An in-depth Interview and hotly anticipated EP Review kick-off this month's DaveCromwellWrites Features. Experiencing their debut New York City arrival fueled a lively and insightful interaction. No less important are two full-length, track-by-track reviews from trusted labels and artists. With one returning and another first-time creator receiving detailed analysis on their latest recordings, the quest to make sense of it all carries on without limit.
When press releases about a new band called The Buckleys started showing up via email over the last two years, an appreciation for the music and image they were producing was instantly felt. The ear (and eye) catching track “Money” (the band's first worldwide release) was simply too good to ignore. Keeping an eye on their progress from that point on, the band is now back with a new EP “Take It As It Comes.” Hailing from the southeastern coastal town of Byron Bay, Australia, the hardworking sibling trio of Sarah, Lachlan and Molly Buckley embody a wholesome quality combined with a touch of glamour and timeless cultural appeal. Raised in a musical family, they were all taught instruments and began singing together at an early age. An enlightening introductory video “Meet The Buckleys” sheds more details on that.
Combining elements of Pop, Nashville Country-Western and Indie Rock, initial press began calling their style “Hippie Country.” With that designation referencing a new look on what came before, their sound is the epitome of modern creativity. They took an immeasurable step forward after signing to Chris Murphy's Petrol Records label in 2019. The former INXS manager encouraged them to emphasize creative freedom above everything else. Having traveled and recorded multiple times now in the Country Music hub of Nashville, the band has been allowed to further spread their creative wings under the tutelage of Grammy-winning producer/engineer Chad Carlson. With the band recently coming to New York, Nashville and LA for press stops and personal appearances, I was honored to catch up with them for a face-to-face interview.
Meeting for in-person interviews are often on-the-fly events, with locations switching inside a 24 hour window. New York City's University Place was the designated neighborhood, with final destination at Tortaria Mexican Restaurant. We were able to secure their street-side private enclosure, allowing for a completely-to-ourselves, no distraction environment.
Running first into Reybee PR rep James Boss and Lachlan Buckley outside the enclosure, Lachie (as he is sometimes called) remarked on how he liked my t-shirt, which had a skeleton skull with tophat on it. He asked if that was “skeleton Slash” but I let him know it was simply a more seasonal image. However, the guitar-centric member of the band confirmed he was very much a fan of the GNR guitarists playing. Moving inside the intimate space, both Sarah and Molly Buckley greeted us with warm smiles and overall friendly demeanor. The conversation was lively and casual, as we explored a variety of topics regarding the bands inception up through and including their current direction.
The band were featured at the end of October during the Byron Bay Film Festival where they premiered their new documentary, Take It As It Comes. Capturing their time recording current EP of the same name at East Iris Studios in Nashville, the docu is dedicated to their mentor, friend and guiding hand Chris Murphy (who sadly passed away in 2021). Some of the songs were also written in direct response to the devastating floods their home country has been facing. “Have you ever slowed down – stopped to take a beat – listened to the sound – of two hearts in harmony. Could we all take a step back – be thankful for what we have – lend a hand and stand together- through times of uncertainty” is how the opening lyrics go on the title track. The band explained how this sentiment refers to their hometown community coming together in a time of crisis.
Co-written by all 3 members along with rising Nashville star Jared Hampton of the band LANCO, Molly explained “we wrote this track at the very end, a day before we went in to record.” Noticing what sounds like a minor chord on the changeover word “uncertainty,” Lachlan confirms it and adds “it's actually a minor 7th.” Such is the subtle sophistication of their compositions. Asking who's voice is doing the “1, 2, 3 go” count-up bridge between gentle acoustic opening and the song's mostly upbeat remainder, Sarah states “that's Jared on there – we kept it from the original demo.”
More positivity is revealed with subsequent lyrics that go “I don't know where the winds blowing – I don't know where the road leads – maybe left is right and right is wrong – but maybe all we need – is to hold each other closer – is to love a little longer, and stop searching for a reason to divide and disagree.” That leads into the BIG Chorus “Take, Take Take A Look Around – the Clouds are gone, the Suns Come out. Gotta Take, Take,Take it as it comes – cause you might not get another one.”
