The summer season is in full bloom with block parties, beach adventures and live show shenanigans. Gatherings with old friends inevitably lead to new contacts, which more often than not present fresh music review opportunities. Four separate recording artists become the recipients of these recent connections, motivated by an attentive listening (and viewing) of their current output.
Meeting creative new bands in personal, casual settings through mutual friends has become a preferred method of discovery. Spotting Singer, Songwriter and Record ProducerVanessa Silberman at a number of recent live events presented by like-minded artists led to some lively chats. Further investigations has now provided ample opportunity for discovery of her duo project LOVECOLOR. Collaborating with Musician, Drummer (and Actor) Ryan Carnes, the two member band strike the same kind of attractive visual imagery of acts like The Kills, The White Stripes and The Raveonettes.
The band themselves namecheck Sinead O’Connor, The 1975, Chvrches, Lana Del Ray, St. Vincent and M83 as guideposts. Having toured considerably over the last few years, Vanessa is also an accomplished studio engineer, producer, shredding guitarist and runs her own record label Diamond Heart Productions. Ryan is a well-known actor who also seeks an outlet for his musical passion. Playing drums live with this band allows for a different kind of artistic expression. LOVECOLOR has two singles out so far, written and produced by Vanessa, with capable assistance by Ryan. A detailed exploration of these two tracks now follow.
The current single “Pure Love” emerges out of a deep buzzing synth texture before kicking in fully with driving melody and percussive beat. Vanessa's vocals are ambient, reverberated and floating on the initial verse. Intentionally structured to pop criteria, a bridge is reached under the first minute with descending melody and echo keyboard line. That leads to the payoff hook chorus that lavishly states “Oh-wah-oh – can you feel it – can you see it – can you taste my pure love,” and “can you touch my pure love.” Returning to that 80's darkwave synth rise from the intro (bringing to mind classic albums like Human League “Dare” and their more ominous tracks like “I Am The Law”).
Vanessa's vocals are powerful and yet ethereal in that Liz Fraser Cocteau Twins way. There are multiple overlays of distant backing voices to go along with a steady percussive thump. At 2:45 in, everything drops back leaving open space for a single keyboard line. That sets the table for backward run voices, creating a pleasant yet slightly unsettling textural mix. Like all great pop songs it closes out with a big, grand finale chorus (with the word “love” frequently pronounced as “lo-E-ove”). Crunchy guitar chords emerge at the very end for good measure. The band has been quoted as stating this track is meant to be “sultry,” while being about “a relational dynamic and see someone truly and purely for who they are rather than what we’re projecting onto them via our past experiences.”
A music video for this song is promised to be coming soon.
In the meantime, we DO have a video for the bands previously released single “Dangerous.” Opening to the sound of a telephone ringing, the track bubbles to life as the image of a glittery, glamorous, neon-lit Vanessa descends the staircase to a club. “Taste the scene, make me weak – Dangerous,” she coos into a microphone as images of Ryan behind a clear drum-kit bathed in blue lighting emerges. Starkly lite in neon shades of purple and blue, Vanessa's face is enhanced by reflective jewels. We then see Ryan walking down the club's staircase like a secret agent in long leather coat. The bridge is again reached in under a minute with close-ups of Vanessa singing against keyboard rhythms and finger-snap percussion. Reaching the chorus, visual clues continue to emerge, specifically in the form of an origami crane which symbolizes hope, healing and wishes to come true. Ryan's video character is given this symbol in a drink glass from the bartender.
The musical rhythms are pulsating, with deep bassy synths driving a rough edge underneath. Vanessa exudes a sultry presence at the microphone, calling out to “set me on fire” and “you're all I desire” inbetween the singular repeated songtitle. With a minute to go we're treated to a brilliant blusey guitar solo that adds a perfect rock and roll element to it all. Deep saxophone style horns enter the mix as Ryan continues to ponder the origami symbol in his hand. The video ends with him dropping the crane down as audio pivots to the opening phone line, seemingly now gone unanswered. The band has explained how this song and video “is about a few things.” Like “being so drawn to someone that it's almost dangerous” - and how you should strive to “ being free and open with your sensuality.” About “being fully aware, alive and sharp in the world” where one can “fully embrace their whole true selves.”
