Returning artists and brand new discoveries (via trusted label and direct contact sources) furnish the motivation for this early springtime edition of Cromwell music review writing. Dynamic releases from creators mastering multiple genres via technology, performance and devotion share space here with more traditional classic rock formats. The common thread running through it all is a high-level of skill and imagination embedded in all the songs.
Equal measures of industrial electronics, heavy rock, seductive vocals, black-clad fashion glamour and spirituality are woven together in the music of Turbo Goth. As popularity continues to grow in both their native Philippines and adopted home of NYC, the duo of Paolo Peralta and Sarah Gaugler have released a brand new album “Awakened Imagination.” Fresh from a return appearance at SXSW, the self-described “high gloss rock duo” now receive a detailed DCW review.
Lead off track “Ready For Something New” sets the albums initial vibe with a dreamy, trip-hop feel. Distant, muffled voices and ambient textures are the first things you hear, before Sarah's smooth, precisely-placed-in-the-mix vocals deliver the title line (and more) in cascading, dream-like manner. Shuffling electronic percussion undulates underneath subsequent vocals stating “let me know when you're on your way.” There is a distinct soulful emotion running through this as Sarah cooos “I wanna watch the stars with you.” As percussion expands to busier ticketty movements, the primary change hook exhorts how “it seems like we both like the same things – the same dreams.” The overall attention to detail exhibits an uncanny precision, with layered vocal asides and interludes meticulously placed. “Hold on to the sparkles in the air” becomes one more rumination within this magical mystery groove.
The following cut “Endless Blessings” begins with Sarah's voice up-close and in-your-ear (with subtle electronic processing) singing the line “youuuuuu – are devine – all good things take time.” Powerful drums soon start a heavy-metal thump, followed by Paolo's equally hard-rock guitar riffs. It's a quality down-and-dirty groove, with syncopated pacing between those drums and guitars. Synth keyboards make their way into the mix, soon followed by Sarah's softer-edged vocals. There's lots of space for the voice on top, as the Led Zepplin dinosaur groove thunders forward. “I'm not who I was before” Sarah declares, before launching into a riff-and-vocal tandem sequence that is as hypnotic as it is heavy. Bass guitar and piano-like keyboard lines emerge in a change section that lyrically implores you to “come into the light with me” and to “set your heart right now on fire.” The leaden groove returns, this time with extended rising guitar textures and opening sentiment “all good things take time.” Launching once more into the rhythmic vocal tandem sequence containing the song title leads everything out to it's ultimate conclusion.
Gentle ocean breezes can be felt in the ska-dub rhythms of third entry “New Realms.” Deep synth-bass is complimented by softer-chunking reggae-style guitars. Subtle background whistles, snare-drum-roll punctuation and distant horn accents all contribute to this on-holiday, Jamaican vacation sensation. Powerful guitar riffs and thundering drums return for the hard metal rocker “Diamond Spirit.” The guitar lines are as intelligent as they are forceful, creating strong figures out of a changing chord progression. Sarah begins her vocals in a high falsetto creating an otherworldly impression, with following lines bathed in a processed sheen. “Take it right now – make it right now,” becomes the smooth alternating vocal hook against those heavy-metal abstracts. Speaking of “spirit” (as the title suggest) you can feel the essence of classic drop-D down-tuned guitar pioneers like Black Sabbath and their “stoner rock” descendants.
Bass and drums electronic hip hop percussion powers along fifth track “Adventures Beyond.” Sarah's angelic vocals plead “Still – I want to be still with you.” Establishing location while “getting ready for a long drive” is presented with delicate levels of autotuned FX, creating an appropriate dreamspace. Singing about how they're “leaving” and “done with all deceiving” confirms the overall the spiritual theme. The sequence is repeated while backward-looped guitars color ambient spaces inbetween. Double-time lyrics stating “everything is possible with you by my side – I'm ready for a long ride” serves as an equal metaphor for both taking an actual trip now, and a full life ahead together.
It's back to hard rock with the measured, purposeful stomp and classic electric guitar sound on “Flow Like Water.” Sarah's voice is soft and high-resister sweet as she gently emotes over hard-edged guitar riffs and walloping drums. The hook fully grabs you with title line chorus (a play on Bruce Lee's “be like water?”) studio enhanced to a supernatural polished sheen. Some tasty guitar figures break out at the songs midpoint, riffing boldly against crunchy Keith Richards/Izzy Stradlin chords underneath. A lovely cascading vocal section immediately follows that, positioning dreamy ethereal vocals against guitar and drum punctuation.
Previously released (but further remixed again?) single “Quarantine Dreams” places emphasis on Sarah's sweetly-sung, straightforward vocals with minimal effects and sparse, twinkling background accompaniment. “Spun on your love, don't wanna wake up from these quarantine dreams – nothing's what it seems” comes on like a lullaby. Trip-hop percussion and deep-bounce-bass soon sets a sensual groove for the combined romantic and mystical declaration, “Bae, you know you're pretty amazing, your supernatural vibe is kinda hard to describe. Our constellations align, but I'm only semi-divine.” Vocal FX and echo-line layering become more prominent with the dreamy segment that goes “baby I'm trippin' but I'll be saving my love for you.” The hypnotic qualities are apparent, with the soft, seductive vocals more clearly asking “how many days do we have to wait? Gotta pull me out of this hazy phase.” Vibrant dreamlike segments feature enhanced angelic reverberation on line snippets like “my all, I want to give to you.” Emphasis is also placed on the magical lyrical segment “Galaxies are waiting – no more hesitating - we'll be star gazing under the dark, dark sky.”