[With vocal steps rising ] “oh, oh, oh, oh – as far as I know – nobody knows – we make it up as we go.”
[resolving the musical circle] “Gotta take it as it comes.”
Listen to this gorgeous song and view the accompanying video here:
Initial single and the EPs second track “Oops I Love You” is a bouncy pop-country gem that showcases all of the bands appealing qualities. Sarah's vocals deliver universally relatable lyrics with lines “Our love is overrated, promises break, I don't like complicated, the movies are fake yeah. Ain't it so lame how they all end the same damn way. Now I never believed.” Moving quickly to a vocal hook, Sarah and Molly harmonize “But You ooo ooo – taking me down – I don't know what to do – nowwwwww.” Leading into the most-catchy, earworm Chorus: ““Oops I love you, don't mean that I want to baby – Oops I kiss you, don't pretend you didn't want it – my mistakes are yours to take so please do .”
Second verse delves into the natural laws of attraction in this modern society, stating “So where the hell you from? And what were you thinking – walking in, messing up everything. If it's true, then why'd you do - I bet you do it on purpose. You think it's so cool. You're probably worth it.” The accompanying video features footage of them performing at East Iris Studios in Nashville, with Lachlan playing an angular, inverted guitar hook on the upper half of his double-neck guitar. The second pass through shows him playing the riff on the lower half. Asking him if the combined guitar is actually needed to cover different sounds, he confided “sure, the 12 and 6 string halves each serve their own purpose,” plus he added “it's also looks pretty cool.” A nod to Jimmy Page as visual influence in this regard was cheerfully acknowledged, though he cites Jimi Hendrix as his primary inspiration.
Watch and Listen to THIS wonderful track here:
Deeper tracks like “What Ya Gonna Do About It” opens with a forceful drumbeat, chugging bass-heavy low-end notes and higher register guitar accents (that have some kind of wiry effects on it). There's even an organ chord dropped in there for good measure. Sarah initially sings in a lower-pitched, intimate vocal reading, before changing over to a fuller, passionate voice. A rising step bridge to the chorus continues the feeling with lines ““Would you believe me if I told you that I loved you – would you try and stop me if I let you in – put your money where your mouth is – your mouth on my lips – yeah, I want your kiss.” On to it's captivating chorus: “So what'cha gonna do about it” [sung in harmony with background “oooh oooh oooh's”]. “It took you long enough so listen – I wondered when you figured it out.” Enhancing this chorus are three big descending progression guitar chords, prominently featured in the changeover to the next verse.
“Fool Me” is a country-western ballad driven along acoustic guitars and rim-clack percussion. “I wonder where you are and I know I shouldn't – everyone's asking what we're doing. I don't know what to say – how about you?” Sarah sings. “Everything moves it's own motion, watching you move has got me holding my breath – and you are too” she continues. The bridge rises with lines “This flame, it keeps burning – is burning – perfect (with the final word stretched out “perrrrrfeeeect”). Right into the smooth chorus: “Foooool me again – I want you to fool me again. Baby we are what we are – we both know what this is. I can't not let you in - So Foooool me, fool me again.” A song for those times when the fantasy and illusion of something more is good enough for now.
EP closer “Love Me Wrong” (which is currently topping the Australian Country Music charts) emphasizes an easy, breezy style, with high-end bended/reverberated guitar notes leading the way. “I've been waiting for the real thing,” Sarah emotes, “and it feels like this is it, yeah it could be” she continues. Clever twists on traditional themes, like the line “trying to fit a square into a round heart” create an endearing sentiment on loves possibilities. “You can't take it baby if you don't break it – I will give you all the space in my heart” becomes the singalong hook. With the ultimate request that you “DON'T love me wrong,” the songs title is a subtle deception. The charming addition of film clip audio adds one more appealing element to it all.
