Track-by-track reviews of full-length albums and a new video release provide the creative focus for this month of March springtime DCW Feature. Previously covered artists from trusted recording labels have released brand new work that justify attentive listening, followed by deep dive analysis. With the literary details of this review now fully completed, one is encouraged to read along and experience the sights and sounds of these musical artists latest creations.
North Carolina based singer-songwriter Chris Church is no stranger to this websites musical realm. When first introduced by the inimitable label Big Stir Records, the album “Darling Please” garnered a glowing review here. That was followed up a year or so later with a full analysis of the brilliant “Radio Transient.” Now Chris is back with a brand new album “Obsolete Path” which is once again released on the Big Stir label. Exploring the elements of power pop, Americana, hard rock and new wave, a proper listen and analysis of the music created follows below.
You can’t help but set the correct thematic direction by opening your album with it’s title track. Surrounding that proposition with boldly strummed, resonant acoustic guitar chords serve the stated lyrics well. The defiance of concrete and sensible decision making (“refusing to do the math”) is a fork in the road wisdom choice for those who’ve lived enough decades to recognize it. The albums first single release “Sit Down” trades the acoustic for some big time electric guitar work. The drums are loud and forceful and hooky riffs abound all around. Chris adds a processed sheen to his vocals as he ruminates about being “older” and “out of the frame” as a veteran journeyman rocker surveying the current music landscape. The ultimate rebellion in stating “I’m not going anywhere” sits well next to the catchy repeated title line vocal harmony.
Check out this super fun video created by Lori Franklin, featuring Brian Beaver (drums), Lindsay Murray (backing vocals) and some cool mini-instruments!
It’s hard not to think of classic era Fleetwood Mac when listening to what Chris already admits is “perhaps the Lindsey Buckingham-iest song [he’s] ever written” with the reverse-logic romantic “I Don't Wanna Be There.” In fact, with such a prominent, driving bass line, perhaps it’s actually John McVie who deserves some credit as well. The clever lyrical turn is that no matter how enticing a locale, it’s not worth being there without the one you love along as well. Fourth track (and follow-up single) “She Looks Good in Black” is one of those titles that’s so good, you wonder if it came first and the rest of the song then built around it. A slice of almost-country meets Americana, the lyrics make you chuckle. “I had to let go of her hand, She left to see a satanic band, The devil’s got me beat again” is how the opening strains go. Her knowing “exactly what to wear” (along with the obvious black clothing there was “dead flowers in her long dark hair”). Ultimately hoping “she had a real good time” and that at the very least “the evil was sublime” the track itself is a riff and harmony loaded toe-tapper.
There’s a wonderful balance on the lyrically caustic, musically angular alty-rocker (and focus track) “Life On A Trampoline.” The instrumental motion (a churning back and forth) suggests the up and down movements of that bouncing device. However, the lyrics come down hard on those always “saying the same thing,” who’ll “say anything” because “you’re just dying just to be heard” and “live to be seen.” In the end “it’s all the same – no matter what you think you mean – you’re saying the same thing” (over and over). The first co-written track (with his wife Lori Franklin) “Running Right Back to You” emphasizes big electrified power chords, pummel-hard drumming and prominent bass guitar. Sweet harmonies lace the title line chorus, while new-to-this-writer word “limerance” (it means “obsessive infatuation”) provides an opportunity for vocabulary expansion. Bonus points for the heavy metal guitar solo towards the end.
The only non-newly written track comes just-past the albums midpoint with initially penned 20 years ago “Tell Me what You Really Are.” Initially acoustic guitar, singer-songwriter driven, the full band comes in on the second verse and remains throughout. A love song in it’s purest sense, although written from a second meeting years later point of view. Once again, a sinewy electric guitar solo just past the bridge adds musical weight to it all. Old western twang is the order of the day on country-tinged “The Great Divide.” The overall vibe is Glenn Frey fronted Eagles, easy-groove California rock and roll. Even the harmonies roll in like a long lost relative to mega hit “Take It Easy.” A noticeable descending bass guitar line stands out the title explained lyrics “even if it’s the great divide, I’m on your side.”
Another Church/Franklin ("Chanklin?") co-write comes via the first-wave 80’s era computer fascination “I’m a Machine.” The fidgety interplay between bundle-of-nerves guitar chords, bass and drums suggests what a band like The Police did in that time period. This couplet “nothing is too far, nothing is lame, slaying and ghosting, re-earning the shame” sums up the overall lyrical turmoil. The albums third co-write (with celebrated musician Bill Lloyd) “Vice Versa” opens with a gentle mandolin breeze. That quickly morphs into busy prog forms, emphasizing angular guitar figures, tom-heavy drums and counter-melody bass. A song about universal changes summed up with these lyrics “the seasons flow and time is running in a circle (and vice versa).” The gentle mandolin returns for a brief coda, complete with at-that-recording-time incidental studio chatter.