Listen to this gorgeous track here:
Last years previously released single “Crystal Eyes” also makes it's way onto this album. Simply speaking the title out loud could easily have you pronouncing it as “Crystallize,” which turns out to be just that after listening in full. Clocking in at a no-excess only one-minute-and-a-half, the song gets right to the point with Sarah's softly appealing vocals kicking in right away. “If you're waiting for a sign – it ain't that hard to find” she states, as pulsing keyboards and hip-hop percussion create a positive bubbling backbeat. Soon “it ain't that hard to find” becomes a repeated echo line, while delicate vocals continue with the lyrics “within you is Divine – quit wasting your time.” The vocal cadence quickens with the lyrics “falling out of control? Getting all mixed up in the fear? Let me take you back to all that's now and here.” Subtle effects and harmonizing are added to each successive line, as slight sonic change occurs with lyrics “hold on to – uninterrupted cosmic – vibration.” Further segments state “you already know: where you will take yourself” - as the backing track momentarily drops out to add emphasis on that last line. “I'm ready to go – if you want to take me too.” Another cadence shift happens with the vocals and lines “and we won't forget what's real – we'll know to turn our sights onto the light.” Vocal overlays commence “with good vibration” now alternating over “onto the light.”
Check it out:
An adorable near-childlike sincerity can be felt in the babydoll vocals and lullaby dreamhop instrumental accompaniment on “Come Along With Me.” Tapping into the same qualities that a band like Kero Kero Bonito frequently explores, “never be afraid of falling, listen to your heart when it's calling” is merely one of numerous positive statements. A level up occurs with the lines “now – take my hand – we have all the time in the world – come along with me.”
Give a listen:
“Tell me how you feel” is how Sarah opens final song “Real Chill.” “Heart of gold – no one told you so – in the end it's what you give not what you get” are additional intro lines that ultimately serve repeated hooks. A keyboard marimba sound provides rhythmic undercurrent for the wave of cascading vocals that follow. Additional buzzing synth-horns emerge as both support and solo, sounding a bit like the one on Pink Floyd's “Welcome To The Machine,” as well as on numerous electronic funk tracks.
Previous Turbo Goth features can be found on this site here, here and here.
* * * * *
The always busy Brighton, England based Shore Dive Records returns again this month, promoting their 111th release featuring Stockholm, Sweden's We.ThePigs. The band released this full-length album at the end of last year, highlighting a lovely collection of female vocal dreampop, harsh Sonic Youth-like guitar noise and even a JAMC “tribute” as well. It all adds up to is an incredible collection of tracks, which now receives the notorious DCW deep-dive review.
Opening cut and featured single “Anyway” charges right out of the gate with a ringing clarion call guitar riff that initially descends, before reversing course towards an upward melody. The full band jumps in right away with hard hitting drumming and active bass-guitar counter-melodies. Blended female fronted vocals come on with elongated phrasing, while those driving guitar riffs continue on relentlessly underneath. A solid snare-drum press roll signals the turn into a chorus that's equal parts gazey vocal wash and harsh guitar noise. With everything momentarily dropping out, the singular guitar riff ever-so-briefly stands alone, before a slightly less-chaotic accompaniment supports the following verses. One more ramp up to full-on noise, leads vocals (and repeated single word title) to a satisfying conclusion.
Listen to this marvelous song here:
Follow-up track “Truth Or Dare” also begins with an open note guitar figure, before the band charges in underneath with syncopated snare drum shots, power chords and rumbling bass. Heavily reverberated female vocals soar over the mix with ethereal appeal. There's a lovely change section that perfectly encapsulates why dreampop music is so adored (and endures year after year). Not content to simply be sweet, a noisy pitch-bend guitar solo adds a touch of roughness to it all. Third song “Drift To Sleep” changes course with more gentle instrumentation, allowing a softer space for the sweet female vocals. Like one of Cocteau Twins more vocally audible ballads, lyrics referencing “nighttime shadows on my wall, creeping further as time goes ” and “watch the shadows grow” emphasize the songs lullaby nature.
A few seconds of extended feedback introduces “Closer,” while a pattern of abstract drumming provides start-stop movement. A heavy two-chord, bass-driven movement enters the fray, before ghostly vocals float over top with purpose. There's a bit of a Raveonettes feel to this one, with dreamy gossamer vocals over a clearly defined rhythm. The chorus does nothing to dispel this perception, as classic dreampop vocal stylings are then followed by distinct melodic guitar hooks. Next cut “Sounds” leans on more traditional MBV-style slightly-pitch-bend strummed guitar chords, before full band entry with forward-momentum urgency. Entrancing female vocals waft in declaring “I had a dream last night” going on to describe the “sounds” and how “I was spinning round and round.” The Raveonettes vibe is even stronger here with sheering wall-of-noise guitars surrounding a precise melody inside.
