Four exciting new audio and video releases are the focus of this sites diligent critical attention. Storied legends with lengthy discographies (still going strong) share space here with newer established artists along with debut entries as well. With touring now back in full form, some here are about to commence on, or are already in the middle of nightly live shows. The rewards of deep listen analysis inspire coherent thoughts on these sound and vision communications.
Evolving from an already-established brand name to an entirely new one can be a risky move, however PR Rep extraordinaire William Z appears to have pulled this off almost effortlessly. Changing over from New Dark Ages to Moon Coil Media shows no slow-down in the distinct style of artists presented. One of the most prominent and exciting new entries is the latest just-released album by legendary gothic death-rock pioneers Christian Death. With their long history that dates back to original formation in the 1980's, equal parts adoration and controversy have surrounded them ever since. The focus here is strictly on their current music stemming from this 17th studio album, however anyone interested in researching their long and sometimes contentious history will find no lack of opinions in both print and video to satisfy anyone's curiosity.
New album “Evil Becomes Rule” is a continuation of themes presented in their previous album “The Root Of All Evilution.” Far from the simple exploitation that some death-metal bands may overuse the word “evil” in their titles, original formation band leader Valor Kand explains the connotation references “the evil within our society,” within our day-to-day lives. Co-collaborator Maitri (who has been a member since 1991) contributes a complimentary presence as bassist, song writer, and female vocalist.
A creative and elaborate video accompanies featured track “Beautiful,” adding gorgeous imagery to an already powerful song. As the video opens overlooking a tranquil lake, an island with high-spire architecture reveals the voice and figure of a priest speaking the words “I'd like to welcome you all on this sad day. As we mourn the loss of our friend” (echo, “our friend, our friend – taken from us . . . ”). Snowy grounds pan closer to Valor playing a mournful violin, as the screen splits to reveal a ballet dancer engaging in their own art of physical movement. Tinkling bells share space in the mix alongside deeply resonant violin tones while tom-tom drums accent the forward transition. With the dominant melody riff underway, it's full-on rich textures are boldly enhanced by Maitri's bass guitar.
Cutting to a painted red house with green frame doorway, Maitri evokes the likeness of a Germanic Warrior Queen adorned in jeweled forehead band and full-length long black coat with brown piping that she seductively opens while delivering her lyrics. “Golden promise- face against the wall. Burning candles – you whisper – I listen” is declared, as a driving guitar line pairs with bass and crisp-hiss drumming complements simultaneously. Live figures of Valor and Maitri stand like guardian statues outside the stone church as the track progresses into it's instantly catchy, dominant hook.
“I want you to look beautiful – at my funeral – at my funeral” she sings in full passionate voice as Valor's magnetic guitar hook matches pace with amplified appeal. Partying cabaret dressed and painted revelers at this celebratory funeral party (taking heed of the request that you “look beautiful”) is cut between shots of Maitri in split-screen imagery at her own death party, as well as in outdoor Nordic settings.
“Oh, so sorry” the second verse begins - “while I wipe my tears away.” “A voice that whispers – a voice that sings along. A whisper – whisper – I listen – I liS-ten” (sung with ascending Siouxsie-Sioux-style accent ending words). Immediately back into the earworm-hook-laden chorus, more shots of Valor and Maitri outside and within the church, displaying it's iconic religious imagery along with their own instantly recognizable logo. The pretty cabaret funeral party continues, accentuating a hybrid style of traditional goth with commedia dell'arte harlequinade pantomime. The final pass through chorus adds deeper tone enhancements while the party reaches it's ultimate high-point with exploding bursts of confetti.
Check out this amazing video:
The full album “Evil Becomes Rule” is currently available on digital and CD formats as well as vinyl LP variants in transparent blue, red marble and black colors.
3 Robots Records is an indie label that focuses on music in the ambient, ethereal, dreamgaze, pop, electronic, and psychedelic styles. Having featured a number of their artists works here on this site over the past few years, a high-level of quality is always anticipated. A new release by the project Sueño con belugas (Spanish language meaning “I dream of belugas” - which are white whales) does not disappoint. The track “Normal” is now available, and will be included on an upcoming album “Memoria Cósmica Ep.”
