Profound Reasoning on Extraordinary New, Upcoming and Recently Released Music

Genre defining artists from formative years still putting out high-quality new music is always a cause for celebration. While some musicians may be content to rest on their laurels and ride the wave of their greatest hits, the ones breaking new ground are to be applauded. More than just that (the applause) a close listen and detailed analysis of their latest efforts are a must. This site recognizes these already established “rock stars” for their drive and ambition in creating brand new works that rival the best of anything else they’ve ever done.

Peter Murphy is one of those artists who continue to defy the odds of remaining relevant throughout multiple decades. Having witnessed his early days fronting breakthrough gothic-rock band Bauhaus (barely of age, catching them in 1979 at a downtown NYC club), his development throughout the following years remained a priority. MTV’s heavy rotation of US No. 1 single “Cuts You Up” from his 3rd solo album “Deep” (1989) lead to catching a brilliant live show at the notorious Manhattan night club “The Limelight.” More recently attended was Peter’s live show at the East Village venue Le Poisson Rouge during his Tribute To David Bowie Residency (meticulously detailed here). With the recent release of select singles over the last few months, Peter is now ready to unleash his first new studio album in over a decade “Silver Shade” on May 9.  Produced by the impeccable Youth (Killing Joke bassist Martin Glover), who did a wonderful job on this comeback Jesus and Mary Chain album here, we now dive into Peter Murphy’s latest.

The album opens with one of three previously released singles, the driving bass and drums propelled “Swoon.” Relying on groove and mood over literal storytelling, ornamental lines like “I talked to the water loom” serve end-of-line rhymes along with curious thought. Well placed ‘Wa-Chung’ guitar chord bursts amplify the pre-chorus bridge and lyric “Preachers up to taste the fruit.” However it is the single word song-title chorus that emerges as the most creative studio sonics. Using his voice as an instrument, extended vocalizing under each repeated single title-line generates an additional hypnotic effect. More upfront and intimate lyrics “I am whoever who” followed by “What else can I do?” sheds possible insight on Peter’s sense of self and continued motivation to create.

Listen to this mesmerizing track here:

Follow-up “Hot Roy” churns along rhythmic electronic pulses that mimic sweaty dance floor grooves while maintaining a sense of foreboding. Lyrically telling of an emerging leader to a group – “our boys game was on – soon would be killer sounds.” While this descriptive imagery may be personally direct, it’s universal enough to apply to multiple topics. It’s essential hook states “we’ll march from the hollow – from glitter to gold” and “we catch silver bullets – we’re saving our hero!” 

 Static electronic pulses, tom-tom drums, angular synth notes and crunchy guitars lead in next cut “Sherpa.” Most know that single word to mean someone who guides people on mountain-climbing expeditions. Since Peter is a known world traveler and has been a resident of Istanbul, Turkey for some time now, it’s not surprising for him to delve into this type of subject matter. “Workers looking for the day, looking as they say – looking for the mountain” are the opening lyrics. The rhythms are driving and straightforward, with Peter’s dramatic vocals exquisitely placed.

A slithering, near menacing groove provides the undercurrent for album title track “Silver Shade.” Also mirroring the name Peter calls his own personal record label, created last year to release rare live performances and previously unreleased material. “You got me throwing glitter in the lake” the singer implores. “Time to take a chance to jump and float” he continues, ultimately declaring “you’ve got me in the glitter river.”

Another advance single release is the bass-synth pulse and percussion driven “The Artroom Wonder.” Autobiographically revealed as inspired by “mysterious” and “cool intelligentsia” at school, “pretenders apart” give way to the “super smart.” Peter’s vocals are nuanced on each recited line, morphing from intimate delivery to full throat howl. With guest musician Justin Chancellor of Tool contributing to it’s deep bass undercurrent, well-placed guitar figures between individual vocal lines adds melody to mystery. Synthesized Orchestral movements add a grand scale in the middle, while references to “The server the Prophet- peace be upon him” suggests something more spiritual. Ultimately the song tile itself is briefly broken out as “the art of wonder” summing up this journey of self-expression.

Listen in right here:

A middle eastern rhythm runs through the electronic throbbing “Meaning Of My Life.”  Triumphant crunchy guitars, icy synths and advanced-level drumming contribute significantly, as Peter passionately sings “I want to tell you!”  The contrast between controlled verses and emphatic chorus creates a satisfying tension and release.  Elongated voice-as-instrument segments coupled with otherworldly ambiance lifts everything further. 

There’s a sense of foreboding and menace on the albums seventh entry “Xavier New Boy.”  Continuing with less pop oriented song structures and extended lengths (with the last three all well over 5 minutes long) subtle piano notes add new sonic elements. Along with it’s bold, orchestrated chorus, protracted movements away from the main structure allow for experimentation, before returning to the dominant progression.