Gentle unaffected guitar strumming momentarily leads off “Sharks,” before the full band enters the mix. The soft female lead vocals emphasizes held, extended notes at the end of each phrase. There's more of a Harriet Wheeler/Sundays feel to this one. The guitars are much noisier and “gazey” here, however. “Goodbye” taps into the spirit and early vibe of The Jesus and Mary Chain's wonderful Psychocandy tracks “The Living End,” “Never Understand” and “My Little Underground.” This is pretty much the highest compliment you can give, as the JAMC were (and still are) the greatest band ever.
A steady bass guitar rhythm leads into the gentle vocals on “Curtains.” The mood is driving, with a touch of melancholy, once again tapping into the allure a band like The Sunday's did so well. “What was your dream? I think you told me. Cherry blossom in the air,” highlights the tenderly ambiguous poetry being stated. The final minute bursts in an explosive elevation of combined instruments and voices. Snare drum rolls kick off the bluntly named “Fuck Your Songs.” Charging forward with mad abandon, things quiet down just enough for reverberated vocals to spin it's tale. “I just wanna – feel something” develops as the primary vocal hook, along with the title line itself as the track closes out. Intricate rising (then descending) guitar riffs add another level of quality to the overall proceedings.
Flanged effects are utilized on strummed guitar chords opening the placid “Carry.” With no drum beat, the vocal and soundwash ambience emphases a more formless shape, similar to My Bloody Valentine's “To Here Knows When.” Melodic guitar figures, dominant driving bass, pulse-pounding drums and Swedish language vocals are the hallmarks of “Vi Skriiker.” Like most “gaze” music, it's not really necessary to understand what is being sung to experience the power and beauty expressed.
Final track “Patterns” is a lullaby (of sorts) featuring open note arpeggiated guitar chords and the unexpected lyrics “you feel just like shit, but you go on anyway.” It's the “pattern of your life” even though sometimes “you smell so nice.” Two minutes in and the full MBV downstroke and cymbal bash assault kicks in for dramatic effect. With that head-smack in the books, the lullaby returns, but does anyone really think that's the end of noise? The final minute doubles down on the Shieldsian assault as vocals reiterate how this is all “the pattern of your life.”
Hearing from other bands out there who've read DCW Reviews is never a bad thing. In fact, it's probably the most common way things find their way onto this site these days. Enticed to check out the music of already established indie rockers Star Collector proved to be a prudent endeavor. Working in the classic 4 piece, two guitar, bass and drums formation, an impressive level of vocal harmonies lift them above rudimentary “garage band” status. A further analysis of their music follows below.
Their latest video single “Green Eyes” from current (and 5th overall) album “Game Day” exhibits a classic pairing of spirited imagery and hooky pop song. Opening with the sound (and visual) of tape recorder in motion, quick cut shots featuring steady drum beat, chugging guitar chords and speedy studio set-up are enhanced by reverse-image hue. With the opening vocals and subsequent seamless harmonizing (where it appears each band member contributes to) that seminal power pop band Big Star once again comes to mind, with elements of Buffalo Springfield as well.
Lyrically describing a “young child with dreams” who has an “imaginary friend” and how “we didn't get it” ultimately leads to a big The Who-style guitar-slash/drumroll-thrash bridge realization “now I got it!” That transition brings on an uplifting harmonized chorus stating “'cause it was there in your green eyes.” Subsequent verses reference how “the oil douse the flames” (with brief firey imagery over prominent bass guitar) and “smoky warm embrace” (bearded “wiseman” with pipe) on over to a board game called “29.”
That chiming, harmony-hooked chorus rises again, concluding with the mystical sentiment “and for all the stars that shine – there's one that passes through to our green eyes.” Like all great rock/power pop songs, a smoking hot lead guitar solo breaks out appropriately, embellished by proper rhythmic undertow from the rest of the band. A sense of go-for-it determination is felt in lyrics like “the moments out of reach – we try to grab it!" There's even a coyote making it's way into the mix (both in song and video) to the power of “all the stars that shine” - from – and through “our green eyes.”
Finally, the beloved genre known as "shoegaze" has been going strong since is arrived in the late 80's, early 90's. While many of us were instantly drawn to it because it was different (in an intriguing way), anyone who had ever had the misfortune of having to work in a factory alongside large grinding machines couldn't help making sonic comparisons. Even smaller household appliances or having to hear construction going on next door triggered points of reference. While much of this "gaze" or "noize" music seemed to incorporate the abrasive sounds of malfunctioning table saws or circular saws hooked up to flanger pedals, actual evidence of this was only speculation.
Fortunately, the fan community has taken things into their own hands to highlight what we have suspected all along. The below videos provide actual proof of what we instinctively knew.
New independent music labels and old friends provide the catalyst for this months comprehensive DaveCromwellWrites reviews. Heading down unfamiliar paths can often lead to surprisingly pleasant discoveries. At the same time, checking back in with previously covered artists whose work continues to burn at a high level confirms those original impressions. Taking all of that into consideration, we now dive in to the mid-February 2022 reviews.