Inspired by a 75 million year old rock formation in Thailand that when viewed from above, create the visual illusion of a family of whales. The track itself is a re-recorded update on a song resurrected from previous band sessions. The cut bursts out of the box immediately with bold electric guitars, throbbing bass and cymbal-wash enhanced drumming. Vocals are female fronted and in Spanish language, as the heavy sonics temporarily give way to rich acoustic guitar strumming. An overall airy quality is present early, with descending (then ascending) minor key vocal driven digressions. The heavy guitar and bass interplay quickly returns, providing stronger rock and roll hooks between verses.
The lyrics translate to a spiritual state of mind, approximating at something to the effect of “I'd rather be free. Swimming in nothingness. Regaining my wings. To be normal I stretch my mind on a precipice - I prefer to fly to the sidereal space - To be normal.” A fuller explanation of the song title is revealed within these lines, as is a poetic desire for the beluga to continue swimming. From the two minute mark onward (with vocals completed) instrumental passages take over, with emphasis on the original hook rhythm and an array of soaring guitars swirling above. A new, dominant melody emerges in the form of climbing guitar figures and harsh extended note textures. With that peak reached, a minute of after-effects fill the soundscape on a long-fade trajectory that reimages the oceanic world of whales.
Listen to and find out how to acquire this fascinating track here:
With the recent release of her latest video and single “Tresor,” the evolutionary vision of musician Gwenno has reached a new pinnacle. In anticipation of her third full-length solo album, it now serves as the second one written and sung almost entirely in the Cornish language. “Tresor” (which translates to the word Treasure) will be released in full on July 1st. As someone who is fascinated with history and the cultural formation of people from the early ages onward, this writer is particularly impressed with Gwenno's dedication and influence in this regard. Her previous 2018 album Le Kov (The Place of Memory) introduced Cornish to the uninitiated (sending some of us down a rabbit-hole of research) expanding relevance internationally. This new album can only add to the interest in both Cornish history and it's ancient Celtic language.
The title track and it's accompanying video opens in split-screen on two separate doorways. Filmed in both her native Wales and on location in Cornwall, it's not much of a leap to surmise each doorway represents those respective locales. The mood and music is measured and dreamy, with tubular-bell ring floating on top of it's easy shuffle groove. With gentle hallucinatory overlays of images including flower petals in hand, Gwenno's dark-haired timeless-romantic image sings those mysterious words in soothing cadence. Self-directed and blending her own personal clips with film shot by Clare Marie Bailey, the fuller story of characters Anima and Animus (along with her own occult symbolism) are introduced through repeated glimpses of their presence throughout. The mood and editing suggests a desire to explore avenues influenced by surrealist filmmakers like Alejandro Jodorowsky.
When the chorus hits at approximately one minute in, you are reminded of what makes Gwenno's music so special. Lush background vocals support her captivating melody on top, with brief minor key forays followed by rising, fully voiced expression. Meanwhile the scrapbook style of images touch on 6th century Arthurian legend King of Kernow, along with passing country-sides (surely Tehidy Woods), fingers out windows and the artist herself on stony beaches. A tinkling keyboard melody serves as post-chorus instrumental break, while enchanting travelogue views of St. Ives, Cornwall are overlaid.
Along with all this beautiful sonics and beguiling vocal enunciation are lyrics that translate to the initial questions “do you want a crown upon your head and a woman at your feet? Do I want to fill a room with all of my will and feel ashamed?” The artist explains that the song questions what makes us human. How we have a conscious choice in making a positive or negative impact on our environment and everything around us. “You must fall to rise again, rise again. Touching, extinguishing a flame - A treasure.” It also serves as an homage to an older, analog world and in certain respects a farewell to the 20th Century, with technological advances coming on at a now exceeding rate.