Other miscellaneous topics covered in the interview were things like current books being read. Molly confessed to presently reading Keith Richards outstanding memoir biography “Life.” That lead to lively chatter about it since I had devoured all 547 pages of it on it's initial release. Sarah mentioned to also being a fan of biographies, with “Julie Andrew, Blondie and Carole King” being the most recent coming to mind. Molly put forward that “Lachie is a surfer” as one might expect from growing up in the Bay community. “Yeah, I'm a surfer boy - a surf rat,” he chimed in. Sarah mentioned how they're “into fashion” which Molly quickly interjected “yes, we looooove fashion.” This was immediately apparent from one look at their very stylish, but not necessarily practical for walking around New York City shoes. The ladies acknowledged indulging in bit of a “Carrie Bradshaw, Sex In The City” appreciation in that regard.
It was a pleasure to interview this bright and talented band of budding superstars!
Keep up with The Buckleys on all the popular Social Media as well as Their Official Website.
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Back in May of this year, ambient dreamgaze collective Sueño con belugas were reviewed here on DCW for their introductory track “Normal” in anticipation of upcoming album “Memoria Cósmica.” With the release of that full eight song album, a chance to dig deeper into their sound is now available. While collaborative in both writing and recording, the prime motivator behind these “dreamers of whales” is Héctor Caolo Alvarez (known also as bassist and key member of Puerto Rican dreampop band Un.real).
The full album continues with that experimental concept first heard on “Normal,” which emphasizes collaboration between a number of like-minded musicians throughout Puerto Rico's independent music scene. Designing the recording to flow continuously like a single piece, each of the eight compositions come together for an uninterrupted listening experience. Opening track “52 Hz” floats along a gentle strumming of electric guitar, background drone and additional layers of brighter guitar notes.
A singular synthesizer textures takes over for it's conclusion, bridging into next cut “Agua Atómica.” At nearly seven minutes long, the albums lengthiest track evolves out of a mysterious shimmering undercurrent. A slow, chugging progression emerges after a minute in, with solid, easy-groove drumming and clarion bell guitars. Soft, sensuous female vocals commence, and the feel is like a deliberate journey desert terrains. The beat drops out momentarily, allowing the voices to elevate skyward. As the journey commences once more, full beat, background vocal layers and rough-edged guitar distortion all come together for a final push.
“Caracol” rises slowly out of natural field recordings that lead into a spoken-word segment. Deep humming tones are blended with the sound of ocean waves and loops of unknown origin, paying homage to Brian Eno's more experimental ambient pieces. That leads into previously reviewed cut “Normal,” which features bold electric guitars, throbbing bass and cymbal-wash enhanced drumming. Heavy guitar and bass interplay provide strong rock and roll hooks between female voiced Spanish language vocals. Belugas can be heard swimming in the tracks final minute. “Fantasma” changes course with it's opening strains of gentle acoustic guitar. A whispery, near childlike voice begins to sing, as a rising pitch ambience builds from underneath. A dream-like lullaby feel permeates throughout, from start to finish.
“Gris” comes on like a proper rock song, bass guitar driven with clearly defined guitar chord changes and precise drumming to match. A male-female vocal duet takes alternating verse lines, before coming together in richly textured vocal harmonies. A deep bass and drums instrumental midsection thunders along with higher-register guitar lines soaring over top. Those guitars are given an additional bass-and-drum-free segment, sounding like the kind of break The Smashing Pumpkins build into their songs. All the instruments return for the driving conclusion.
“Detrás del Volcán” changes the tempo considerably, with an introspective, soft-vocal presentation. Open note guitar chords provide initial musical accompaniment, before gazey, quick-strum washes and a steady drum beat fill-in midway through. The final (title) track “Memoria Cósmica” extends out those “interludes, field recordings and cosmic experiences” promised in the liner notes. That eventually morphs into fuller guitar washes with ticking time-clock percussion. Low-end notes seems to double-down further on what Beluga whales might sound like, if we could listen in to them out in the deep oceans of our planet.
Listen in and learn how to acquire this magical journey here:
Previous Features on this artist can be found Here and Here.