“Cochita Is Lame” moves away from the electronic based instrumentation for what sounds like a 1970’s era rock band.  The synths used appear more as topical enhancements, again mimicking those classic late 70’s recordings.  With it’s structure and vocal delivery, it’s as if Peter brought back Bowie’s Spiders From Mars bandmates for one more go at it.    Lyrically touching on themes similar to Mr. B’s “Jean Genie,” a creative use of the studio pits voice against crunchy electric guitar for maximum effect.

Now fully into the albums deep tracks, “Soothsayer” shares a similar musical approach with the previous track.  Coming on as a traditional guitar, bass and drums hard rocker, Peter’s vocals play along with a more shout-y, raspy style. Hooky background “whoo whooo” voices underscore Murphy’s warning to “never turn your back on” the oracle of the songs title.

Classical flamenco acoustic guitar opens the albums penultimate track “Time Waits.”  Middle eastern strings and rhythmic percussive claps lay a bed for Peter to present his vocals over. “You’ve heard that time waits for no man” he sings with deep, elongated vocals.  The combination of those hypnotic strings blended with elevating vocals and inspired drumming make for a truly gratifying listening experience.

Reaching this studio records final (and longest) song, all attempts at concise pop song are cast aside for the grandiose “Sailmakers Charm.”  Moving from gentle piano driven chords to full dramatic presentation, there are parallels to Mr. Bowie’s later period work.  Such as the adventurous song design and delivery of “Bring Me The Disco King,” Bowie’s “Reality” album closer.   “So you get to the core,” Peter sings – “to show that you know – your eyes are blizzard – no white rain, no snow – as you tear apart – the sailmakers charm.” It’s poetic – mysterious – both understood and misunderstood as well, and fitting closure to this ambitious album.

Included on the album as a bonus track is the surprise duet with Boy George, “Let The Flowers Grow” which was released as a single at the end of last year.  Written in collaboration with Boy George and Producer Youth, Peter imbues the song with a spiritual nature in both lyrics and soaring orchestration. “I’ve been changing” they both sing in harmonious tandem – “and mama don’t know. Let her tears fall, and make the flowers grow. I am changing, now daddy can see - his reflection, in the mirror of me.”

Listen to this majestic composition here:

With those three previous singles mentioned out now, the full album will be released on May 9 via  Metropolis Records. Order the album here.

Connect with Peter via his Social Media:   Official Info Website   -   Facebook   -   Instagram   -   TwitterX

A previous Feature covering this artist can be found on this site here.

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Every once in a while a new album slips under the DCW radar due to a multitude of distractions. Such is the case with this sites already beloved band Night Crickets, who released their latest long player at the end of last year. Having previously written about them both here and here, there really is no good excuse for having missed their latest “How It Ends (?).”  That omission is now being rectified presently, with a review of this latest recording.  It’s well past time to see what this collective of David J (Bauhaus, Love & Rockets), Vincent DeLorenzo (Violent Femmes) and Darwin Meiners (mult-instrumentalist, mixmaster, manager) have been up to.

Opening cut “Red Mist White Knuckles” emerges out of an easy groove drums and bass guitar progression. Funky wah-wah keyboards and guitars layer on, followed by David J’s unmistakable vocals. Delivered in a spoken word, poetic recital manner, “your daddy was an angry man – you’re angry too” he begins. Leading up to the first song title reference “when they read the final will – a vial full of rest mist, and the urge to kill.” A bright tambourine rattles over 70’s soul keyboards as the story continues “you practice TM – it dials back the road rage.” The titles remainder comes in view, stating that “you tend to still white knuckle it.” Buzzy electric guitar power chords slash down as the thematic mantra is repeated.

Angular patterned tubular bells and subtle matched percussion introduce “The Story of War.” Spoken word sentiments spell out the grisly truth, with “rape of the innocents – plunder of riches – scorching the earth – dying in ditches.” It continues, “the oligarchs grow fat, and spit on the corpses. They fill their coffers with stolen gold, indifferent to fallen horses.” A well placed, mournful violin plays, as if at a funeral procession. Pointing out the atrocities going on in present times, “it’s richer to rich, and poorer to poor – the children are fodder – that’s the story of war.” An unexpected field recording coda is placed at the tracks end, describing one use for “crickets.”

Lively, vibrant drumming and descending guitar chord progression kicks off the quicker paced “Should Be Heaven.”  With vocals sung out in full (moving away from the previous spoken-word approach) bass guitar joins in behind lyrics “should be heaven, but it’s only about the win.”  Each subsequent title line is answered by changing follow ups: “but it’s only where to begin,” “but it’s all down to if and when,” “if we could only let it be.” A soaring orchestral chorus elevates the musical landscape, while voices overlay and cascade together.