A lumbering noisy guitar and drums stoner-rock progression serves late album (and longest) track “Like A Sucker.” Instrumentally similar to those maniacal live-in-the-studio jams Neil Young & Crazy Horse get up to, the vocal delivery is more contentious. Vowing to be “fooled for the last time,” and not be “just another sucker.” Choosing to close out the album the way it started, the acoustic guitar driven “What Are We Talking About?” is a musically sparse, lyrically focused rumination on – everything. Questions for the universe, delivered with sincerity and perhaps a glimmer of hope for the future.
The album is out via CD and Streaming worldwide on March 28, and can be ordered here at Big Stir Records
Two previous reviews on this site of Chris Church can be found here: “Radio Transient” and “Darling Please.” Which also qualified for each of those particular year's annual DCW Best Of.
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It was less than a year ago when this site did a thorough review the Julian Shah-Tayler (a/k/a The Singularity Music) brilliant recreation/tribute album of David Bowie’s “Diamond Dogs” on it’s 50th Anniversary. The previous year his full-length record of original songs titled “Elysium” was dissected via studious listen and analysis, as well as follow-up single “Fall Apart” six months later. Now Julian is back with a brand new album of all original songs with the curious title “Honne/Tatemae.” Those Japanese words emphasize the duality of life, with the former revealing our true feelings and desires, and the later being what we choose to display in public. A complete track-by-track review of each songs essential offering follows below.
Opening with the album’s brief introductory title track, ambient backward loops rise slowly from the mist as Julian delivers poetic spoken word musings. He states: “In the Isthmus between birth and death, let us illuminate the world with the dance of our brief candle.” That merges into the next (and first full length) track “ForEva,” which initially floats into focus on fluttering wings before stronger percussion, synths and violins provide classical music vibes. Julian’s well-honed Bowie-esque vocals always stand out, while a very active bass guitar powers it all forward. Positive idealism shines through on it’s chorus: “If it takes forever and a day, we’ll watch this world burn away. If it takes forever and a day, you are still my destiny.” Listen here:
A uniquely processed harsh-slap percussion track, prominent bass, metallic-stringed acoustic guitar and an extended note melody serves up third entry “Sufferation.” Vocals are delivered with that romantic croon the aforementioned Mr. B (along with acolytes like Cy Curnin of The Fixx) have done for years. Julian puts his unique touch by adding original ambiance on line endings (“through nowhere,” “life mare,” “foreverywhere,” “this love affair”) and on the dreamy chorus. “We’re lucid in our daydreams, suffocate in moonbeams - our separation . . . dislocated through our sufferation.”
Fourth entry “Malicious Intent” adds buzzing synth behind previously established high production values focused on quick keyboard stabs matched to sharp percussion and violin textures. A scathing warning at a “second rate mediocrity” who “started a war” to “make it stop” before this reciprocal “intent” will be forced to “burn it all down.”
Check out this Darwin Meiners mixed, Kaiber AI video for this song here:
A mechanized robotic undercurrent shares space with sheering guitars on fifth track “Bleed.” Although static in it’s forward progression, there are touches of electric funk (in that way Kraftwerk sometimes does). Especially on the chorus, which goes “Cause I don’t want to see you bleed no no no, don’t want to see you bleed.” A studio recording allows for creating vocal arrangements, which at times finds the singer taking alternating lines, approximating a duet with oneself.
Just past the records midpoint is the tom tom drums driven, slower burn groove “Turn To Stone.” Julian’s vocals are much less Bowie-styled, but instead closer to Simon LeBon in pitch, register and phrasing. In particular when going to falsetto on bridge sections that go “and those colors turn to grey, and these words have nothing to say.” The chorus “In the dead of night on the long way home, you suffocate and turn to stone” approximates the aforementioned SB’s mid-range. A lovely ambient change towards the end features unique keyboard textures, acoustic guitar and original repeated vocalizing on the words “You ARE.”
As previously mentioned, a detailed review of initial single (and this album’s seventh track) “Fall Apart” was presented here on this site at the end of 2023. Read all about (and listen to) this classic 80’s style keyboard-synths driven song of heartbreak right here.
Mysterious vibrations and plucking dulcimer sound usher in eighth entry “Fisk.” Open space allows vocal phrasing to flourish, while classical violins provide necessary emphasis. The chorus dabbles in electro-funk, with poetic lines “of all the fish in the sea, the biggest is me,” and “of all the birds in the sky I swoop and I dive.” Essential repeated line “I’ll turn the pressure on” leads everything out to it’s ultimate conclusion.