It's been a year since the ambient duo Cielo Oceano has provided this site with new material to dig in to. The Philadelphia and Baltimore based collective are now back with a brand new track “Cycle Eternal.” Released on Andres Alfonso Lugo's Jak Jonson Tapes label, the collaborative artists recorded this new composition at Laboratorio Soniko Studio Middletown, PA and Where Are We Going Studio Lab in Baltimore, MD. This synergistic process features Andres on guitars, and Tom Lugo on bass, guitars, synth, voice as well as composing the lyrics.
Deep synth pads and a tinkling sequential keyboard pattern over it are the initial sonics opening this track. Bold wind rushes quickly emerge and usher in layers of ambient guitars along with a timekeeping percussive drum beat. Busy bass guitar patterns join in, adding a melodic force to it all. Tom's vocals begin “I want to break free – get rid of the chains – I may have forgotten, how to play the game.” Synth backing is kept static at this point, with the snare drum shot standing out in the forefront. At this point the “gaze” takes over and a wall of ambient guitars create a driving force behind hook-filled lyrics “there is no beginning, there is no end - into to heavens, we will ascend.”
Soaring guitar notes are laid out in a slow and deliberate manner, while gentle chiming keyboards , hustling bass and strong percussion carry on underneath. The sonic field goes quieter once more as Tom delivers a second verse “lose yourself again, a small price to pay - with your eyes wide open, the illusions all fade.” Those lofty, climbing guitars return once more as the final chorus goes further into an ethereal realm, where bass and percussion become alternately buried in the mix. As those chorus lyrics are repeated over in a mantra-like manner, all the instruments come together for a lift-off into the sky.
Previous features of Cielo Oceano on this site can be found Here and Here.
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Back in February of 2021, this site did a deep dive track-by-track review of The Crushing Violets album “A Dream Without Color.” That enjoyable experience is now revived with the news of a brand new single from the band “Superflower.” Conceived by songwriters Antanina (vocals) and BP Brooks (guitars, vocals), the track was recorded at Lantern Sound Recording Rig, Manorville, NY. Engineered and Mixed by Mick Hargreaves (who also played bass on it), co-production is shared between the band and Mick. The big surprise is getting legendary drummer (and local Long Islander) Corky Laing to feature his noteworthy skills on it. Nothing less than a thorough investigation is required.
The band wastes no time getting their special guest star involved with the tracks opening sounds involving tom-tom strokes. The guitars chime in and the percussion shifts to high-hat and snare-drum rim clack. It's an easy chord progression groove that sets the pace before Antanina comes in with her vocals. “Superflower magic finds the sun” she sings, with vibrato emphasis on the end word (“suuu-uuuun.”) The hint of rasp and Patti Smith-stylings in vocal tone provide central focus as this lyrical story unfolds. Visions of “oceans,” “timeless waves,” “the dawn” and “emotions” that show how “we are one” emphasize a metaphysical theme. With Corky high in the mix and delivering an emphatic lead-in, a big vocal passage of continuous “ahhhhh's” in rising progression elevates things further.
A second verse continues the odyssey as “constellations” and an “endless mental journey” can't help you “find salvation,” because “nothing in the world can turn back time.” A crisp snare-drum roll leads into the lyrical existential nature of the superflower's “magic” that “blooms” from a “garden of dreams where we sleep.” Mr. Laing's sensitivity and professional approach to this section is quite noticeable, with focused emphasis on high-hat work, leading the track out to it's coda. This is where guitarist BP Brooks is given room to shine with his tasteful, dominating blues licks.
Check out this soulful track (including how to acquire it here:
A previous feature of The Crushing Violets on this site can be found Here.
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Having written about the boundlessly energetic Tarra Thiessen's previous musical projects over the last few years, it only makes sense now to delve into her latest incarnation – Tea Eater. The debut single “Double” was recently released and is available everywhere via @adiamondheartproduction / Amethyst Trax (@symphonicdistro) in collaboration with @lafamrecordings & @jasnoswarez. With Tarra writing, singing, playing guitars, keyboards and even some percussion, the previously reviewed above Vanessa Silberman added her engineering and production skills to the vocals. This release also comes with a complimentary video directed by @tinehill that emphasizes amusing madcap imagery.