The gentle acoustic guitar, violin and mandolin driven “Don’t Be Afraid” comes accompanied by a meditative video produced and directed by Ramzi Abed. You may recall his previous work with Night Crickets on their video for “A Free Society” (fully reviewed here).  Depicting an initially relaxed atmosphere of rural life (cat strolling by, morning coffee in flannel shirt) prismatic images shift to military men as the songs dreamlike refrain “don’t be afraid” floats with surreal quality. With featured guest vocals by Jason Lytle of the band Grandaddy, the videos protagonist is seen staring at apocalyptic fireballs. Spoken word soon follows, and the heart of the matter states “the world seems like a sewer – an insane crazy place – with innocents names on bullets – and the executioners face, is that of a child.” Off-kilter synths provide a midpoint break, alongside more visuals of the man going about his normal routine in his home. Up against that come additional apprehensive words. “When the viruses are thriving – and hospitals are full – and the nurses burn from overtime . . . when the bells of your mortality – are ringing on a hill – the reaper and the weeper – two sides of the kill. Well all politics are divisive – never the twain shall meet - but the forests, they are burning – and all sides feel the heat – that’s cause for pause.” 

Check out this cinematic video and thought-providing track here

Vibrant echo-y drums, electric piano and “Ohhhh” backing vocals set “Where’s The One?” in motion. “Love is just a word they say” the lyrics begin, “some will hear it everyday. I could hear it over again – maybe once or twice, I’d listen then.” Along with horns appearing under the chorus for added audio support, a tempo change occurs and bluesy organ riffing accentuates the essential “big, bright baby blue moon” lyrical hook.

Low buzzing bass tones, ticking time percussion, shaking tambourine and descending bass guitar notes roll out the mysterious “Like An Avalanche.” Verse lyrics are delivered in a quick linear cadence with a hint of knowing sneer. The title line chorus alters vocal tone and background ambiance, using guitars and drums for emphasis. The downward bass progression returns in a more dominant manner, accompanied by those now signature booming, sonorous drums. Creative spaces are carved out for inserting odd synth textures. The verse/chorus cycle repeats adding psychedelic layers on its final pass through.

Mystical atmospherics and throbbing bass guitar lay framework for the spoken word “I Am Dead.” “I have levitated – floating through the forest at night. In the distance is the witch house – fading faces watching through the glass” are the primary poetic lines.  An additional voice runs in tandem with these words, repeating them but doing so in a slower, more elongated cadence.  Distant deep boom drums and reverse looped guitars further support what seems like a “Grimm’s Fairy Tale,” where the “house is approached as a full moon rises in the sky.” Those contrasting dual vocals (where the title line eventually emerges on that slower track) hearkens back to early Velvet Underground experimentation.

Mournful strings are used on the gentle dual voiced “What Is This Love?”  Plucked harp notes and minimal percussion contribute to this meditation. “I smiled at you and you smiled at me, what is this love to you and me” is the universal question.

Opening with feedback and pitch bendy guitars, “Sunflowers And Starlight” tone poems lyrics “it’s dark outside – whether cold or bright, there’s pain out there.”  Soon morphing in a more traditional song structure, vocals are now sung “still snow on the ground and now it’s raining.”  A quiet pause happens at mid-point, before resuming with sparkling tambourine and the vocal sentiment “turn off the noise of the world for a while.”

Based around the phrase “The World I See Is Not The World I Want,” this co-write with actor Willem Dafoe emerges via measured tribal drums.  Steady keyboard pads and fluctuating synths provide additional musical backing for alternating line “what in the world is the way of the world.”  Midway the overall atmosphere seems to be floating away on clouds, before returning with defined drum beat and violins.

Find out how to get this album at their label here.

Follow Night Crickets on their Social Media   -   Facebook   -   Instagram

Previous DCW Features on this artist can be found here and here.

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It was the latter half of last year when this site became aware of recording artist Matthew Nowhere. Tipped off by Lunar Twin songwriter and vocalist Bryce Boudreau (whose own masterful work has been reviewed here numerous times) a detailed review was given to Matthew’s track “Love Is Only What We Are.”  That cut was an initial taste of Matthew’s soon to be released debut full-length “Crystal Heights.”  Another album cut has now been dropped in the form of a collaboration with lyricist/vocalist Bryce Boudreau with the mesmerizing “Transforming.”  A deep listen and the thoughts that produces follows below.