Angular synth figures dance in mathematical sequence on the cleverly titled “Buds an the Bes.” As suspected, that title gets fleshed out to it’s universally understood meaning on a chorus that states “Before you get down on your knees - How do the birds and the bees?” The answer to that comes in the form of two more questions, “Do they sing when they sting? Do you still sing?” An unanticipated distorted electric guitar enters the fray, counter-balancing the prior electronic rhythms.
The albums penultimate track comes with the creatively vocalized “This Charming Life.” Rolling out stylized “do do do do do’s” (sounding like otherworldly children), a David Sylvian-esque instrumental groove moves everything forward. Julian frequently moves his voice into a falsetto register, both solo and harmonized with himself. “You know I can light up the sky with fire,” stands out as essential repeated sentiment.
Julian brings in heavyweight Bowie-band instrumentalists Mike Garson and Carmine Rojas, as well as the prolific David J for final (and albums longest) song “Lights Out.” Moody and piano sprinkled, a busy calypso-like percussive and rhythmic undercurrent is just one of numerous unpredictable elements. Garson’s jazzy piano and the overall willingness to expand traditional song structures is reminiscent of Bowie’s own later period work. David J is a master at dropping in a simple, yet so effective standout bassline (like the one that powered “So Alive” via it’s catchy-hook end-out on that hit). Busier bass guitar segments may also be the result of Carmine Rojas’ inclusion. This post-apocalyptic story turns on it’s hook “after all the love is gone, will the last one on this world, please turn the lights out?” Doubling down on this sentiment, Julian concludes with the spoken word narration “we will be erased like a face drawn in sand on the edge of the sea.”
Previous DCW Features on this artist can be found here, here and here.
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A recent notification that one of Sunday Records finest bands The Proctors had put out a new video was certainly motivation to investigate. It was only last August when this site reviewed a number of tracks from their most recent album “Snowdrops and Hot Air Balloons.” Revisiting one of the standout songs from that album, a full video treatment is now given to “You and me and the sea.” A new opportunity to give full attention to both this recording and it’s fresh imagery inspires the words below.
As the band is shown walking around world-famous “Brighton Palace Pier” (an English amusement park with similar historical qualities as Brooklyn’s Coney Island or New Jersey’s Asbury Park) the songs opening strains chime into focus. Female background vocals are the first voices heard, gently singing about how “it’s just a reflection in the water.” Shots of the band playing their guitars are intertwined with footage of the ocean, seagulls and carnival rides. Male lead vocals seek out a “rescue remedy” for “broken hearts.” Poetic seaside lyrics continue as “castles in the sand built by hearts of stone that could not understand” are remedied by an offer to “close your eyes and take my hand.”
Capturing the adventurous joy of a day at the beach and arcades with your friends (or in this case, your band), emotional feelings are also present too. The heart-tugging pre-chorus bridge displays this perfectly with the lines “we listen to that song, it felt like we belonged, something felt so right that day how could it all gone wrong?” When that chorus hits, its title-line simplicity is all that is really needed. However, a second line (and repeat from the intro) “it’s just a reflection in the water” acknowledges how these memorable moments are often fleeting and ephemeral. Just past the mid-point allows for a layered acoustic, electric and bass guitar instrumental segment. Footage of the band in front of the Pier’s many sights (graffiti walled walkways, telephone booths) and attractions (mini-duck games, exotic ceramic cats, the crazy mouse ride, merry-go-rounds) add fun to this guitar, synth and vocal hooky composition.
Check out this wonderful song and video here:
Follow The Proctors via their Social Media on Facebook and Instagram
2023 was another stellar year of new music reviews here at DaveCromwellWrites. As we come to the end of it, the annual Best Of is now presented for perusal. Each month's entries are covered, featuring the best of the best artists who put out compelling new recordings. Old favorites stand alongside brand new entries, all deserving of the in-depth analysis they received. What ties every one of these artists together is their own high level of recording acumen and overall creativity. With that said, dig in to the 2023 Best Of DaveCromwellWrites Features.
With springtime now beginning to bloom here in the northeastern region of America, the motivation to review returning artists by way of trusted labels and direct contact sources is strong. Compelling new releases from musicians working in favored genres provide the impetus for this months entries. What remains consistent since the very beginning of this all is a dedication to perceptive listening, followed by a life-long quest for literary excellence.
