic guitar figures.
Follow-up track “Fog on the Hills” is quicker, breezier – giving off a more gentle, wistful vibe. That is until the chorus hits and then it's full-on gazer-romance, tugging at that music-to-fall-in-love-with-someone feeling. Frequent use of minor chords shows depth and sophistication in the songwriting. The drumming is once again, fantastic – as are the synths and voices. Album title track “Evening Colours” continue the sugar-coated voices and add subtle pitch-bended guitars to compliment that Raveonettes-style twang. Soaring strings lift everything onto a cloud of angels. There are higher vocal notes hit here, and the bass guitar makes its presence felt in positive groove-oriented ways.
“Sunny Afternoon” combines slashing guitars, synth highs and sophisticated phrasing that incorporates major, minor, 7ths (4ths?) voicings in their easy breezy sentiment. For those who can imagine a joyous day of wind in your hair and warmth on your face. “Who's the Envelope-Man?” relies heavily on orchestral synth washes, as those familiar sheering tandem female vocals push everything forward. Angular pauses within the song structure creates space for cleaner guitar lines. Drums, bass and piano skillful lock to each distinct rhythmic change.
“Regret Everything” comes on quicker in pace, adding flute-y synths for instrumental expansion. Driving bass and drums propel the tandem female voices along against a bed of synth ambience. “Confidential Information” adds a level of pitch-bended “gaze” guitar to the now anticipated SwingleSingers style vocals and rapid-fire drums. Chunky, chiming guitar chords and a bit of organ emerges into the mix as well. The curiously titled “Another Artichoke” introduces a subtle new dimension by adding occasional horn sounds to the mix. Clearly discernable lyrics state “please hold my hand at least for one more year – I'm so tired and the end is near – you know you're better than nobody else . . . don't let me go that's all I ask of you.”
“Cloud Winterland” veers back into the gazey warble guitar world, with placid open spaces intermittently staged for dramatic emphasis. “We Melt” picks the pace up once again, with unexpected and refreshing sharp turns and quick breaks. The central chorus and lush and bathed in a dream-gazey wall of euphoria. “Lost in Nights” closes out the album with it's most romantic and soulful groove. Subtle pitch-bended guitars share space with more traditional strings. Those alluring female vocals strike the perfect balance between nostalgia and longing.
Much respect to guitarist Rein Fuks for writing and arranging 99% of this masterpiece.
Back in May of last year, DCW had the opportunity to dig deep into advance track “Normal” by Héctor Caolo Alvarez run project Sueño Con Belugas (I dream of belugas – whales). That ambient tour-de-force is now included along with five other cuts on the recently released EP “Memoria Cósmica.” A cast of familiar names like María Lopez (Malow) on vocals and synths, Gardy Pérez on Guitars, Loops / Delays are joined an equally impressive group of various other contributors. A full review of all six tracks follow below.
EP opener “52Hz / Agua Atómica” emerges quietly, floating on gentle guitar strumming with overlying noodling effects. A singular synth introduces the next movement about two and a half minutes in. A minute late a full drum beat kicks in, along with distant vocals over top of a ominous, crawling progression. Heavier guitars begin slashing their way momentarily into the mix, before the percussion drops out and female vocals become more prominent. The groove kicks in once more, with a throbbing bass leading the way over drum crack and layered male-female vocal tandems. Soaring vocals drive this mysterious over nine minute epic to it's conclusion.
Follow up track “Caracol” combines nature field recordings with Spanish language spoken word. Distant ambience is blended with the sounds of birds tweetering along with a rising level of otherworldly synthesis. A bass pulse emerges gently, before fading out with this relatively brief reverie. As mentioned above, third entry “Normal” receives a full detailed review HERE.