Finding their way into the DaveCromwellWrites universe is Kool Kat Music label's new release “Wish I Could See” by Cheap Star. Fronted by Swiss-French musician Remi Vaissiere (who wrote, sings lead and plays guitar on all the songs) there is a distinct 'Americana/Powerpop' vibe running through it all. This is in large part due to the artists long-time relationship with seminal late 80's/early 90's Posies frontman Jon Auer. Brought in to produce and mix the record, Jon also plays a variety of guitars and keyboards on nearly all of the tracks. The Posies connection doesn't end there as respected drummer Brian Young (a member of that band during their major label years from 94-98, before moving on to The Fountains of Wayne and then The Jesus and Mary Chain) delivers outstanding percussion on every one of these new songs. The star cast doesn't end there however, with Brendan Benson (The Raconteurs), Gary Louris (The Jayhawks), Matthew Caws (Nada Surf), Roger Joseph Manning Jr. (Jellyfish) and the legendary Mitch Easter all contributing to a number of tracks. With that tantalizing introduction, what follows here is track-by-track commentary on each and every song.
There's an easy, slow shuffle groove on opening track “Lifetime,” with chiming guitar figures and prominent deep-thump drumming. Over that hypnotic pattern, Remi's sandpaper-soft vocals introduce a stream-of-conscious story recounting “looking for a sign,” being “happy as a child” alternately tempered against “love hurts” and how “you're gonna learn in your lifetime.” Precision harmonies emphasize and punctuate dramatic moments, as do additional layers of sonic enhancements that feel like strings (but could be keyboards or even extended note guitars). Follow-up cut “Flower Girl” comes on quicker right from the outset, with it's driving progression and orchestral FX'd guitars. Poetic lines surrounding the need for the songtitles subject matter, whether “in the dark” or “singing with me in the park” defines an elusive object of desire. Rhythmic changes emerge early and subsequently repeat, emphasizing a descending pattern that offsets nicely against the initial straightforward pattern. Additional lush vocal layers of “I want you” on the song's outro create one more romantic pop element.
“You Don't Want To Change” builds off a solid percussion backbeat with acoustic guitar and piano notes delicately intertwining over top. Remi's vocals come across in a more intimate manner, with less effects and a deeper level of sincerity. “Do you ever get that way?” he asks on the first change, followed by “I'm happier somehow.” The initial sentiment “I just want to take you back” ultimately morphs into a repeated “I just want to take it back.” Piano becomes more prominent as the song progresses, defining a rising melody leading out to the ultimate conclusion. Fourth track in and the album title piece, “Wish I Could See” launches off some heavily echoed tom-tom drums, twangy guitars and good-timey handclaps. “On another day, in another town” kicks off a story of searching curiosity, guiding towards a hooky chorus “I wish I could see - on the other side – I wish I could see.” While coming in at a brisk (and radio pop friendly) 2:21 in length, the artist manages to drop in an ambient instrumental breakdown before an unanticipated “will you marry me” choral vocal coda.
“Holding On” turns up the nostalgic charm with it's descending guitar pattern, syncopated snare drum beat, tambourine rattle and Roger McGuinn/ByrdsRickenbacker-style chime. “You never tried enough – you never had the force,” serves up just one lyrical snippet pointing towards somehow falling short. Dual layered lead and sugary background vocals (especially on the chorus) create an idyllic sensibility. A tasty (if ever so brief) guitar solo emerges two-thirds of the way through, providing additional weight to the pathos running through this entire composition. “Move Away” leans more on a traditional chugging rock and roll rhythm, while pitching vocals down into lower, measured pace delivery. “I – never take it easy – never throw you away – for you I try” serves up the opening lyrical foray. Heavier guitars join in with subsequent passes, as do piano notes descending with gentle counter melodies. Ghostly background vocals emerge with a melodic purpose of their own, creating an almost soulful feel to the proceedings. The final ten seconds serves up guitar feedback and scratching noises for an unexpectedly odd closing.
More than one could hope to expect is packed into the one minute and 46 second “Under The Synapse.” Another impressive, straightforward drum pattern kicks it all off, as bass-heavy guitar rumble rides roughshod over top. While references to nerve impulses and neurotransmitters may have factored into some of the lyrics (and at the very least the song's title) an audible hook of the line “that's ok with you” is clearly discernible. Ten seconds (or so) of mandolin strumming on the outro adds a nice finishing touch. Home recorded acoustic guitar and distorted Rhodes keyboards figure prominently on “In Your Head.” With a tambourine rattle keeping time on each snare shot, an inverted, angular riff serves up the tracks primary melody line. The vocals are softer and more intimate, with background harmonies used more sparingly (though just as effectively) on the end of key words (“head, heart”) and over the outro guitar solo.
“Slow Down” opens with Remi's voice and acoustic guitar only, creating a pensive ballad effect. Once the drums kick in the track immediately morphs to power-ballad, with banjo accompaniment adding a slight southern country feel as well. “I've been dreaming that you were right – about the place I call my own – the things we've never shown” is how one key harmonic passage goes. The final half-minute features a blistering guitar solo from the iconic Mitch Easter, adding one more glorious element to this emotional piece. The albums final (and longest) track “What It's Like” builds off of a staccato drum pattern, shaker percussion and snaking guitar suitable for a detective story. “You don't understand, what it's like” serves as the essential harmonized vocal hook. The final minute lays out a tasty blend of deep bass, synths and electric guitars for a fitting coda to this wonderful album.