Back in 2020 a song from UK based gazey-psych-stoner rockers Excellent Skeleton showed up here in the DCW world and was given a deep review. That track (“Stop Waking The Sun”) now appears with six other cuts on their just released album “On Mercury Sea.” Having previously lauded their “unabashed sonic cataclysm” and “pure aural mayhem,” attention is now turned to these additional compositions.
Album opener “Moving Away” rises up slowing on distant synths and twangy guitar figures. Soft vocal chanting can be heard entering the mix as foreboding textures are soon met with full band instrumentation. As this doom-laden groove lumbers forward, male-female vocal harmonies emerge (and sometimes submerge) expounding on “sun,” “highway,” “roadway,” “sky” and “the night.” With those mysterious images to ponder, an elevated manic guitar solo steps into the center of it all. Repeating that vocal passage once more, the band stomps its way to fade-out conclusion.
Follow-up cut “Train Station” emerges out of an ornate, FX-enhanced guitar figure soon met by a quick -tempo percussive beat. Lead male vocals take the dominant storytelling role, however wisely incorporation softer female background voices for dreamier responses. It all comes together on the lines “when you shine, you shine like gold – upon the soul.” Closing out with the repeated phrase “perfect moment” elicits an almost The Cure-like feel in attitude, despite the harsher guitars.
Emerging out of finger-picked open note chords, 8 minute epic-length “Mosquito” soon morphs into a full-throttle raging stomper. Tandem sung male-female vocals serve up impassioned lyrics with precise monotone delivery. Chord change segments shift away from the frontal onslaught momentarily, before returning with psychedelic guitar solos over the main progression.
“No Escape From You” adds a romantic-gazer feel to the proceedings, while maintaining the now-expected pummeling undertow. The Kevin Shields/Belinda Butcher vocal style is in full use here, both on the lovely verse progression and resolving title line chorus. Album title track “On Mercury Sea” is a two minute, 45 second ambient dreamscape of keyboard swells and layered, strummed guitars. A spoken word segment is introduced in the final minute, reciting what might be a fever dream about life's universal mysteries.
Sixth cut “Key To The City” nimbly blends pitch-bended, gazey guitars with a heavier bass and drums rhythm section. Space is cleared out on the verses for rising-progression tandem delivered vocal renderings. There's a particularly appealing high harmony that attaches on the end of periodic voicings. At over seven minutes in length, there's ample room for extended explosive instrumental forays. As stated at the top of this review, close-out track “Stop Waking The Sun” has been fully reviewed on this site, here.
Back at the beginning of 2022Big Stir Records tipped this site off to the talented North Carolina singer-songwriter Chris Church. The album released at that time “Darling Please” received a full DCW track-by-track review. Chris now returns with a brand new album “Radio Transient” which once again gets a no-stone-unturned analysis right here. Produced and Engineered by Chris and his wife Lori Franklin, familiar names from the previously reviewed album are back. Drums were played by Nick Bertling who also provided recording assistance as well as the overall mastering. Lindsay Murray of the band Gretchen's Wheel once again contributed lovely harmony background vocals. For his part Chris wrote (with notated additions) all the songs, sang lead and background vocals, played guitars, bass guitar, synth, keys and percussion.
The album kicks off with the noise-pollution-assault inspired space fantasy “GCRT” (which is an abbreviation for Galactic Center Radio Transient) from whence the album title comes from. Bass guitar driven in that Joe Jackson “I'm The Man” style, vocal couplets of exasperated frustration give way to more cerebral plateaus of fantasy escape “detached in the physical plane.” Yes, it's a complaint song (totally relatable) where acknowledging “incoherent emissions are free” accurately point out “yes of course it's you, it isn't me!”
Initial single “Going 'Til We Go” fuses a pretty melody chorus with lyrics on the joys of marriage and how “shopping” might possibly be the wife's second favorite thing in life (hoping her husband is still the first). The hook is gorgeous “anything you want to tell me, anything you want to sell me, I'm gonna buy.” Harmonies on those lines are perfection and capture the spirit of 70's creatives like Dan Fogelberg and other artists of that genre.
Listen here:
A propulsive drum pattern and oblique bass guitar progession mark out dance floor conundrum “I Don't Wanna Dance With Me.” The surprising ambient middle section (repeated once more near the end) is a welcome reprieve from an otherwise forward driving groove, lyrically fixated on a reluctant dance partner. The pace slows somewhat on the power ballad “One More Chance To Get Over You” (which is a great title and theme). The lyrics are excellent, with tender thoughts like “sold me on the plan,” and insightful ruminations “waiting game inside my dreams.” Additional over-the-target lines “it's either breaking down or breaking through,” and “when you look me in the eyes I'll be so strong” drive home how much pretending we actually do in this life.