There are other wonderfully engaging details popping up in the video, such as Gwenno wearing a curious cone-shaped high-spire headdress (created by fashion historian Lally MacBeth), red cape, and holding various ancient symbols. Additionally, two magical looking clay figurines appear near the end, a female form with rabbit ears, and a crumbling, cross-legged (buddah-like) configuration. With the traveling images, flower petals and glimpses of the artists face (including eyelash close-ups) flowing in and out, it all adds to the overall mystery and wonder.
Check out this wonderful song and video here:
Meeting the artist during her 2016 US Tour at Rough Trade in Brooklyn, NYC for her first solo album Y Dydd Olaf.
New album Tresor is due out July 1, 2022 via Heavenly Recordings / [PIAS]
Every once in a while something truly offbeat finds it's way here into the DCW metaverse, capturing the imagination and sparking further investigation. A collective calling themselves Seedsmen to the World are releasing their debut album on Blue Arrow and Birdman Records. Coming together as a collaboration between Detroit trance-drone practitioners Infinite River (Joey Mazzola, Gretchen Gonzales, and Warren Defever) and folk musician Ethan Daniel Davidson, blend the best of both those worlds.
Opening with the lengthiest piece [12:48] titled “Blood,” individual guitars are initially heard, via distant feedback, longer-held distorted tones and quieter arpeggios. It's a slow-burn build, with a sense of impending tension and mystery rising in these soundwaves. Adding drone elements are instruments found in various forms of Indian music like the harmonium (a keyboard reed or pump organ) and tanpura (plucked string providing a continuous drone). Vocals emerge in a haunting style, evoking an intimate familiarity. It's soon discovered those lyrics are recognizable as Bob Dylan's 1964-65 masterpiece “It's Alright, Ma (I'm Only Bleeding).”
Those scathing words exposing the hypocrisy, commercialism, consumerism (and more) in our culture at that time (and ring truer than ever today) are now reexamined via Davidson's harrowing vocal rendition. With a deeper toned bass providing something of a steady undercurrent, floating waves of guitars cascade around Ethan's voice, delivering those lines more as a lament than critique. The observational genius of that original prose points out despite all our technological advances in the 55+ years since it was written, the failings of our society are still the same. The vocals take on a near pleading quality midway in on the lines “and though the rules of the road have been lodged - It's only people's games that you got to dodge -and it's alright, Ma, I can make it” (we hope).
photo credit Blue Arrow Records
There's subtle instrumental changes ongoing, descending elements, rising levels of drone, as yet-another still-relevant observation is sung “Advertising signs that con you - Into thinking you're the one - That can do what's never been done - That can win what's never been won, Meantime life outside goes on all around you.” After a brief instrumental interlude, the verse on “authority” which “they do not respect” and “despise their jobs, their destiny” and “speak jealously of them that are free” appears to include an original line “cultivate their flowers.” As the drone levels intensify, more forgiving lines like “I mean no harm nor put fault - on anyone that lives in a vault” are juxtaposed against the nihilism of “Propaganda – all is phony.” Reaching the ultimate conclusion, with instruments slowing subsiding, the final lines say it all: “if my thought-dreams could be seen - they'd probably put my head in a guillotine. But it's alright, Ma, it's life, and life only.”
Check out this expansive track here:
Find out how to connect and acquire this music Here, Here and Here.
With their follow up album "Our House On The Hill" now out on Woodsist Records, Brooklyn's The Babies exhibit the cohesiveness of a fully realized band. Lead track "Alligator" finds Kevin Morby presenting his vocals in that conversational style first made popular years ago by Chuck Berry (think "Memphis" or "No Particular Place To Go"). The opposite of flowery (or obscure) poetry, the words come at you exactly the way people talk to each other. "There's no plans - watcha doin' later? Take my hand - alligator." And "I like your hair - how do you do it?" Ultimately the frustration is revealed when it's stated "It's no fair that you're taken. It's unfair, that you're spoken for." "Slow Walking" is classic boy/girl duet with lots of tongue-in-cheek "whoah oh wah" background vocals. What initially seems like an "I don't love you anymore" song twists and morphs along with way, with Cassie saying later on that "I'm not leaving like I said I would." "Get Lost" churns along a buoyant four chord progression with that now instantly recognizable Cassie guitar lead sound. These instrumental notes played are melodic to the point of being lyrical - that is, as if they are another set of lyrics.