Listen to these songs and find out how to acquire this album here:
The music of Dead Leaf Echo is no stranger to this site, having covered their recordings and many live shows for over a decade. Notwithstanding some personnel changes one could hardly be surprised at over that length of time, the current lineup has been relatively steady the last few years. Recently completing their first Latin America tour, a new six track EP is now available. “Milk.Blue.Kisses.And.Whalebone.Wishes” is the mysterious and poetic title, serving as something of a hybrid to the songtitles on it. A full track-by-track review follows below.
Opening cut “Milk.Blue.Kisses (Foil in Motion)” dives right in with swirling guitars, hard-edged bass and deep-echo stare drum shots, forging the same impeccable slow-build pageantry The Cure so masterfully generated on their “Disintegration” album. While emotive vocals commence, the undulating wash of gazey ambience continues to swell, extending across the entire sonic space. Like most gazey dreampop, lyrical content tends to serve more as another instrument, rather than traditional storytelling vehicle. However, based on the overall songtitle, there's something romantic going on here, with the audible reference to “your body” being a “perfect foil in motion.” An icy, rising texture adds further weight to the overall measured pace, leading out to its conclusion.
Follow up track “Blue.Unto.You” applies echo-fx on single struck guitar notes to emphasize an initially angular pattern, while choruses wash all around. It's ambient, mysterious and delicate all in one, with a particularly engaging bending guitar tone for good measure. Those ethereal moments are soon met with harsher percussive strikes, establishing a center-point for additional higher-pitched intonations. The singular guitar textures return, this time with a three-note descending pattern, that shifts upward on the second pass through, culminating on a resonant full guitar chord. As one might expect on a fully instrumental composition over four and a half minutes in length, increasing amounts of subtle aural elements emerge.
Bright shimmering atmospherics, jagged tom-tom rhythms and a driving bass-guitar undertow power along third entry “Kisses.Silence.” The contrast of higher register sheen against a pulsating bass and drum rhythm expand its auditory depth-of-field for maximum advantage. While some glistening notes are held for extended periods, other rising melodies emerge, while additional bass-guitar patterns snake off in other directions. A change section develops past the midway point, where electronic “voice” approximations accent rhythmic changes against cymbal-oriented percussion. With bass guitar tones emphasizing Simon Gallup-style “gothic rock,” instrumental passages are set free to float over top.
Tambourine shake, plucked bass and chorused guitars introduce center-album positioned “And.Projecting.Windows.Of.Ice.And.Misconduct.” Deep tom drumming commences on the second passage through, providing an alternate percussive rudder under distinct melodic changes. Moving away from above-reviewed tracks Cure references, the feel here is more early Cocteau Twins, and the extended vocal-less ambience of those recordings. Midway through, forceful snare drum shots and tom fills thunder across and lead into a ringing bell texture. More percussion is layered on with urgency, while a bassy counter-rhythm modulates back and forth. As things get more cymbal-heavy, it all rises to an celestial apex before a subtle tempo change advances to its conclusion.
“Whalebone” continues the frosty sonic luster, probing deeper into Robin Guthrie and Harold Budd-style atmospherics. A lovely melody emerges amid the roil as ghostly percussive clacks rise and fall inside of it. Majestic guitar chords are strummed slowly and with purpose, further advancing a haunting melody. It all adds up to an elevated sensation encompassing an opulent audio experience.
Check out these tracks, including how to obtain the entire Dead Leaf Echo catalog here:
Previous features about the band on this site can be found here - here - here - here - here and here.
* * * * *
In March of 2021, Austin, Texas heavy-groove blues-rockers The Dizzy Bangers received a detailed analysis here on their current-at-the-time track and video for “Under The Sorrow.” Nearly a year later the band is back with a brand new song “Painted Bruises,” showing off an advanced level of musicianship and lyrical mastery within the heavy rock genre. Once again the DaveCromwellWrites audio annotator finds itself aimed directly at the heart of this creative release, for another worthy review.
Glistening guitar chord open the track with a gentle touch, before a busy melodic bass and cymbal accents join in. Those quieter moments are short-lived as fuller band instruments mark out a forward progression via syncopated full-trapset percussion, rumbling bass and snaking lead guitar lines. Initially hushed vocals convey lyrics depicting a manipulative seductress who can “hypnotize even the best of you.” Shifting into higher register for subsequent vocal lines suggest a level of mania encountered, and how there's “nothing you can do.” Hitting the first chorus is a powerful shot with all three musicians coming down hard on this hook that goes “no she'll never pay for anything she's done - yeah she'll get away with everything she's done.”
With additional verses unfolding, the story reveals a struggle with someone who “don't sleep for days” and is “hearing things again.” As friends implore you to “walk away man,” because you're dealing with an “evil one” who's “will be done,” the mind control takes hold “when it's all a blur.” An intense rhythmic instrumental break rolls out here at the song's midway point, with strident guitar licks alternating against drums and bass throttle. The rhythm section thunders hard as guitar leads soar over top. Classic blues-rock power trios come to mind at this point, with those guitar lines executing a fluid style, while adding a growling edge to the tone. The same qualities that legendary musicians like Leslie West and his band Mountain electrified audiences with back in the 1970's.