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Bookending Big Stir Records first major album release of 2022 (reviewed here way back in January) is their final release of the year, “Sounds In English” by Sweden’s Richard Öhrn. Best known as the guitarist and one of the songwriters for the indie pop band In Deed, this release serves as his solo debut. Taking the “solo” designation to it's utmost extreme, Richard wrote, arranged, recorded, played all the instruments and sang all the vocals. Coming together over a period of nearly a decade (while also working on other projects) out of a home studio in the Swedish countryside, a penchant for retro sounds spanning the '60s through '90s can be heard throughout the 12 tracks. The album title refers to what you hear when listening to songs – the sound of the words, rather than it's literal intended meaning. It also points towards the English and American bands that influenced many of the songs.
Opening track “Seal Your Move” dives right into an early 1960's pop feel, with chiming 12-string electric guitars leading the way. Sampled mellotron flutes inject a folky chamber pop quality as the track progresses. The title refers to a chess tactic where one seals their next move in an envelope, to be opened when resuming a paused game. The poetic parallel is urging someone to delay their actions until they can think it over one more time. A beautiful Simon and Garfunkel vocal-harmony inspired “5th Month Announcement” follows, with gentle finger-picked acoustic and deeper electric guitar accompaniment. The “announcement” comes as the result of discovering a pregnancy half-way through term. Shuffling percussion, bass and additional guitar licks contribute to an overall flowing river feel.
An agile toms and snare drum fill introduces the speedy power-pop gem “Time's Not Running Out,” an homage to the American Merseybeat-influenced style of the '90's. Referencing the aftermath of a breakup, “It never ends the way it started, the past is for the broken hearted” provides clever lyrical insight. Some sweet, ripping guitar solos commence midway through, enhancing the sweeping, forward driving experience. Piano and organ figure prominently on the 1-2-3 waltz time signature of “The Coolest Manners.” There's fascinating bits of Beatles-y nuggets (circa “White Album”) woven inside it's structure, and a tasty rough and tumble guitar solo throughout the final minute. “Someone To Forgive You” accentuates that early 60's Merseybeat vibe, with 12-string acoustic and organ prominent in the mix. A wordy tale of regrets and dealing with the fallout from decisions made.
An inventive hand-clap loop and gentle piano melody sets “Love and Friendship” in motion. As the positive story of reconnection unfolds, a string section plays in the space where a guitar solo might ordinarily occupy. While The Byrds “Bells of Rhymney” is evoked on the intro of “Take This Bottle,” it's their mentor Bob Dylan (and a touch of E. Costello too) serving as touchstone for the bulk of this track. The 12-string chime is apparent along with old-school acoustic piano. The chorus is perfect for a pub singalong, while vocal diction on lines like “now you're just a little bit too close” channels Dylan-esque phrasing. A circular snare-roll-to-around-the-toms drum pattern and distant reverberated clack sets up “Every Shade.” Minimal accompaniment under the vocals allows for lyrical focus on verses, and emphasis on the lush background harmony chorus. Measured slide-guitar forges an emotive element within the songs structure.
Alternating rising and descending piano chords serve as the rhythmic progression for “I Chose You.” Lyrically contending with end of a friendship (and not really knowing why), the songs title and associated words make clear who it was that initiated this relationship. There's a brass band backing to the New Orleans-meets-Country vibe of “Could Have Loved You More.” A particularly favorite line (and one that hits close to home) offers: “I don't dream – I only think while sleeping.”
Flamenco-style guitar and reverberated piano also factor into the overall experience. The piano driven “If I Could Read Your Mind” has an initial torch song feel, along with elements of Jeff Lynne/ELO emotive vocal/chord changes. Edgy guitars snake their way into the mix, adding an epic quality to the overall production. Final track “Spanish Moon” combines keyboard plucked strings with acoustic guitar and progressively ascending military-roll percussion. A fuller string sound ultimately emerges accompanied by the wistful fade-out line “someday you'll know.”