Q: Do you feel the type of lyric and vocal presentation on a song like “Alligator” allows listeners to quickly get into your music and the messages it is attempting to convey? Does Cassie play all the smokin' guitar leads? (and especially the one on that song?) On that note, how did the recording of the whole album go? Is there a fair and agreeable distribution of who plays what when it comes time to lay down tracks?
Cassie: Kevin's said that when he wrote "Alligator" he was trying to channel a Jonathan Richman style of storytelling. As for the leads - Yup! There are a few leads I don't play - Kevin plays lead on "See The Country" and part of "Slow Walkin" and Tim Presley of White Fence plays lead on "Chase it to the Grave." The recording was a very smooth process. We recorded many of the songs after having played them live a bunch, and we tracked most of the instruments live.
Q: Is there a certain amount of wry humor being projected on the album? Who brought “Slow Walking” to the table first? Do the two collaborators then write their own part of the story?
Cassie: "Slow Walkin" is a song that I had half written before I showed it to Kevin - I saw potential for it being a good song for The Babies but wasn't sure where to go with it. Kevin and I jammed on it with acoustic guitars for about an hour and then it was a done deal. Even though I came up with it first I think of this song as being very collaborative - everyone in the band contributed something to it.
Q: "Mess Me Around" channels Black Francis at his peak Pixie period and even the sustained lead guitar lines sound like an homage to that band. Is the accusatory "you're a dumb idiot" lyrics your sense of how those "messing you around" perceive you?
Kevin: "Yes, although I am not the character in the song. But to that character, that is correct. It's a chant of anger and frustration towards a situation you were born into and wish you could get out of. It's pointed at all sides actually, outward towards an enemy, as well as inward, towards one's self."
Q: "Baby" is the first Cassie solo lead vocal. "I got a reason now - for you to come around." It goes from initially sweet and heartfelt to demanding - "you gotta come around." The video recently released to accompany depicts the universal fantasy of when singing Karaoke, you are imagining yourself on stage at a huge venue. The video itself is charmingly low budget in the way Sonic Youth would sometimes do. In fact, the deadpan vocal presentation hints at Kim Gordon cool. Does Cassie see Kim as any kind of influence or reference point for her own pubic personna (music or visual style)?
Cassie: I love Kim Gordon and Sonic Youth, but I can't say that she (or anyone else in particular) has had a huge influence on the way I sing or present myself in public. With my singing it's like - it's the only way I know how to do it. I don't even want it to sound like it's deadpan, but I guess that's how it comes out. I have been influenced in recent years by Lou Christie . He has really innovative vocal arrangements and I love his use of falsetto. Also the harmonies of bands from the 70s, like the Carpenters and America .
Q: “That Boy” finds Kevin detailing everyone’s (it seems) heartbreak. The seemingly simple rhyming quality of the couplets give the impression of an unlabored composition. As if it flowed out quickly with relatively little editing. Is that an accurate impression or was there more designed effort involved?
Kevin: "That's pretty spot on. The song has never had much structure, it's a song I had written a long time ago, that was never too defined, just something I would always come back too when idly strumming the guitar, and I tried to capture that essence in the studio by just doing a few takes of me playing it."
Q: Kevin shows up solo with acoustic guitar on the quiet and instrospective "Mean." Delivered in class Boby Dylan style, the "chorus" (including Cassie on ghostly background vocals) consists of the one word "mean" (repeated three times). A surprising saxophone solo makes its way into the mix unexpectedly.
The Dylan vocal stylings are taken further with "On My Team," progressing it forward the way Bob did from his early acoustic recordings to the full instrumentation he realized with The Band. The repeated title line morphs from Kevin vocal only to Cassie fully out front. Has the Dylan influence been as profound on you as so many others have stated over the years? Is he still the gold standard that songwriters look to when making music that puts its emphasis on lyrics?
Cassie: Kevin really loves and is inspired by Bob Dylan. Me, not as much. I like him but there's a wall there that I haven't broken down. I'm more of a Neil Young kinda gal.