Reverting back to that initial soft-vocal style on the final verse lines “from a steel cage looking out, how could this ever be,” morphing once more to higher register harmonies and eventual song title line reveal. The final chorus explodes with a combined vocal passion and rhythmic intensity that brings to mind early-2000's era power-rockers Deftones (who are still going strong today). Specifically where heavy, locked-together shifting drums, bass and abrasive guitar rhythm provide accents, hooks and emotional center. Emphasizing superior chops with intelligent, thought-provoking lyrics.
Two distinct musical styles get the feature treatment here this time around, showcasing a wide spectrum that inhabits this genre we define as “rock music.” Alice Limoges is a musical storyteller combining pop, jazz, rhythm and blues with rock and a healthy dose of soul, while the hard rocking SickWalt pushes the boundaries of rock and punk, both creating their own unique hybrid sound.
Presented here on DaveCromwellWrites is the premiere of Alice Limoges brand new video for her latest single “Yellowstone.” Released today SaturdaySeptember 14, 2019, the song and video rolls out a gorgeous blend of dazzling sight and sound wrapped around a strong lyrical message of setting yourself free. Initially inspired by the bold adventure taken via a Himalayan mountain expedition in India last year, the enlightenment gained from that extreme and difficult undertaking served to inspire this song and video's creation.
Originally hailing from the Northeast coastal state of Maine, Alice now calls New York City home. While the city that never sleeps might be the place to further your musical career, there's something to be said for the wide open spaces and natural beauty of places outside busy urban centers. Disconnecting from electronic communication devices and focusing on our planet's undeveloped beauty is an important message in these high tech times.
- - -
Recorded at Right Angle Studios in NYC, the song (and videos initial imagery) focuses on Alice's piano chords and melody, immediately creating the sensation of an unfolding journey. The destination of Yellowstone Park is quickly shown, followed by quick cuts of car travel and then Alice herself singing the song in recording studio style. “Lets go out to Yellowstone - Drop it all and drive tonight and on through the morning” she sings as her accompanying musicians on drums, bass and guitar are shown in quick succession.
- - -
Those three instruments provide a solid underpinning combining a light-touch indie-rock backbeat to the softer feel jazzy guitar and piano chords. As for the vocals and lyrical content – while recent comparisons to Fiona Apple and Sarah McLachlan are certainly in the ballpark, Alice's hybrid sound of pop, jazz, rhythm and blues, rock and soul bring to mind the talents (and vocal tone stylings) of legendary New York “folk singer” Laura Nyro.
- - -
Like most quality songs residing in the pop realm, the track gets to it's dominant earworm hook in under a minute with the dramatic statement “If we leave right now - by what hour - Will they notice we went - That I didn't pay my rent - I've got these city blues - Got myself to lose - And I'll get lost soon” resolved by the lovely turn-around (and back into the verses groove) “If I stay.” The video enhances all of this further with the most stunning natural images that is the everyday majesty happening outside of city life in big sky country USA.
- - -
Check out this inspired song and breathtaking new video from Alice Limoges here:
New York City's SickWalt delivers a heavy, hard rock sound that fuses a similar energy and lyrical ethos found in the most influential punk bands. With Walt “Sick Walt” on vocals, and Matt Middleton on guitar, the band’s current lineup includes legendary drummer Eric Arce (who has played with notable punk bands The Misfits and Murphy’s Law) and bassist Rob Buckley (previously with the equally illustrious Cro-Mags). With two EP's under their belt, a full-length album “Shove n' Love” will be released on September 20th.
Opening track “Demand The Stage” comes out blazing from the very first note, with slashing power chords, locked-in bass guitar and drums, a riff straight out of the Angus Young playbook drives everything forward. “You're always whining on and on,” Walt sings - “yeah who you were and now you're gone.” Delivered in a vocal style that draws from dynamic front-men like Rollins, Danzig, Bon Scott and Brian Johnson, the lyrics burn at those unwilling to seize the day. “You're talkin' trash like you mean it – the saddest part is you dream it – when no one listens you scream it – and you don't know.”
Key Hook Line : “You don't know – you're a know it all” - which is repeated right through the end-out.
An aggressive syncopated drum pattern and searing precision guitar riffs kick off the barely over two minute “Die Like Belushi.” With those riffs initially placed between the vocals lines guitars are soon run continuously throughout. This early Stooges vibe takes a sharp turn midway with a slowed-down tempo change enhances by thundering drum fills and momentary bass guitar emphasis. While that heavy progression stomps along, quick-stop space is provided for Walt to drop in lines like “meet me on the corner of 8th and Avenue D.” The opening maniacal progression returns full throttle with the ultimate, sobering statement “when I die like Belushi, excess is what I bleed.”
“Song For Johnny” introduces a slightly western, cow-punk feel and lyrical content that brings to mind the work of a band like Social Distortion. It's still very much in the rock genre, while hinting at the twangy undercurrent often found in the now classic recordings of X and The Gun Club. An impressive chugging guitar and rolling drum mid-section eventually bursts into a searing guitar solo that would not sound out of place with any big time southern rock band. It ends on a triumphant note with the lyric “that train is mighty.”
Other cuts like “Million Dollar Man” chug and stomp like the best of AC/DC. There's that Bon Scott/Brian Johnson hybrid level again in the way Walt's vocals drop between crunching Angus Young style chords. Straight ahead 4-on-the-floor drumming on the verses gives way to slithering bass, leading into a sinewy guitar solo. “My strength come from the inside” Walt sings, indicating the necessary component for the confidence needed to “strut like a peacock.”