With the video having been shot in the rural settings of Lake Placid, NY, Tarra's mostly-white rock and roll outfit (complete with guitar) and single amp in the road stand out in stark contrast. The sound of crickets chirping are the first thing heard, before the clatter of sawing guitar chords commence. A variety of characters slowly emerge, such as mysterious individuals in hazmat suits – before the protagonist suddenly runs off to a cabin. There we encounter a “double” figure (also played by Tarra) in black, singing the lyrics. Meanwhile white-suited Tarra is quick-cut in to help the vocals along. Not content with just two looks – a third emerges in the form of a yellow rain slicker complete with mosquito-net covered hat and fishing pole. The instrumentation relies on a heavy fuzz-bass (played by main squeeze VramShabouh) and psychotic synthesizers. An individual dressed as a wine box adds one more level of absurdity, before the hazmat clad crew scoop up yellow-slicker attired Tarra and haul her off. The closing line “what is going on!?” perfectly sums up the farcical nature of this production.
As we enter day one-thousand-whatever of social distancing lockdown – six must review features have wound up here now in the ever-evolving (mutating?) DaveCromwellWrites pantheon. This chosen path of descriptive analysis and “writing about music” is now more than ever a repeated selective process on what (and who) to write about. Once those decisions have been made (a non-scientific juggling act of purposeful choices and random chance taking), the actual joy of putting words together in a satisfying manner flows rather quickly. With that, we dive in to the early May 2020 DCW reviews.
Having previously explored the separate creative work of Gardy Perez and Tom Lugo on their recent projects with Cielo Oceano and Un.Real, the duo now team up under the name MAYU with a new collaborative track “Theia.”
Slow building atmospherics introduce the piece, generating a rising-out-of-the-myst impression. There's an extended swirling wash all around with extended tone notes that sound like keyboards, though liner notes only credit guitars. A subtle bass-guitar is detected :45 seconds in, with an easy-groove drum track soon following that. Vocals commence at that point as well, delivered with a dreampop delivery and sheen that never overtakes the primary guitar whirlpool. “Burn me with your light. Touch me with your eyes. I want nothing more. Than to be forever yours.”
The drum programming stands out with clarity and depth, where bright cymbal and snare patterns contrast against deep and resonant toms. All the while those churning, ethereal guitars create a rising wave of celestial melody. Halfway through the percussion drops out, leaving a plateau of spaciousness where vocals are given a central moment. “The rain keeps coming down. In the tears I drown. To madness I descend. Fall on… my skin again. ” With that the gentle rhythmic propulsive drum track reemerges, along with more exalted guitar textures. While the backing drone continues, a distinctive melody is carved out in rapid-strummed succession. The tracks final minute serves up a wash of of exquisite vapor trails into a final fluttering pattern.
With the release of their latest full length album “What We Started,” Canadian ethereal alternative/electro-pop duo Paragon Cause deliver 10 new songs (and first single “Lost Cause” radio edit) less than a year after their “Lies Between Us” EP. Once again enlisting the Production (and now co-songwriting) skills of Raveonettes mastermind Sune Rose Wagner, a veritable treasure-trove of new ideas have come to fruition.
Lead track and first single “Lost Cause” builds out of measured electronic beat percussion that makes use of bass-drum, snare and high-hat approximations with strategically placed deep echoed singular shots. There's an orchestral element to it all as well, providing a stylistic anthem backdrop for lyric dealing with difficulty and loss. Second track (and first listing Wagner as co-songwriter) “Silent Prayer” builds out of a twinkling keyboard part before rapid-paced looped percussion provides energetic motion under a traditional vocal delivery. An alternating rising-then-descending bass keyboard line adds another element of sonic fluctuation, as does a distinctive guitar part two minutes in. Poetic lyrics referencing “obsession,” “temptation,” “desire” and the need to question what “is real” echo timeless, universal themes.