The self-confessed Lindsey Buckingham/The Fixx/Hall+Oates inspiration is on full display with “I Think I Think I Like You.” Equally important to the overall sound on this one is the much-heralded Danelectro 12-string guitar which apparently provides the bulk of chiming twang on the entire album. The sugary background vocals are particularly sweet here, employed in an appealing elongated mode. Quirky synth sounds are sprinkled throughout the Darryl Hall/Todd Rundgren80's inspired “Already In It.” Minor chords (or are they 7ths?) tend to punctuate section ending lines, underscoring that “blue eyed soul” of the previously mentioned Hall+Runt. The lush romantic male background vocal harmonies emphasize that point further. Extra points for rhyming “starting to fall” with “ever need a wherewithal” and “right on time” with “shift the paradigm.”
Nick Bertling's rapid-fire drumming, Chris' Danelectro chime and Lindsay Murray's honeyed background vocal sheen reinforce the lyric heavy “Over And Out.” Loosely themed on “gossip,” the repeated ending refrain “you know you could always just stop” is good advice all around. While synthesizer plays a large sonic role on breakup song “Gotta Go Gotta Ramble,” the bass-guitar and drums interplay driving everything along is even more impressive. Once again, soaring vocal harmonies on the title line chorus lift the mood above it's subject matter.
Bass and drums provide the focused underpinnings for the popular bpm-dance-beat “Far Too Late.” Synth twiddles, elevated background vocals and an extended guitar-noodle mid-to-outro section add needed weight to lyrics that “rattle 'round like bumper cars in your head.” Video game samples make their way onto album closing track “Flip” which includes the appropriately related phrase “ready player one.” Standout lyric “we all need someone that we CAN do without” (emphasis added) drives home the absurdity of things we think we “need” and can't (but in reality “can”) do without.
The album is out on CD in record stores worldwide and streaming everywhere on March 24, and is up for pre-order at www.bigstirrecords.com, the BSR Bandcamp page, and online retailers now.
A year ago this month Canadian “mod” indie rockers Star Collector received an initial DaveCromwellWrites review feature on their video single “Green Eyes” off of their 5th album “Game Day.” The band is now back with a recently released 6th full-length “Attack, Sustain, Decay . . . Repeat.” Twelve songs in all, the DCW microscope now digs down into this latest work for a track-by-track review.
Opening track and the album's first single “Feel It Comin' On” benefits from a lively video to accompany it. Bursting out of the box in full motion, power-pop guitar chords and snare-to-tom-roll-drumming thunders underneath memorable slide guitar riffs. Consistently thematic in style, video imagery colorfully displays the 4-point musical-reference meaning of the album's title. As singer/songwriter/frontman Vic lays the vocal lines, “It's all or nothing” becomes an immediate catchy bridge hook. There are elements of The Who-style full band punctuation on end-of-verse-lines “my time,” “what's mine” and “stone jive” - where, bass guitar, and power chords lock in for emphasis. On reaching the title line chorus, a smoother plateau is reached with somewhat softer vocals. Momentarily putting the slide down, lead guitarist Steve rips a killer solo, just after an amusing lyrical bridge that references “pie,” “cookie jars,” “pile” and “rile.”
Check out this super fun song and video here:
Next cut “Beat It To Death” doubles-down on that power-pop prescription, with slashing guitar chords and bass guitar/drums tandem accents. Sweet wah-wah pedal riffs add a momentary Clapton-esque feel to it all. “The Back Of Your Head” comes on initially with a quieter, unaffected vocal style paired against a single guitar only. With the band kicking in fully after a minute and a half, buzzing guitar chords and Keith Moon drum fills are the preferred modus operandi. The songtitle meaning ultimately becomes clear as a metaphor in being able to see what's coming behind you. “Halfway Home” comes wrapped in an easy cruise groove, musing on life's journey as one big circular adventure.
“Running Through The Rain” adds a rich sonic element of organ into the mix, enhancing background vocals and an emphatic chorus. Similarly, a big-time guitar riff stitching the verses together is only surpassed by the nimble-fingered guitar solo midway through. “Black And Baby Blue” builds around an acoustic guitar, soft brush drumming and intimate vocal reading. Dealing with confidence-turned-self-doubt issues, essential lyric “holds you down, without a sound, and what else can you do?” defines the mood.
“If We Can't Take A Joke” is propelled along over a buoyant bassline that runs like a snake through the entire track. Drawing it's title from a common expression, it's ultimately used as a summation for perceived unrequited efforts. “Crashin'” brings back that classic cowbell-on-percussion groove and crunchy chords/bass guitar tandem. Rhyming the title word with “fashion,” “passion,” “smashin'” and “trashin'” seems like the most sensible thing to do.