Accompanied by a soothing YouTube visualizer, modulating synth patterns in that bright buzzy horn sound kick everything off.  Percussion joins in alongside that recognizable Bryce vocal that name checks both the song *and* album title within the first 9 words.   “Late at night” Bryce sings – “dreams alive – in crystal heights – transformed before our eyes.”  The first instrumental break features synths echoing similar nostalgic 80’s sounds The Human League used on their hit “(Keep Feeling) Fascination.”  The chorus continues to paint a picture of “palm trees bend the breeze” and “a child’s minds alive transformed before our eyes.”  Everything pulls back leaving a standalone undulating synth pattern, soon joined by buzzing bass-synth running a counter figure, before percussion and thematic melody returns.

Bryce vocals continues “been awhile . . . the years go by – you know you can’t go back – or sooner learn to fly” he muses.  A subtle shift in pace emerges here, with bubbling electronic backing and dominant guitar note strokes ushering in the next round of vocals.  Bryce continues to croon “I’m not hypnotized….growing old to die… half awake the wind and waves late at night in crystal heights.”  One more angular, cascading electronic note break leads to the lyrical resolution “to touch the heart … to touch the sky … we only seek … transformation … the highest peak … transformation … the highest peak.”

Listen in to this trance-inducing song here:

The “Crystal Heights” album - now available for pre-order - will be released digitally and on Limited Edition transparent blue vinyl on May 23.

Follow Matthew Nowhere on Social Media – Linktree – Facebook – Instagram – Bandcamp 

Follow Lunar Twin on their Social Media – Facebook – Instagram – X/Twitter – Bandcamp

A previous DCW feature on Matthew Nowhere can be found here.

An in depth Feature on Lunar Twin can be found on this site here.

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Inviting Reviews of Audio and Video Releases + Upcoming Live Shows

As the first month of 2023 continues to unfold, new video creations on already beloved songs dominates this January DaveCromwellWrites entry.  Audio innovations of expansive ambient explorations also receive deep listen thoughts and analysis.  Finally the commencing of noteworthy live-show tours are noted here as well.  It all adds up to an exciting entry into this continuous flow audio and video innovations.

This month kicks off in style with a brand new Official Video Release from one of this sites favorites – Turbo Goth. Having written a number of reviews on their releases over the last four years, news of their latest “high gloss” video comes as a welcome treat. Creating a stunning visual accompaniment for their song “Ready For Something New” shows the New York City living, native Philippines duo of Sarah Gaugler and Paolo Peralta expanding upon their hypnotic audio and visual appeal.

With quick cut visual images commencing along the song's opening distant muffled voices, we see jewelry on a dresser, the duo in a red rowboat and then sleeping against the dresser with an ornate ink drawing in view. A hand momentarily picks something off the ground and a golden phone flashes into view. Silver streaks of glittery makeup are displayed on each of the members eyes. A gorgeous shot of the duo on a pier looking out on a tranquil lake is offset by Sarah's glamorous attire (including silver high-heels). As the duo rises from their slumber and cut to rowing on the lake, the track commences in full with cascading title-line vocals over a dreamy, trip-hop feel. The golden phone reveals its purpose with Sarah delivering her vocal line “let me know when you're on your way” into it, as the duo looks resplendent all in white.

A compass appears as an item of significance as does a single white card with symbol on it, serving as code and clue for the journey ahead. Pairing with the lyric “it seems like we both like the same things – the same dreams,” are images of the all-in-white duo strolling hand-in-hand through a field. These stylistic impressions enhance the audio's shuffling electronic percussion and chillwave vibe. Lyrical statements “I wanna watch the stars with you” evolve into “I'll drive us to the Milky Way.”

A variety of camera lens techniques like moving the duo in and out of focus emphasize an overall dreamlike quality. “Hold on to the sparkles in the air” is one more magical line, juxtaposed against images of intricate tattoos and Paolo's guitar. Kudos to the director and cinematographer Michael Gaugler for all of this stunningly beautiful imagery. Also props to Patricia and Michael for the incredibly unique wardrobe design. The ultra-glamour in natural settings makes for a perfect combined modern fashion and spiritual experience. Sarah wearing heals to go rowboating and impossibly long eyelashes are both amusing and stimulating visuals. Finally the video credits a “special appearance” by “Josie” - who most certainly must be their equally gorgeous cat.

Check out this strikingly beautiful video (and song) here:

 

Follow Turbo Goth via their Socials - Official Site - Facebook - Instagram 

Previous Reviews of Turbo Goth can be found on this site here, here, here and here.