August seems to always come with a slight twinge of melancholy that we've now entered the third and final real month of summer. Oh, sure there can be some balmy beach days in early September, but for the most part this time of year is when you want to make good on summer-fun plans. Along with this pursuit of one more perfect beach day comes a new batch of music releases from various corners of the globe. While hometown New York City counts for half of what's reviewed here, there are still two others hailing from continents ranging over the most extreme northern and southern locales.
There is a distinctive quality to the rock and roll that rises out of New York City. From 50's era “doo wop” through the late 70's punk rock and beyond, the feel and vibe of building front stoops, electric guitars, subway cars and crowded bars all permeate it's sound. Blues-rockers New York Junk evoke all of that and more on their latest record “Dreaming,” which is out now on Tarbeach Records. Recorded at Golden HIVE Studio in Prague, Czech Republic at the end of 2019, it was mixed and mastered in February 2020.
Primary vocalist, guitarist and songwriter Joe Sztabnik's history traces back to those mid-1970's punk rock days, emphasizing it's poetic and literary side (sometimes overlooked when referencing “punk.”) Bassist, backing vocalist and songwriter Cynthia Ross shares a similar historical timeline as a founding member of The 'B” Girls. That band toured with The Clash, The Ramones, The Dead Boys and Blondie, and Cynthia also provided back-up vocals on Stiv Bators' “Disconnected” and Blondie’s “Auto American.” Similarly, drummer Gary Barnett's roots trace back to legendary NYC clubs like CBGB's, playing significant shows there in the mid-70's.
Lead off track “Gutter Angels” developed through a collaboration between Joe and poetPuma Perl, who's lyrical writing serves as the inspiration for this gritty tome. Chugging along like a mid-70's east village classic, Joe's raspy vocals spit out the lyrics in Lou Reed/Jim Carroll hybrid fashion. “Angels on the subway train - Angels in the rain. Wings of fury in the street - Halos melting in the heat. Gutter Angels up in heaven - Looking down upon us all. Bless the homeless, Bless the dope fiends, Bless the sidewalks where they fall.”
The Jim Carroll “people who died” vibe intensifies as people who are no longer with us (angels up in heaven) get name-checked with this verse: “Danny’s nickname was “Guerrilla, Linda’s was 'The Stick,'
Tito climbed through windows, Minerva made him pay. Lenny popped the car trunks - All on Christmas Day.” It's a powerful opening track leaving no doubt about what this record is all about.
“She Don't Care” comes on like a long lost Johnny Thunders and the Heartbreakers rocker. Based around a tandem guitar and bass riff melody line, Joe sings out lyrics combining serious and somewhat humorous appeal. “Hey little girl – what'cha tryin' to do? With your dirty red hair. You little 2-bit whooore. Hey little girl – oh you're drivin' me wild. Cause you talk too much – with your 2-bit smile.” Chugging guitar chords lead into the head-bopping chorus “Everybody calls me up to say – you're insane. Everybody tries to tell me- you're deranged. Tell me tell me what do you want when you – feel the pain. The way you scream and shout so loud you know you – drive me insane.” Quick Thunder-esque licks snake between each section, punctuating the cool.
It's delta bayou 12 bar blues for the record's choice cut “Walk My Dog.” Well, “delta bayou” that's been run through an early 1960's Rolling Stones filter. “If you wanna, you can walk my dog – come on baby – put a leash on me. But if you want my love – girl you better run!” There's also a touch of The Cramps swagger-n-raunch with it's slithering bass-guitar driven rhythm, and lines like “if you wanna you can ride in my car, and if you wanna you can be my star.” 60's Fender guitar tone and steady shimmering ride cymbal emphasize the blues licks in-between verses.
“Don't Cry For Me” keeps that 60's Stones (by way of Chuck Berry) vibe going with double-time drive, self-descriptive lyrics and conversational vocal style. “Workin' real hard in that midday sun. I'm never slackin' off just to get my job done,” Joe sings with early Jagger feel. While “the boss man is sitting there, sippin his iced tea,” the workers know “you better hurry up if you want to leave at 3.” Over a bold rising bassline the chorus hook “don't cry for me baby” (with filligree guitar licks in-between) punches out on “until I'm gone.” The spirit of Berry's “You Can't Catch Me” and “Memphis, Tennessee” live on inside these grooves.