Note: I had previously written a review of signficant album track "Moonlight Mile" here:
Q: "See The Country" is another Cassie lead vocal, with Kevin on background. "Gonna see Sedona in the snow, and the rolling hills of Idaho" is how this travelogue goes. Ultimately "where will I go?" becomes the thematic hook. Touring extensively the way you now are, do you feel you're getting an adequate opportunity to see all the interesting things this country has to offer?
Cassie: Yes. I've always loved traveling across America since I was a little kid and my parents would take me on vacations to the National Parks. Part of the reason I love touring is getting back that childhood feeling. It's wonderful to be able to see so much beautiful scenery.
This interview appears in an edited form in The Deli Magazine, Print Issue No. 33, which can be found here:
What it is: Melodic three minute rock songs with lyrical emphasis.
For those who like: Modern Lovers, Pixies, Dinosaur Jr.
Relevant info: The Babies released their second album “Our House On The Hill” this past November on Woodsist Records.
Equipment/Recording interview for Delicious Audio(featuring Cassie and Kevin)
- How much of your recording is done at home versus in the studio?
Our latest record was recorded in a nice studio. Our first album was technically recorded at Kevin's house, but it was a studio-like setup, recorded by Kevin's bandmate in Woods, Jarvis Taveniere.
- If you use a studio, what do you record there and what do you record by yourself and why?
Our only release that we have recorded ourselves was the EP "Cry Along With The Babies." We record in a studio because we're a full band and it seems like it would be difficult to make a decent-sounding recording with the whole band.
- What are the pieces of equipment that you find particularly inspiring when recording at home?
Kevin and I both have Tascam DP-008s that we use when recording on our own.
- What one piece of hardware/software would you most like to add to your recording setup (cost not an issue)? Why?
I'd like to have a reel-to-reel 8 track and an old tube condenser microphone.
- Do you expect your next record to be self-produced, or would you like to work with a producer? If it’s the latter, who would you most like to produce your band, and why?
Our next record will likely also be recorded and produced by Rob Barbato, who we worked with while making "Our House On The Hill." We love working with him. He is extremely talented and easy to get along with.
- Do you use rack effects or guitar pedals to forge your own sound? If you do, please list the ones you use the most and let us know why you love them.
I use an Electro-Harmonix Memory Boy and a Boss Super Overdrive while playing live, and also while recording sometimes. Kevin uses a booster pedal playing live and that's it. We also both sing through Holy Grails.
- Do you have a particular recording style that you aim for? What techniques do you employ to recreate it?
We wanted our last record to have the energy of playing live, so we tracked almost all the instruments live for many of the songs.
- Who determines the direction and style of your recordings?
It's a group decision.
- Is there a person outside the band that's been important in perfecting your recorded or live sound?
Rob Barbato was incredible as a producer. He brought many ideas to the table that made our recording sound way better than it would have otherwise.
- Would you say that your live show informs your recording process or that your recording process informs your live show? Both? Neither?
Both. Our live show informs our recording primarily, but there are some parts on our record that we hadn't been playing live, and after we recorded them we started.
- Is there a piece of equipment that you find particularly useful on stage?
I love my '65 Fender Pro Reverb amp. It never lets me down. It's hard to play out of other amps sometimes.
- With bands doing more of everything themselves these days (recording, performing, self-promoting, etc.) and the evermore multimedia nature of the world, how much effort do you put into the visual component of your band - fashion, styling, photography, graphic/web design, etc.? Do you do these things yourself or is there someone that the band works with?
I'm a visual artist as well, so the visual component is very important to me, especially in terms of album artwork and music videos. It's important for a band to have a defined aesthetic, whatever that means to the band themselves.
- What do you find to be the most challenging aspects of the recording process? On the flipside, what aspects are the most rewarding?
There can be stressful moments when someone is trying to nail a part and it takes a while. However, it's extremely rewarding when you listen back to the song and it sounds better than it did in your head.
*****
An edited version of this recording and equipment interview can also be found at The Deli MagazineDelicious Audio site, located here:
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.