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Unique electronic multi-instrumentalist Matt Catling writes, records and releases music via his project name Under The Sun. Based out of Suffolk UK, the just-released three track “Ocean Breeze” EP is on much respected Shoredive Records imprint. Mixed by Darren Barnes (Trillion) and mastered by Simon Scott (Slowdive), the result is an exceptional sonic achievement of experimental creativity, and ambient instrumental explorations. While the artist namechecks My Bloody Valentine, Seefeel, Boards of Canada, Just Mustard and Jesu as points of reference, Holger Czukay and Ulrich Schnauss also come to mind. Detailed track-by-track descriptions follow below.

Your imagination and meditative thoughts are immediately engaged when listening to opening (and title) track “Ocean Breeze.” With the choppy-water cover-sleeve image providing an initial visual guide, rising synth pulses echo it's descriptive title. Swirling within distant alarm-like oscillations are softly whispered voices. An electronic percussive beat commences within the churn, floating forward and then back into mix. It disappears completely at the minute-and-a-half mark, leaving only an ambient void – before all the previous elements drift back in. One interpretation of it all might be the actual hypnagogic state-of-mind experienced after a lengthy time lost at sea. Similar hallucinatory accounts have been chronicled by super marathon runners (which last for days) or any kind of lost-in-a-natural-setting over a length of time. A brief rush of harsher metallic sound is injected near the end, before everything quietly dissipates into the wind.

Second track “Whirlwind” continues these ambient explorations using uncomplicated percussion patterns and an atonality within its overlaying sonic atmospheres. The audio equivalent of wind blasts develop alongside a singular flute-like slow-moving melody. Distant vocal incantations emerge once more, adding an element of possible ceremonial magic. The layers become thicker – denser – before allowing space again for coarse guitar bursts and those mysterious chanting voices.

Final cut “Soft Focus” slowly rises up out of the abyss and is subsequently met with unadorned chiming guitar strokes. As the aural surroundings commence to billow up, additional motorik drumming and muffled vocalizing stream into the mix. Bass guitar notes become noticeable just past the compositions midpoint, with percussion and the more dissonant audio turbulence momentarily subsiding. The final minute emphasizes all the elements previously described, before wafting away to nothingness.

Check out this surreal audio journey here:

Connect with Under The Sun here on Facebook and Instagram.

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Longtime popular recording and live show Canadian rock band The Trews are about to embark on an international tour. Having shared stages and/or rubbed elbows with legends like The Rolling Stones and Jeff Beck (gone too soon, but never to be forgotten) the US leg of their “I Wanna Play” shows begin next week, with a stop at New York's City Winery on January 25. With the recent release of their latest album “Wanderer,” expect to hear a substantial number of those new songs at the shows.

Their most recent video and single release from the album “Enemy” is a chiming pop-rocker built over descending chord progression and prominent bass-guitar line. “I know what it's like to be – the enemy. I will never be set from – of what it's like to me” is how the opening, self-reflective lyrics go. With that refrain serving at the songs repeated focal point, alternate rhythms on each verse steadies out the pace into a more-forceful guitar chug, while lyrics expand the tale. “Sad child with your heavy eyelid – looking out at the lonesome highway. For 20 years you've seen this coming” - with the big, repeated, full band emphasized-accent resolution “Open Up Your Eyes.” Quickly followed by the question “are you sure that you're alright?” The production is big, bold and impeccably recorded -as good as this sound can get. The video is top notch as well, showing all the band member in a live-like setting, with subtle overlays and close-ups for clarity and emphasis.

Check out this killer track and video here:

As stated above, the band begins an East Coast to Midwest leg of their tour soon, and all the tour dates are listed here. 

The Loft at City Winery show in New York link here.

Connect with the band via their Socials  and PR Rep via these attached links.

Official Website - Facebook   One In A Million Media: Official Website - Facebook - Instagram 

 Purchase and stream here.

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Last summer, news broke about a new musical collaboration between multi-instrumentalist Darwin Meiners, former Violent Femmes drummer Vincent DeLorenzo and none other than long-time fave David J (of Bauhaus and Love & Rockets fame). Dubbing the band “Night Crickets” (the name taken from a conversation relating to something filmmaker David Lynch said), the full-length album “A Free Society” eventually made it's way into the world. Included with that news was a video for early release track “The Unreliable Narrator,” which received a detailed review here on this site. Positive responses to that warranted it's inclusion in the Year End Best Of Review right here. A brand new video has just been released for the album title-track “A Free Society,” which has been produced and directed by Ramzi Abed. Once again we focus our analytical point of view on this audio and video release.