Cynthia's audible “2-3-4” count-in and immediate heavy pounding tom-toms out front of a dirty low-down propulsive guitar rhythm introduces the Ave B side opening track “Scared.” Serving up graphic lyrics with impassioned vocals, Joe sings: “This is the way, which way the wind blows – learn something nobody else knows. I (ah I ah I) want your mind. When you hear the wind blow, yeah you know which way to go – when the guns are pointed at you. Blood all over my clothes, blood all over the floor. I'm fucked up – I don't care – I'm scared. Why wouldn't I worry? Of what I see in my tv set. Hey watch out, it's jumpin' out – it's trying to catch me.” Those levels of paranoia are understandable with everything that's going on (especially these days). However, the only way out of this state of mind is choosing to (as Joe sings) “let my heart and soul be free.”
Bright, angular guitar licks pierce the air, leading in to a sweet shuffle groove on deeper track “Passion.” Rolling out this lyrical tale emphasizing relationship challenges (both at home and on the road), the vocals exhibit a world-weary sincerity. “Well I've got the passion, but I ain't got the bucks, to fill my heart with another shot of your love. Hallways filled with your makeup on the walls. You got all the junk, so I guess I better crawl.” With all that going on (including “dirty hotel rooms”and “posters on the floor”) what holds it all together is the turn-around line “cause your love keeps me on the run.”
Title track “Dreaming” closes out the EP in grand style with a ballad penned by Joe back in 2008 (as detailed inside the record sleeve). Relying on basic guitar chords and a laid-back rhythm section, primary emphasis is placed on personal lyrics and raw vocals. “I'm dreaming of you – why you went away. The roads all turned blue – since you left me here. I'm all alone.” There's a folk-song quality in how the progression holds steady for a time while each new line is delivered. Ultimately there is a shift downward with an unanticipated chord change on the words “oh baby.” With the final words delivered (“as my world fades away”) a series of euphonious toned guitar lines begin, adding further musical emotion to the candid lyrics that precede it.
Carrion is an Industrial Rock band from the northern forest lands of Norway, coming together in 2014. Founded and fronted by the bands only constant member Adrian Kjøsnes (working under the moniker Hide Beliya`al) with additional contributions from musicians Dave Diamond and Sam Dusk. A new single has now been released titled "The Blood Ov Saints," which is the first new material since last years full-length album “Iconoclasm.”
Created on modular synths (no digital numerical presets here) one is immediately drawn into foreboding low register tones that introduce “The Blood Ov Saints.” Industrial music has always derived an element of it's defining qualities by recreating the sensation of being inside a factory surrounded by humming machinery. Even more mainstream rock artists like Pink Floyd (It's factory segment on the “Animals” album) or Iggy Pop and David Bowie's collaboration on “The Idiot” (the track “Mass Production” in particular) served to capture the hypnotic drone of mechanized assembly. Those impressions are here as well, along with other details like a slow chain-rattle percussion alternating with a deeper tone thump. It all serves to set up a dramatic lyrical reading that the artist describes as a “dark, alternative path to salvation.” To that end, there's thoughtful poetry in lines that state: “So cast the first stone, and watch their heavens fall - Into the maelstrom - Hear the trumpets call.” As the track progresses, audio textures of what sounds like high-pressure air driven manufacturing devices add to this dystopian imagery. More forceful tom-tom drumming emerges underneath significant moments with the ultimate lyrical declaration: “We'll wash away our pain – with the blood of the saints.”
Also included with the release is an acoustic version of “The Light,”which first appeared on 2019's “Iconoclasm” album. Here the track benefits from the spacial qualities open air strummed guitar chords provide. With a disquieting synth pulse running underneath, more poetic imagery emerges via the lyrics “holding on to the umbilical noose, I'll make my way back up.” The vocals are delivered in rough whispery style that evokes the work of a similarly like-minded artist like Mortiis. It all leads to the pivotal vocal refrain “give me your hand – I'll give you my heart – on my knees to feel your light.” An unexpected extended-note guitar solo (of sorts) arrives in the 3rd minute (of this 4 minute rendition) echoing the melody line and bringing the track to it's conclusion.