“Cross My Heart” is a gentle finger-picked acoustic guitar driven number engaging in clever wordplay about a serious matter. Namechecking two popular “Tonight's The Night” songs ( one referencing first love, the other devastating addiction) ending in eventual loss. “Broken Butterflies” rides a groovy secret-agent-man bassline under verses sung with deep-voice aplomb. Crunchy guitars return on a chorus that serves as something of a pep talk on the harsh realities of life.
“Nineteen Dream” comes on with an easy, gradual groove, saving the full-band bombast for emphasis on the weightier passages. Reflecting back on a life where “the years just fly away” but noting “still got some things to say.” Final cut “Don't Have To Fold” closes out the album with defiant conviction wrapped in a hard-charging rocker. Musing on the passage of time, it's title references a cardplayers “hand” in this game of life.
Dig into this whole album here, along with how to acquire it and the bands entire catalog:
Connect with Star Collector via their Social Media here: Facebook - Instagram
The frequently reviewed here vocalist Bryce Boudreau of the band Lunar Twin has collaborated with Italian recording artists Dead Miranda on a track off their latest album “Anima.” That records final track “The Valley Below” pairs Mr. Boudreau's voice with producing and recording artists Humbert Allison ( Vocals , Guitars , Bass and Synth) and Luigi Limongelli ( Programming and Effects , Drums). The results are an intriguing musical alliance that now receives a detailed review below.
A rising siren-like synth wave are the first audible tones before a deep-jungle percussive pattern commences. The mood is instantly dark and mysterious as the snap, crackle and popping beat slithers forward. Various textures make their way into the mix, like extended-note guitars and a variety of effects. Bryce begins his vocals in a hushed whisper, offering: “On the outside, in the night time ever wild in desert below.” The rhythmic pulse picks up with intensity, and repeated lyric “blood red moon” is separated by a strong guitar notation. A distant bubbling pulse commences underneath the more dominant bass+drums progression, adding one more ear-engaging level of sonic depth. The guitar figures become more frequent and intense, powering over top of the rhythms as vocal lines “Fly away/ I’m gonna fly away” and ultimately song title reference “In the valley below” bring the track to conclusion.
Listen to this killer track and find out how to acquire the entire album here:
Previous reviews of Bryce with his band Lunar Twin on this site can be found Here, Here, Here, Here and Here.
2022's final month offers a time for revisiting music reviews composed and compiled here on this site throughout the year. The annual “Best Of” highlights those notable artists written about since January. A concise listing focused on each months entries in sequential order brings attention once again to the most engaging releases of 2022.
With the New Year came a fresh crop of album and single releases that were followed by full-length recordings later on. Most of these artists have been developing their individual style for a number of years. Featured on indie labels with consistent track records, the first month of 2022 saw this site digging in to a variety of creative songwriters and sound designers.
Frequent contributors to this site Big Stir Records rolled-out their first major album release of 2022: “Darling Please” from acclaimed North Carolina singer-songwriter Chris Church. A remastering of songs recorded a number of years back, the artists re-imagined his original vision aided by modern recording studio facilitation.
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Along with the lyric-heavy vocal music frequently reviewed here, this site has also made it a point to feature quality instrumental releases at times. The Seattle-based soul-jazz groove machine Delvon Lamarr Organ Trio first released the single “Don't Worry 'Bout What I Do” and full album Cold As Weiss via Colemine Records.
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Good Eye Records introduced an exciting new track "Boscobel," which served as the first single from new to this site band Sooner's debut album, Days and Nights. Sooner specializes in blending alternative rock, dream pop and gaze with romantic female lead vocals.
The Kool Kat Music label released “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). A distinct 'Americana/Powerpop' vibe runs through it all 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.
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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. After completing their first Latin America tour, they released a six track EP. “Milk.Blue.Kisses.And.Whalebone.Wishes” is the mysterious and poetic title, serving as something of a hybrid to the song titles on it.
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Austin, Texas heavy-groove blues-rockers The Dizzy Bangers received a detailed analysis on their song “Painted Bruises,” which displayed an advanced level of musicianship and lyrical mastery within the heavy rock genre.
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 released their album “Awakened Imagination.”
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The always busy Brighton, England based Shore Dive Records contributed this month, promoting their 111th release featuring Stockholm, Sweden's We.ThePigs. This full-length album highlights a lovely collection of female vocal dreampop, harsh Sonic Youth-like guitar noise and even a JAMC “tribute” as well.
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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.