Building around the albums percussion driven, tom-tom and shaker enhanced jungle-rhythms (you can almost picture the “crickets”), dominating bass guitar lays out a progression while quick images of the bandmembers putting on (or already wearing) sunglasses come into view. Shifting to a cigarette wielding David J inside what looks like an old school tv set, (and looking more like William S. Burroughs as the days go by) he begins reciting the song's lyrics. “Image if you will, a free society – where the empty horses can run wild and ad hoc. Without fear of variants – variants of concern.” Darwin reappears holding his six string Rickenbacker, and the chord change with David's harmonized “A Free Society” chorus is delivered. David continues “where the conversation is between Juliet and The Thimble” against images of $100 dollar bills in mysterious hands. The tracks most poetic (and curious) line is next “and Oumuamua' is visiting from a galaxy far, far away,” depicted in brightly lit, upward gaze imagery.

Snare drums kick in right in sync with Victor's triptych image, as the cash is shown burning with flames similar to the those on the album cover. An organ joins the audio mix and David continues these lyrical musings with “where the boss and the frail pagans can be at peace, in the house of heat.” The money continues to burn as does David's cigarette while images of the other bandmembers float in and out of view. Credit this pitch-bended, twangy guitar figure as catalyst for a hook entry into the title-line chorus. The drums become more clattery and guitars develop rougher edges while images of Mr. J and his bandmates flash into view. The final descriptive lines are revealed as “where the voice coil comes down the Traceaphone. And the Dark Watchers, Los Vigilantes Oscuros' are listening to . . .” Whispered – dramatic pause - “. . . Night Crickets” as David holds up the album cover. The cash continues to flow (and burn) and is that “Juliet” we see there briefly?

Check out this very cool song and video currently streaming on the bands Facebook and Instagram pages. 
 

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Once Upon A Time In New York City

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Live Show Photo + Video Recaps - April / May 2014

Every once in a while it’s fun to do a “slap-dash-for-no-cash” photo recap of recent shows attended. 

Without further ado (or ballyhoo) this one commences.

Saturday April 12th started out with a trip down to Brooklyn's The Flat, catching an early set from emerging band BEIJU.

Fronted by the soaring melodies of Caitlin Seager - who once served in a similar capacity in her previous band Night Manager .

The band also features veterans of other formerly prominent local acts - with Greg Timmes on guitar, Cal Fish on bass and Ethan Snyder on drums.

Find out more about BEIJU Here

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Next up was a wonderful new discovery that goes by the name Sunflower Bean

Though I soon found out they too had emerged from the ashes of prior bands - guitarist Nick Kivlen and drummer Jacob Faber from Turnip King, and bassist/vocalist Julia Cumming from Supercute! (who I chatted with on the streets of Austin, Texas during SXSW in 2011 - Here - third video down).

I was impressed with the complex, sophisticated songwriting - that still maintained a decidedly rock edge to it all.

Check out this cool video and song they recorded at their friend's home studio, and put the video together on an iphone.


Particularly interesting are the doubled vocals in places, and the "spooky" way all the voices sound on the lyric "in the year 2013"

Find out more about Sunflower Bean Here

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Busy night that it was, I soon hightailed it over to Brooklyn Night Bazaar to catch one of my very fave bands - Hunters

Featured numerous times in this blog and on The Deli Mag (written by yours truly) - it is no secret how much I appreciate the many qualities of vocalist/frontperson Izzy Almeida.

Of course guitarist / vocalist /songwriter Derek Watson makes it all go with drop D perfection.

Izzy has changed her look a bit - going from blonde (then pinked) hair to this more demure brunette color.  Looks good on her though.

The projections behind the bands at Brooklyn Night Bazaar are always top notch, and kudos goes out to that venue for their consistently professional presentations.

This new look also featured Peter Pan collared bookishly-gothic attire (a change from the t-shirts and other ensembles previously worn).  Izzy mentioned after the show she had been reading a number of great classic books from that period, which served as style inspiration.

Though headbanging was toned down somewhat (due to concussion issues - hopefully now completely resolved) - the show still had all the ferocious energy one has come to expect from this band.

visually appealing

with songs to match

It's always a high energy good time with Hunters

Read my previous write up on them Here - which links to all other features I've written about them.

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Four days later it was over to The Music Hall of Williamsburg for a Steve Madden Presents event - featuring The Pretty Reckless

Fronted by the willowy presence of Taylor Momsen, the current members are Ben Phillips, Mark Damon and Jamie Perkins. Their debut album, Light Me Up, was released  in 2010.

Combining the bands higher-than-club-level clout along with whatever Steve Madden's organization brings to the table, the overall presentation (dynamic visual light show and sound quality) gave everything a bigger, arena-show feel.

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Taylor's midwestern classic rock roots shine through, as she capably fronts this hard rock outfit.

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Skinny blonde rides hellbound rock train.

Her band plays with the confidence and ease of experienced professionals.