After 10 years with the influential NYC noise-rockers A Place To Bury Strangers, bassist Dion Lunadon announced he would be leaving to pursue a solo career. Truth be told, Dion had already begun his solo recordings while still with that group, releasing singles in 2016 and 2017, before putting out an 11-track full length record in '17 (fully reviewed on DaveCromwellWrites here). Now in these changing times and current social crisis issues, Dion is back with a new track “When Will I Hold You Again.” Released as a duet with vocalist Kate Clover, the track is dedicated to everyone whose been separated from loved ones as a result of this current worldwide pandemic.
With Dion playing all the stringed instruments (guitar and bass) along with drummer @griffin_kisner, the track thunders open on a crisp percussion figure, throbbing bass line and melodic guitar riffs. Duet vocalist Kate Clover and Dion share a sense of urgency on opening lines “TV television New York shut down. I’ll hold you closer again. All alone I’m in the dark.” A palpable level of intensity can be felt in the aggressive guitar riffs slashing in and around each vocal passage. Kate's vocals move up in the mix on the Covid influenced lines “Freezing cold I feel the sweat. Filled with fear as I disinfect. I can’t see the enemy I can’t see it come.” As the track careens forward with increasing ferocity, each vocalist repeats the title line in alternating call-and-response style. It all culminates with a final 30 seconds throttle like The Stooges “Fun House” era mayhem.
The track is now available at Dion's bandcamp where you can name your price.
All donations will be split evenly between City Harvest (who help feed New Yorkers in need of food) and CampaignZERO. Dion will match all donations up to $1,000.
Previous DaveCromwellWrites Features on Dion can be found HERE and HERE.
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Returning to the DaveCromwellWrites universe are Sydney Australia's gazey, dreampop and psych-rock collective Trillion. Their previous six song EP “When I Wake” received an extensive track-by-track review this past November here (which immediately garnered “Best Of” placement in the following month's year-end accolades). The band is now back with their recently released current 5 track EP “Move To You,” and a debut video for the single “Soft.” Recording their individual parts separately as one might suspect during these harrowing times, the end result shows a determined creativity in spite of those challenges.
Opening track (and single) “Soft” (along with it's accompanying video) immediately explodes off it's quick drum cue-in. No longer content to envelope all with 3 guitar layers (as was their previous incarnation) we now have four (4!) guitarists doing their very best to fill in every inch of the sonic spectrum. It certainly makes for a powerful buzzing wall of down-stroke strummed mayhem, while somehow allowing the throbbing bass guitar and whip-crack drumming to penetrate and be heard. With images of sparklers overlaid on top, close-ups of each instrument is afforded their feature moment throughout the video. Male and female vocals are blended together as a melodic force withing this Spector-sonic wall of sound. Hard pummeling percussion emerges as intensity levels rise, with voices, and guitars inserting melodies inside the overall structure. The video is a total trip that occasionally breaks up into digital cube blocks looking like previous decades media (VHS tape?) and other elements, like floating amoebae. Kudos to the bassist for wearing an adorable cat-themed t-shirt stating that “The End is Meow.”
The EP's second track “Out of Your Mind” initially emerges at a more measured pace, with guitar shimmer rising up as if out of the mist. Soon enough a dominant bass-line and solid drum pattern begins, accompanied by wah-wah guitar textures. A series of intricate guitar melodies weave in and around each other before a solo female vocal begins. Those voices come at the track from different angles, blending in seamlessly with the instruments melodic forays. There's a hypnotic element to the rhythms and things get quiet in places, allowing for dramatic focus via those layered voices. As the track progresses it blows up into a full-on psych-rock tableau,before falling back into that hypnotic groove.