“Something New” also comes with a Wagner co-write credit, and is framed off a 1950's “stroll” progression through fuzz bass and static percussion. Central vocal hook “don't ask the questions you don't want the answers to” is followed by a lovely descending guitar line that pitch-rises on the very end. Nimble songwriting design inserts an emotional lift on the lyrics “try – try – try – try something new.” The Jay and Michelle self-produced and mixed “Give It A Chance” pairs twinkling electronic keyboards with slow-groove trip-hop-style drums. Keeping the focus on Michelle's impressive vocal performance, an obvious Motown-soul vibe permeates through it all.
The Wagner touch returns on “Without You” via driving pop-rock production and the never-far 50's-60's song arrangement. Guitar and fuzz bass serve as the dominant instruments, with a distinctive melody-line securing the necessary hook. An emotional high-point is reached with the lyrics “let me be ME” at the two and a half minute mark of this three minute song, underscoring precision songwriting. A minute and a half atmospheric instrumental interlude serves as a mid-point break in the album flow with “Master of My Thoughts.” Piercing, ambient guitar tones set the pace against expanding background resonance, before a timekeeping percussive track completes the mix.
A gentle acoustic guitar introduces the Michelle and Jay (only) penned “Fantasize.” Orchestral strings and a distant vibraphone sound provide additional support for Michelle's passionate vocal rendition. A rhythmic change commences with propulsive guitars taking over as the driving instrumental force. The desire to break out of “a haze of normality” is the motivation for this escape fantasy. The illustrious Mr. Wagner returns as song co-writer on the guitar twangy, finger-snap click-tracked “Time For Action.” Recurring lyrical themes repeat (“master of my thoughts”) along with the overall sentiment of getting away from a bad situation. A more agitated and frantic nature permeates the sonic landscape, with numerous, wirey guitars modulating in varying intensity. The halfway point drops a sonic plateau (“my priceless treasure”) and start-stop percussion to dramatize the repeated title line.
A throttling bass-heavy guitar and crisp trap-drum approximation groove powers “See You Suffer” right out of the gate. As the lyrical story unfolds, interesting atonal keyboard stabs emerge, adding further emphasis. The sonic chaos peels back to only drums for the initial lyrical break “will you get what you deserve?” before rough-edged guitar reemerges. One more breakdown on the repeating (and echoed) title line – complete with whistling dive-bomb effects. “Let Me Be” doubles-down on the 1950's “stroll” spirit with it's continuous loop of slow progression arpeggio chords and deep tom drums. Tinkling bell enhancements flutter around front-and-center harmonized vocals, with tandem bass guitar and those aforementioned tom-toms building to the “please let me be” denouement.
Find out the myriad of ways to acquire this record HERE.
Previous Reviews of Paragon Cause on this site can be found HERE and HERE.
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Every once in a while something new shows up that captures the imagination to the point of making it impossible to ignore. The sheer sonic overload and multi-genre appropriation of 100 Gecs have put two twenty-something sound manipulators on a current rise to the head of whatever class this is. Combining a level of computer and engineering skills with DJ and gaming savvy, their 2019 breakout album “1000 Gecs” has set a new standard for Computer and autotuned vocal cyber-pop.
A recently dropped video for the "gec 2 Ü" remix (featuring Dorian Electra) from their forthcoming album “1000 gecs and The Tree of Clues” is a hyper-charged look at the anxiety of immediate communication gratification culture we now live in. Filmed remotely by each of the artists during this present state of isolation, clever humor shares equal space with the nightcore sonics.
Opening with bright piano notes and deep-bass synth rumble, the illusion of a porn-call-in line is established. “Hey – thanks for calling 100 gec-2u. Please hold while I connect you to a rock hard wet gec – who's just dying to talk to you.” As guest-remixer Dorian Electra is dialing in, their impossibly auto-tuned vocal states “I hear, your sighs, but I can't see your eyes” - at which point the screen splits 3 ways and the glitch party begins. Pushing the dubstep/nightcore/speeded-up-and-autotuned vocals even further, Dorian goes on “I don't know what your real name is but I want you so bad. I don't know how to be alone – I'm always picking up the phone.”