Tapping into the aggression that served The Sex Pistols so well on their “Never mind The Bollocks” debut album, “Punk Almighty” is unleashed with similar force. “Rebellion is your nature. Attitude is the norm," Walt sings. "Adolescent uprising. Spitting in the face of danger. . . . now a poster on my wall. Wasn't always clear. The truth hurts sometimes. DIY is the mantra – violence is the guise. Anarchy the common theme, a wicked mind arise. So much more than the music, we keep a state of mind." The Chorus delivers a triumphant statement: “All hail the punk almighty, you gave us a place to stand. Turning children in to men. All hail the punk almighty, you took me to the promised land. All hail the punk almighty, you gave us everything you can.” A roll call of influential artists get name checked with Joe Strummer, Wayne Kramer and Iggy Pop earning special mention.
Ten songs in all, the full-length long-player comes out on September 20th.
SickWalt will play an album release show on the 20th at The VNYL- Vintage New York Lifestyle
100 Third Avenue
New York, NY 10003. Find out all the details about it HERE.
Supporting their recently released new album “Damage and Joy,”The Jesus and Mary Chain tour touched down in Brooklyn, New York on Sunday, May 14, 2017. As this also happened to be the second Sunday of the month, it was also Mother’s Day.
While the Reid brothers and their scheduling team may (or may not) have been aware of this significant date (Mother’s Day in the UK falls on an entirely different day) there was plenty of time for family celebrations earlier in the day before heading out to the show.
With their first album in 18 years getting plenty of positive reviews (including a thorough track-by-track historically accurate analysis here) the real test would be how these new tracks fit in live up against their entire more celebrated catalog.
It is with great joy and satisfaction to report that new songs like show opener "Amputation" fit in seamlessly with the more well-known and much beloved tracks like "April Skies" (from second album Darklands), "Head On," "Between Planets," "Blues From a Gun" (all from the made-for-American-consumption 4th album Automatic) and "Far Gone and Out" from their 1992 release (and 5th album) Honey's Dead.
Jim Reid now appears to be in the fittest condition than any of the previous tours since their revival in 2007. Looking lean and healthy, his command of the stage is self-assured as he leads the band through an impressive 23 song set.
The first guest vocalist of the evening was Bernadette Denning who reprises her duet with Jim on new song "Always Sad." Her sweet demeanor and warmth immediately endeared her to the audience, as her voice blended quite well with Jim. That she is touring nightly with the band (being William's girlfriend) means every stop on the tour is treated to this performance.
William is a dominant sonic force from the very start, and one of his top D+J contributions "Mood Rider" is delivered live as a driving full band chugger. Infused with an unmistakably Reid guitar hook melody, Jim embraces his brothers lyrics, delivering them now like they are his own. A slithering chorus sets up that classic William semi-hollowbody electric distorting in on itself.
--
As the current tour started a few months prior, working it's way across Europe, the band executed a seamless blend of classic songs like "Teenage Lust" from Honey's Dead with newer material.
--
Psychocandy songs like "The Hardest Walk" seem the most effortless now, having played that album in full across the globe only a little over a year ago.
--
Current D+J album cut “All Things Pass” (originally called “All Things Must Pass” when initially recorded in 2008 for a television series soundtrack album) now leans heavily on William’s guitar, both with the intro feedback and rich deep-toned licks. The chorus is big and sing-along ready with amped-up vocals on “Hey! Look out here it comes. All things must pass -but not too fast.”
--
Another popular holdover from the previous tour is the deep and moody classic "Nine Million Rainy Days" from Darklands.
--
Classic stand-alone track "Some Candy Talking" has been a mainstay in the setlist since they first reunited in 2007. Their version of it on this evening produced the same glorious chills it has always done from the first time hearing it. Captured here is this night's performance:
--
Including "Halfway To Crazy" from Automatic in the set had the crowd pumped and singing along, as many US fans credit that album for initially bringing the band to their attention.
--
Where on the previous "Psychocandy" tour the band positioned noisy track "It's So Hard" as the extended jam rave-up, they now use "Reverence" as that full out sonic assault. It's the perfect song for it, and William really cuts loose with extended forays of explosive guitar mayhem in the nearly 9 minute performance.
Every bit as good as that sounds, here is the full recording from this show:
After going off stage for a few minutes (since "Reverence" was announced as their [wink, wink] "last song") the band returned with an added member.
Much has already been written about youthful popstar Sky Ferreira's involvement with the band, and one could argue the Brooklyn audience got a "bonus" with her appearance here. The first one done together was the song she provided guest vocals on the new album - "Black And Blues." It's another great song from Jim and just about any competent female vocalist could do it justice. Next up was one of the two that former Belle and Sebastian vocalist Isobel Campbell sang on the album, "The Two Of Us." The third and final song of the "Sky arc" was the traditional female guest vocalist spot on "Just Like Honey."
Following that, the band rolled through two classic Psychocandy songs, "You Trip Me Up" and "The Living End." Higher energy restored, the crowd churned up and proudly sang along with the lyrics "I feel so quick in my leather boots - My mood is black when my jacket's on - And I'm in love with myself - There's nothing else but me - And an empty road - And a cool cool wind and it makes feel so good!"