Exchanges like these were not uncommon throughout the show.

I initially became aware of Taylor's existence when she appeared as a regular cast member of the television show Gossip Girl.

It was soon discovered that her real love was to play kick-ass rock 'n roll in her own band.

She even strapped on a guitar for one song.  What's not to like here?

Find out more Here

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Three days hence it was a pretty big deal as legendary Love and Rockets and Bauhaus founding member David J rolled in to New York City's Pianos for a celebrated showcase.

Arriving just in time to catch long-time friends Dead Leaf Echo, an impeccably delivered set held the crowds attention.

Moody lighting and grainy projections bring LG's vision of the band to life.

Ana played guitar for this whole set, moving away from the equal-time on keyboards of prior performances.

As LG seemingly looks to the heavens, Kevin locks down the drumming with precision and creativity.

Playing many tracks from their previous full length release Thought + Language

As well as their latest true.deep.sleeper, Dead Leaf Echo always put on a musically engaging show.

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Next up were the always brilliant Vandelles

Jas, Honey and Linds came on a like a house on fire and blew the audience away.

Camaraderie that goes back a long way.

Propelled by a forceful rhythm section.

And that killer guitar sound

Way ahead

Winning over new fans as the set progressed.

Bringing the thunder and ruckus

Get down with the lovely fever

Bad to the bone

Things got wild at the end with a crowd surfing guitarist meeting the people up close.

Check out my previous entry on The Vandelles on this blog Here

As well as show recaps during their support slot for The Jesus and Mary Chain in Philadelphia and New York

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The time had now arrived for headliner David J to take the stage and present to New York his newly crafted show.

Drawing on his vast catalog of music, early in the set leaned more towards acoustic songs.

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Putting the guitar down at times (often to play harmonica) David allowed his trio bandmates the room to recreate his classic songs with precision.

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Classic Love and Rockets compositions like "Rainbird" made for early acoustic highlights.

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Once David grabbed the bass, everyone knew we were in store for a number of the heavier songs.

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David brought up a beautiful, voluptuous exotic dancer (I would later find out) named Kat Mon Dieu to add a bonus visual element on the heavy track "Kundalini Express"

Nothing comforts like a Burlesque Feather Fan

What was played (more or less, and not necessarily in that exact order).

Meeting one of my long-time respected artists after the show.

And some new friends too.

It's always satisfying to get your photo re-shared by the artist on his own page.

Find out lots more about David's current activities and projects on his Facebook Page and Official Site

* * * * *

A week later it was out to the wonderful always free Brooklyn Night Bazaar

Not only to check out one of that venues great shows, but also catching up with former UK resident and now fellow New Yorker Mark Crozer

Along with his own solo projects (info about which can be found at his site MarkCrozer.com ), Mark is a touring member of The Jesus and Mary Chain

We grabbed a cappuccino beforehand, then proceeded to check out the night's entertainment.

First up was a pleasant surprise for me - a group of young girls from Philadelphia named Amanda X

One unique feature about them was their guitarist played left-handed, even though (I would later discover) she was actually right handed - but simply had self-taught herself to play that way.

She didn't even reverse the order of strings, making her path to competency all the more compelling.

She reminded me a bit of Honey Valentine (from The Vandelles) in her overall appearance.

I was impressed with the full band presentation and give them a "recommended" status.

Find out more about them Here

* * * * *

After their set Mark and I got up to more shenanigans

Then buckled in for the night's big show

Tucker n' Emily's Total Slacker wow'd the crowd with their own particular brand of mayhem.

Zoe throttled the cans with all the power and thrust we've come to know and love.

Tucker coaxed sounds out of his guitar that were at times out of this world

My friend Mark Crozer (of The Jesus and Mary Chain) was quite impressed with them.

Emily worse this cool form fitting dress that made her look a bit like . . . .

. . . Taylor Swift

If she knew how to play "slimecore"

Tucker makes a point here

But seriously - just who did kill Kennedy?

Once you go slack, you never go back.

* * * * *

Four days later it was time for a hang with my good friend Jason of The Vandelles.

Tuesday, April 29 would be a good night for a hang in Brooklyn, taking in a show at The House Of Vans

It was a coffin crypt keepin' good time.

First band on were those local Brooklyn lads who've a revived a bit of what Britpop n' that "mani" Manchester sound was all about in the early 90's - Spires

Their constant touring has honed their sound to a tight precision.

I had previously written about this band's first single release "Candyflip" Here

That reviewed inspired their PR Agency TellAllYourFriendsPR to pull this quote for their email blast promos:

"Takes direct aim at the late 1980's "Madchester" era, capturing that vibe and sound with impressive results" -The Deli

Find out more about them Here

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Time for the big headliners to come on - Britain's The Horrors

Formed in 2005, the band has gone through a stylistic evolution between then and now.