Fourth cut “Fantasma” starts quietly, with soft acoustic guitar that is soon met by additional laid back half-spoken, half-sung Spanish vocals. Ambience begin to build up underneath with loops and delays creating a magical dream world. “Gris” returns to more traditional rock stylings, with guitar, bass and drums pumping out the rhythms and progression for maximum effect. The chorus hits quickly, with elevated lead female vocals driving it all along. Male voices take their turn briefly on a line or two, before the blended voices mesh with soaring guitars on lofty passages. Extended instrumental segments emphasize the melody progression, driven by that ever present bass guitar, drums and chiming guitar hooks.
Epic final entry (the EP's longest at 9:45 in length) “Detrás del Volcán / Memoria Cósmica” builds up from a quiet hum, as female vocals slowly begin to shed light on the proceedings. Drums enter quietly, along with additional layers of vocals and shimmering guitars. The midway, separation point moves bass guitar out front in the mix, as everything transitions to an ambient world where beluga whales swim free through the cosmos. A final third movement emerges with pulsing percussion, shearing guitar textures and a clarinet move forward for the final fade out.
Listen to this dreamy recording here:
Follow the band and label releasing this record here:
Finding their way into the DCW mailbox is the Seattle based guitar-centric band Guest Directors. They've just released their first full-length album “Interference Patterns” that features nine songs drawing from the bands entire lifespan. Building up to the complete album drop, the band has given some of the tracks video treatments. Most of the audio was recorded in a beautiful old church in Anacortes, WA. Released by Topsy Records in conjunction with Snappy Little Numbers Quality Audio Recordings. Available on Bandcamp, a few choice indie stores, and streaming everywhere.
The more recent (second) video put out for deeper track “Nico” kicks off with straightforward four-on-the-floor drum thump that's soon met by chiming guitars. Chords shift quickly while a melodic guitar line rings along over top. Female vocals emerge with a doubling effect, that gives it all a timeless vibe of 60's era rock. As the video shows appealing patterns of vintage psychedelic floating projections, subtle human images are briefly embedded in as well. A gorgeous, instantly hooky chorus is then revealed, with full-band enhancement and lovely multi-tracked vocals. As the second verse moves forward, a noticeable change in the drum pattern shifts to more two-hand, tandem strokes on the toms. The bass guitar also becomes prominent, with the open spaces allowed for that instruments melodic movements. A burst of guitar soloing emerges at the mid-point, reinforcing that 60's psychedelic-rock vibe. One more softer verse cycle through with busier drums and bass, before a final glorious chorus and sparkler enhanced end-out.
Check out this great track and imagery here:
The album's opening cut “From This Distance” was first to be given a video treatment, kicking the whole record off with appropriate style. As the drummer counts everyone in, visions of lofty mountain ranges are superimposed against colorized images of the band playing their respective instruments. It's a slithery-gaze groove that employs expectedly sheering guitars and an out-front rubbery bass pattern. Opening male lead vocals are soon met with female counterpart harmonies. It's a harder, heavier version of the “gaze” genre, with down-pounding strokes via those essential rock instruments – guitars, bass and drums.
Groove into this badass video and song here:
Follow up track “Perfect Picture” quickens the pace with a more frenetic approach, and the lyrical hook line “trapped inside your head.” Stimulating forceful sonic breaks keep the listener engaged, avoiding any level of predictability. “Raise a Glass” ambles along with an easy groove vibe. Female vocals stand out front in this near-ballad offering. The minor key driven hook “but you fall apart, and the cold winds blow” and again “when the sun shines through your window” suggests any “glass raising” isn't necessarily celebratory. A heavy guitar mid-section adds crunch to the overall proceedings.
“Blackout Dream Blues” lumbers along with doom-laden underpinnings as impassioned female vocals lay out a tale where you “drown, drown, drown.” Tasty guitar figures are never far from any of this bands songs, and this one is no exception. “Skinless” emerges out of twisted guitar phrasing, one entering from the right, followed by the second on the left side of the mix. Heavy bass guitar and drums drive a thundering rhythm down the middle. Those female voices deliver the lyrics in higher register, with an elevated level of passion.
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.
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