Closing out that first encore with an inspired version of D+J's second track "War On Peace" had them delivering live the promise that track presented on the new album. With it's slow build-up and pensive lyrics from Jim - "I was sharp, but now I'm old - give my secrets up like gold. There's a fire beneath my feet - light's the longest losing streak." His internal journey to find peace of mind (revealing the "peace" and "war" in the title isn't a literal military combat reference after all) leads to the resigned chorus hook "so why would I run? where would I run to?" Ultimately it all shifts into a higher gear with the explosive chugging full throttle rock out coda.
One more trundle off stage before coming back to deliver Psychocandy's "Taste Of Cindy" and final song of the night "I Hate Rock 'n' Roll" (from their third compilation of B-sides and rare tracks Hate Rock 'n' Roll). A spectacular concert from start to finish!
Getting the opportunity to chat with Jim Reid is a privilege that is never taken for granted. When he personally thanks you for coming to the show, you know he means it. He seems in a really great place now - mentally - emotionally - and it really shows. Wingman Andrew there looks like he's ready to join the band!
Recommendations from friends about what you should listen to can be a hit or miss affair. Wading through those offerings is time consuming, but every once in a while something grabs your attention and you immediately take to it. Reading/London, UK collective The Pink Diamond Revue entered the fray this way, and their subsequent 12” vinyl release arriving in the mail sealed the deal.
Featured A-side track “Miss Lonely Hearts” makes full use of a deep tom-tom jungle drum beat while a vocal sample stating “were not a rock and roll band” declares something of a mission statement. A twangy noir detective theme guitar line emerges carrying the spirit of 50’s guitar legend Link Wray’s ultra-cool style within that rhythm.
In lieu of an active vocalist, select spoken word samples are used like “nobody seems to pull their blinds during a hot spell like this.” However, contrasting that retro feel, bubbling synths appear creating a hybrid sound that ultimately negates classification into any one single time period or era of music. Vocal samples continue to pop up in the mix at various points with statements like “too much perhaps” and the track title “Miss Lonely Hearts – so lonely that even death seems like a friend.”
The associated video draws from a uniquely retro archive of film clips that show imagery like New York City’s Roseland Ballroom in the 1940’s, women dancing at sock hops, brooding cowboys and sharp dressed gangsters.
Tim Lane plays the guitars and appears to be the driving force behind this vision. In addition to collaborator Rob Stock on drums, a main component of their live show and videos is third member Acid Dol who they describe as “a model from another dimension.” This female mannequin torso provides a visual element that makes up much of their acid-psych imagery.
There are a number of equally weird and wonderful tracks to be heard on the band’s YouTube channel here, with the promise of more coming soon.
Saturday, May 27th was the final night of Max's Kansas City Festival, commemorating (among other things) the 1976 LP that legendary New York venue released.
Of particular interest was the appearance of Philippe Marcade, who has been on a month long book tour promoting his inside look at the NYC underground scene, Punk Avenue.
While that book is highly recommended (and more on it later) this night served as a reminder of how good bands like The Senders, Rousers and so many others were when they started out in the 1970's - progressing through the 80's 90's and even the aughts - up to and including this very evening.
For this segment of the show, New York City bar band rockers The Rousers served as the core unit where a number of guest stars rotated in and out, reuniting various original members.
Playing a full set of their own songs, The Rousers showed why they can kick out the jams with the best of 'em!
Phil Marcade adding his high energy gravel voice and hyper speed blues to the mix created a heightened level of excitement as the show progressed.
A Senders reunion was underway as guitarist Barry Ryan and Sax/Harmonica player Danny Ray stepped in to deliver original rock and roll goodness.
The Senders were one of the biggest and baddest blusey rock bands all through the 70's, 80's and 90's. Here in 2017 that energy returned with a palpable heat during these New York shows.
Danny and Phil
Ever the showman, Phil appears to be shooting a web like Spiderman!
The Senders reunion was full on as original founding member and bassist Steve Shevlin returned to lay down that R and B groove.
Scorching licks from Barry and Tom.
Bill hails the legend that is Steve Shevlin!
The Senders and Rousers combined delivering that rhythm and blues goodness.
There were more reunions as well as original members of The Rousers sat in went deep into the bands early catalog.
The motivation for this particular show was the recent publication of Phil Marcade's brilliant memoirs Punk Avenue. A must read book if you love the inside scoop on New York City's authentic rock scene from 1972-82. Written from the perspective of Phil's own life story, the history of Max's Kansas City and the gritty NY punk scene gets documented with often hilarious detail. That cover photo of Steve Shevlin, Johnny Thunders and Phil was shot for a Village Voice article in 1979.
Notice the similar style painted jackets the band above (Justin Trouble) wore, to the one Johnny is wearing in that photo. Occurring in the same time period, a brief history of Justin Trouble is covered right here on this site.
What The Rousers played at this show.
Earlier in the evening, long-time Phil Marcade fans (fresh from reading his book) took a snapshot with the author.
The venue is right on the corner of Joey Ramone Place. As Phil says in his book - who would have imagined there would be an official city street in NY named after him!
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.