The folks at Shoredive Records seem to instinctively knows what will fly here at this site. Offering the labels 116th release featured an artist out of Chicago called “Glitter Assassin.” That cool name along with the promise of noisy guitar layered indie pop with a heavy gazer influence received the full DCW analysis.
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Respected Label BIG STIR RECORDS rolled out the first in a series of singles highlighting Finnish power-pop guitar group The Bablers. An appropriate CromwellWrites deep-dive ensued.
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An interesting musician recording under the name Friends from Moon released a concept album titled “Astray.” It's epic and incendiary track “Marvels beyond Madness” garnered intense listen and review.
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The Rosie Varela Project released their album “What Remains,” with its single track “Fault Line” receiving a wordy investigation.
Four exciting new audio and video releases summoned attention for the month of May . Storied legends with lengthy discographies (still going strong) share space here with newer established artists along with debut entries as well.
Legendary gothic death-rock pioneers Christian Death have a long history that dates back to their original formation in the 1980's. Equal parts adoration and controversy have continued to surround them ever since. Featured track and video for “Beautiful” from their 17th studio album “Evil Becomes Rule” received primary focus.
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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, 3 Robots Records indie label artists Sueño con belugas released their epic track “Normal.”
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With the release of her latest album “Tresor,” the evolutionary vision of musician Gwenno reached a new pinnacle. The title track and it's accompanying video provided a unique journey into her Cornish and Welsh history.
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A collective calling themselves Seedsmen to the World released their debut album on Blue Arrow and Birdman Records. Combining elements of trance-drone and folk music, it's offbeat qualities sparked further investigation.
Frequently featured label Patetico Recordings returned to the DCW realm with a new collaborative effort Heliocentric Overdrive and their debut EP “Weightless.” Their melodic-pop tracks are fuleed by a precise and frenetic delivery.
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If it seems like there is yet-another Shoredive Records artist being featured here on this site every other month or so – well, that's because it's true. One of the busiest, most-consistent labels out there, something new, exciting and previously unheard of appears in our listening sphere that simply can't be ignored. This time it was mysterious dreamgaze from Montpellier/Paris going by the name 40 Days Without Water.
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Another independent label discovery was the Peruvian based Chip Musik Records. It specializes in ambient, electronic, chillwave, experimental, glitch, dreamgaze, vaporwave and experimental artists from all over the world. Their release Lego 15 – Pulsos de Bosques (Forest Pulses) is an extensive collection of music from Central/South American and other international locales.
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Sometimes a record is released in a low key manner with little fanfare, and the band moves right to playing live as a means of showcasing this new material. Such was the case with Tight Lips debut EP, which was released at the end of March. With bands and audiences reconnecting at live shows again, the opportunity to focus on this previously uninvestigated recorded music presented itself.
The good folks over at Big Stir Records released a full-length album by LA psych-pop rockers Maple Mars. Titled “Someone's Got To Listen,” it's the band first album in over a decade, and debut for this label.
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Andres Alfonso Lugo is a Baltimore-based recording artist who's work has been featured here on DCW numerous times. While those previous reviews focused on the bands he belongs to, the current work here being delved into is his solo project Los Dientes Hundidos en la Garganta. With that phrase translating into “the sunken teeth in the throat,” the music created is less ferocious (though still quite powerful) than that expression would suggest. Andres provides guitar, loops, programmed drums, bass and synth, while enlisting contributions from Ferran Pont Verges (Die Noia Futuriszka) with guitars, voice and mixing on "Loops of Energy."
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Receiving news about a new project involving long-time fave David J (of Bauhaus and Love & Rockets fame) is always welcome. Busy as he's been over the last few years with revived live shows, hearing about brand new songs and group collaboration peaked curiosity. The debut album “A Free Society” by newly minted combo Night Crickets also includes Vincent DeLorenzo (from Violent Femmes) and multi-instrumentalist Darwin Meiners. Drawing their name from a conversation about something David Lynch said, the recordings came together via audio files shared between Los Angeles, Milwaukee, London and San Francisco. Their music video and song “The Unreliable Narrator,” received a detailed review.
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An inquisitive individual who records and plays live music under the moniker 77 Apes caught the attention of DCW through their steady persistence. It is a solo artist endeavor where lyric-heavy songs are accompanied by acoustic and electric guitars, fleshed-out with background rhythm tracks.
Longtime friends of this site The Stargazer Lilies released a video for first single “Bending The Lines” in advance of their 5th studio album release “Cosmic Tidal Wave” via Floravinyl Records. The track and video receives appropriate fragmented windswept reverie.
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The steady output from Philadelphia's Patetico Recordings assures ample opportunity for frequent reviews here on this site. This particular month saw the release of “From the ashes” by Stellarscope, which featured a precision review of single track “All the lies.”