Third cut “Don't Be Sorry” develops out of a tom-tom driven drum pattern and distant swirling guitar embellishments. As the full progression establishes itself with sheering guitar chords and buoyant bass-line over top, male vocals appear in a contrasting effects-free manner. The 4 guitar formation allows for plenty of background wash while one plays a distinctive hooky melody line, paired against the bass guitars low-end harmony. Vocals return with previously established clean delivery, while another guitar melody snakes its way over that. The title line ultimately materializes with female voice enhancement and billowy guitars.
Rising up out of swelling atmospherics and faded in drum pattern, “It's All I Need” serves as the first of the final two longest tracks [6:01 each] on the EP. Returning to that buzzing-bee-wall-of-sound, the multiplied tandem guitars would surely evoke a nod of approval from Rhys Chatham. With an ever-steady bass guitar once again holding its structural center, the drums are free to explore a variety of accents off of the primary beat. Male vocals with ethereal female harmony evoke that 90's-era MBV/JAMC/Slowdive style. Sonorous guitar riffs abound in-between vocalizing, impressing how an “orchestra” of guitars can produce an appealingly controlled noise. The final minute injects an intensifying step-up before pulling back to a dreamy spacious conclusion.
Final entry “When it Comes to You” appears to begin mid-progression, as if fading the mix in as the recording rolled. There is a decidedly different element to the guitar sound, as slightly off-kilter “warbling” tones appear. Shearing, pitch-bended guitar chords soon make their way up front while the ever-present driving bass and percussion lock it all down. A distinctive guitar melody surfaces over top of combined “shear,” “warble” and rhythm-section. More paired boy-girl “Halstead/Goswell” vocals arrive, blending in seamlessly with (and sometimes submerging under) the roiling instrumentation. Momentary quieter plateau's serve to set up another round of explosive turbulence. It's all adds up to a brilliant composition of dreamy-gaze bliss, and a fitting closer for this excellent EP.
Trillion's tunes and more can be found using the link tree below:
First thing up on Thursday the 14th was the I Am The Programmer Showcase at The Vortex
The venue was a few minutes away from the main drag, and provided a bit of a break from the more chaotic atmosphere of the 6th street area.
Just inside the outdoor deck area were quaint furnishings not usually found in most rock music clubs.
A mirror provides reflective photo opportunities.
The bar area - soon to be bustling - we had a tasty cheese and cracker platter there.
I Am The Programmer
is the ongoing musical vision of Ryan L. Abato.
Ryan organized and presented this Showcase with a relaxed professionalism that kept everything running smoothly.
The first band to play were the wonderful Dead Leaf Echo
Ana, LG, James and Christo delivered crackling set of their best songs
Other than LG having to protect himself from microphone shocks by way of a towel wrapped around it, the band played a high energy set that showcased their increasingly appealing sound.
Enjoying the show were the members of other bands scheduled to play later on - including the lovely dreampop duo Lilies From Mars
Dead Leaf Echo's sound has become more streamlined since my early days of hearing them. The songs are full of hooks and the frequent dual tandem vocals of Ana and LG emphasize a more defined melodic quality.
In addition to great guitar playing and exquisite vocals, Ana's tambourine work on one song provides an essential rhythmic quality.
Recent addition drummer James plays with the sensitivity and skill of a seasoned professional.
Ana and LG do "guitar battle"
Christo, as always, exhibits a mastery over his instrument that complements every song he plays on.
Following DLE over on the other stage were Washington, DC's The Mittenfields
Led by Dave Mann, the group played through a crisp set of songs from their latest release.
Back inside the bar area, ornate photo collages could be found throughout the premises.
Another band performing were Australia's Alpine.
They presented a high energy show, have great songs and appeared to be very much enjoying themselves
Really nice people who were a lot of fun to talk to as well.
Also performing was the synth pop duo Silver Swans
They had a bit of an "EDM" sound to them, with strong female vocals that exhibited well-crafted melodies.
Taking a break after their set, we headed into the main part of town to recharge body and devices at the Whole Foods Green Zone
Free water and power charges were quite popular with this active festival crowd.
Then it was deeper into the thick of things in center city, and the preparation for one of the biggest, most significant nights of the week.
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.