Four albums in to their career, the latest is the recently released "Luminous"

They exhibit a commanding presence, and full use of the big stage and light show that goes along with that.

Backdrop projections also serves to give them a larger visual imagery.

Singer/frontman Faris Badwan serves more than capably as the focal point,

However this a very much a band endeavor, with sequenced keyboards frequently dominating the sonic forays.

Faris Bueller's day off

Much more can be discovered about this band Here and Here

* * * * *

That following Saturday (May 3) was a pretty big deal for me as I was getting to see an iconic band from my early formative years.

The legendary Terri Nunn and her currently revamped version of Berlin descended on New York City's The Cutting Room

The show was absolutely amazing, and brought back every memory I could have hoped for.

My personal favorite Berlin song will always be "The Metro," and their performance of it (complete with projections of the original MTV video) was nothing less than spectacular.

Terri's voice is as strong as ever, and her band is the perfect mix of hard rockin' professionals.

She played just the right blend of classic hits up through and including significant catalog tracks.

For their early 80's hit "Dancing In Berlin," a number of fans were invited up on stage to, well dance WITH Berlin!



Check out the original video for this song

Terri also made her way out into the audience to engage with her fans up close and personal.

It was yet another very cool moment.

You can tell how much she loves the live performing aspect of her career.

After the show some lucky fans got to meet members of the band - like this one named Misty here - who took a snapshot with her newly minted crush - Berlin guitarist Carlton Bost

This fan was completely thrilled to meet the eternally gorgeous Terri Nunn

Read my previous feature on Berlin right Here

* * * * *

A mere 2 days later it was back out to catch my very good friends The Vandelles play a special showcase at the new and very popular Brooklyn venue Baby's All Right

Fresh from their triumphant David J support slot at Pianos, the band picked up right where they had left off on that night.

The Jas-man wasted little time in getting to the squall, much to the delight of the audience.

Naturally, the dreamy heartthrob that is Honey Valentine provided all the percussion needed.

Lindsey proudly rumbled her Univox love through a distorted chain of electro-pulses.

Whenever this band plays, the weather is always lovely.

Nick's lighting creates wonderful hues.

Greens, blues . . . 

. . . and reds

Honey expresses her right to bare arms.

A special guest appearance was Pete F from the band Dinowalrus doing a jump up and jam along.

As a result, a new kind of guitar crunch could be heard.

Freeing J up to do the traditional lead singer thing.  Another great show!

* * * * *

The band Weekend played next.  I've Previously Written about how they've made a couple of good albums.  They're kinda boring live, though.

* * * * *

The headliners for this night were a band getting a lot of buzz going lately - the motorik/psych/gazers Toy

Their sound blends krautrock beats with extended guitar textures and keyboard whooshing forays.

The trio of "frontmen" - guitarists Dominic O'Dair, Tom Dougall and bassist Maxim ("Panda") Barron were the core musicians of mid 2000's pop act Joe Lean and The Jing Jang Jong.  Tom Dougall is the younger brother of former Pipettes and now successful solo artist Rose Elinor Dougall, and also played guitar in her band for a time.  Joe Lean was The Pipettes original drummer.

The band also features keyboardist Alejandra Diez and drummer Charlie Salvidge.

Their sound is a modern take on the 1970's-era "space rock" band Hawkwind.  Playing a hybrid of pop and dream-gaze with these "motorik" beats, while leaving room to extend the song length allows for forays of free improvisation.  This is very similar to the formula Hawkind employed - that of blending hard-rock and acid-rock, uniting the sonic power of the former and the free improvisation of the latter.

While the band was initially setting up, frontmen Tom and Jasno of The Vandelles has a chat.

Overall the the look and image is quite cohesive.

Keyboards add a level of texture that provides an additional sonic density to it all.

Though I have to mention that the bass player (especially his hair) reminded me a bit of Mott The Hoople "legend" Overend Watts.

The view from further back in the room.

Having set up the lighting in Baby's All Right (with his partner Nick) Jasno took to actually working the lights for the Toy show.  A man of many talents.

* * * * *

The very next night found me at The Music Hall Of Williamsburg for another significant event.

Legendary 90's band Slint were gracing New York with their presence.

Attending as a guest of concert going buddy Drid, we witnessed a revival and celebration combined.

Playing much of their 1991 breakthrough album “Spiderland,” those songs feature dramatically alternating dynamics and vocals ranging from spoken word to shouting, with narrative lyrics that emphasize alienation.

You can listen to that entire record Here

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