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Influential bands of the 90's continued to re-emerge with new material, which was welcome news to audiences who have missed them. Consider the Portland trio – No 2 – back with their third album, but first in a number of years. Fronted by Neil Gust who originally shared songwriting duties in Heatmiser (along with Elliott Smith), No 2 rose out of that bands ashes in the late 90's. The album titled “First Love” was released on Jealous Butcher Records.
Heavy blues rock has always been a particular favorite here at this site, and nobody does it better than Austin, Texas-based The Dizzy Bangers. Though relatively new here to the DCW orbit, a number of reviews have already made their way into prior features. The band returned once again with a new video release for their song “Painted Bruises,” earning additional commentary and analysis on it.
Turning attention once again to one of Shoredive Records releases found this site focusing on the recording project Xeresa. Simply titled “IV” (as in album number 4), the fully named Nicolas Pierre Wardell (previously only known as Label boss Nico Beatastic) serves as the bands primary catalyst. Painstakingly recorded between 2019 and 2022, each song features guest vocalists, some who have full releases on the parent label. Each track was built in the more common now than ever way of sending instrumental basic tracks to each respective artist for their creative additions (predominantly vocals).
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UK Power Pop Rockers It's Karma It's Cool released the track “A Gentle Reminder,” accompanied by an in-studio style video performance, providing visual imagery of the band performing. This perfect slice of powerful pop music received a full DCW breakdown.
It had been a year or two since new Lunar Twin music entered our universe. The enigmatic west coast duo returned with “Beyond The Sun,” the first single release from their upcoming album “Aurora.” Bryce Boudreau (vocalist/songwriter) and Christopher Murphy (multi-instrumentalist/producer) continue to expand on their sonic vision with this new material. “Beyond The Sun” received a close listen and complete review. A full nine track album is due soon, with another track “Android Dreams” available now to acquire and listen to.
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Returning here for another review is the work of Baltimore-based recording artist Andres Alfonso, who makes solo music as Los Dientes Hundidos en la Garganta. While that phrase loosely translates to “the sunken teeth in the throat,” Andres composes his ambient works with guitars, bass and heavy looping. What comes out of that are wonderfully dreamy experimental ambient electronic soundscapes. The second single “Configurations” from latest album “Infinite Past” on Jak Jonson Tapes has recently dropped, and got the full review treatment.
An in-depth Interview and hotly anticipated EP Review shared space with two full-length, track-by-track reviews from trusted labels and artists. With one returning and another first-time creator receiving detailed analysis on their latest recordings, the quest to make sense of it all carried on without limit.
When press releases about a new band called The Buckleys started showing up via email over the last two years, an appreciation for the music and image they were producing was instantly felt. With the band recently coming to New York, Nashville and LA for press stops and personal appearances, I was honored to catch up with them for a face-to-face interview.
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Back in May of this year, ambient dreamgaze collective Sueño con belugas were reviewed here on DCW for their introductory track “Normal” in anticipation of upcoming album “Memoria Cósmica.” With the release of that full eight song album, a chance to dig deeper into their sound presented itself.
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Bookending Big Stir Records first major album release of 2022 (as mentioned here at the beginning of this Feature) was their final release of the year, “Sounds In English” by Sweden’s Richard Öhrn. Best known as the guitarist and one of the songwriters for the indie pop band In Deed, this release serves as his solo debut.
The Kings and Queens of that glorious Astoria music scene – GIFTSHOP, performed two notable live shows that certainly qualify for “Best Of 2022” designation. Back on the final day of April the band played at Otto's on NYC's lower east side as part of a benefit to aid Ukraine.
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Treating the audience to many of their classic tracks like “Despicable,” their careful selection of classic covers contribute to a total live show experience. Check out their glorious rendition of The Cars “Just What I Needed” on this night right here.
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A more recent show went down earlier this month at beloved Astoria, Queens venue The Shillelagh Tavern. With dazzling frontwoman and lead vocalist Meghan having morphed from platinum blonde to bright-fire redhead, the band ripped through another killer set of originals and choice covers.
Opening with perennial favorite “Purchase,” they hit the ground in high gear and everything was “soo good – soo good.”
Was great to hear an updated version of “Same” which also included room for Jordan to showcase his drumming skills. There was the how-does-she-do-it hyper-speed vocals on “Things I Feel.”
Damian and Matt - axe-slingers on the corners.
Other enjoyable tracks played were "Stylish Junkie," "Spooky Halloween Christmas" along with bring-the-house-down covers of "Creep" and "Only The Lonely" (a clip of which can be heard at the end of this Instagram Post 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.