The bright piano notes serve as an anchor for the klicketty-percussion keeping time then frantically building to the over-the-top, oozing romantic chorus. Meanwhile, primary gecsLaura and Dylan move to (or in Dylan's case, already in) their respective spaces. “Wizard” Dylan appears to be the least obsessed with the phone, preferring instead to read an actual book printed on paper (my dude!). The myriad of sounds on said chorus where Dorian is “sitting here alone and I call you on the phone, I need love can you get to me now” incorporates rubbery bounce-ball-beats, shouting “Hey's!” DJ-scratch-approximations (on “can you get to me”). While that is happening, left-side-panel Laura is baking coins in the oven that “cook” into iPhones! While right-panel Dylan does his own cooking (a mushroom on the stove wearing wizard robes) Dorian hits the next hook - “but I like to pretend that you love me- everytime I imagine that you [ ] me – close my eyes I almost feel you hug me.” As Dorian gets more frantic – throwing phones in the toilet and peeing on them – left-side Laura gets mystical while right-side Dylan sits by his cinder block and sews his wizard hat, then does some trippy-trails juggling.
Nightcore/video-game sonics ratchets up until Dorian does their signature smash-glass-in-their-own-face move complete with “Dorian E-gec-tra” punch in. Phones are now being destroyed and urinated on at an alarming rate in all three panels enhanced by the sound of a crashing trap-drum set and whip-crack. The final segment show all three participants thrashing their hair wildly as the chorus repeats in yet-one-more manner of tempo and distortion.
If THAT appeals to you (it certainly amused and fascinated me) check out the video here:
It was an absolute pleasure turning an analytical ear to the just released solo album by essential Yuck founding member Max Bloom. An often stated axiom that heartbreak and loss can be a powerful catalyst for making quality art is once again confirmed on his latest record “Perfume.” Crafting ten tracks that emphasize strong songwriting, a wider range of instrumentation is now heard on this artists work.
Opening track “To Be Alone” bursts right out of the gate with a thick orchestral synthesizer sound. That backs off for the verses which are better served with open space, piano accompaniment and solid power-ballad drumming. “You are the girl – that I love the most” is sung in a vocal style reminiscent of John Lennon's post-Beatles work (“Watching The Wheels” being prime example). The storytelling benefits from subtle rhythmic accents that both emphasize and prevent any static predictability. Ruminating on the condition of “being lonely,” the lyrics approach it more questioningly (“tell me how it feels?”) as opposed to any kind of pity party. A tasty guitar figure emerges near the songs mid-point, echoing the dominant melody like another vocal line. With those initial lush synth-strings making a brief return, another element emerges, tweaking the alarm-clock and piano break from the Beatles “Day In The Life.”
“Cold Hard Light” drops clearly defined electric guitar riffs over acoustic strumming and full rock band pacing on what one might call a “cheerful” progression. The songwriting is crisp and precise, with a variety of quick rhythmic moments. While synths slowly find their way back into the mix, a long-and-wiry guitar solo outro caps off a perfectly joyous pop song. “Call Me When It's Over” positions closer to the surf-guitar alternative indie rock of previous band Yuck. The high register single note guitar lines paired with tandem bass notes and live sound drums float everything along at a measured pace. Melancholy permeates lyrics about being unable to replace clothes that are “warn and dirty” because of “memories sewn into the pockets.”
“Thinking 'Bout You” injects some optimism into the mood with it's uptempo rhythm, usage of horns and remembering about “the good times that we had.” “Forever Now” introduces tremolo-guitar as a previously-unheard sonic element on the album, enhancing this straightforward four-on-the-floor chugger. An inspired psychedelic guitar solo rips and curls, leading into bright horn section accents. “Bottle” doubles-down on the multi-layered guitar textures, first with a Smashing Pumpkins-like rhythmic opening, before laying in a rubbery melody-line on top of that. Singing about how awful a breakup feels - “where did we go wrong?” - “all those tears I cried” - lead up to a hook that references the album title - “when I smell your perfume – it pulls me under.”
Hooks abound on the laid back “It's Alright,” with it's acoustic guitar underpinings and melody driven easy going pace. Friends always seem to think they “know what's best” and how everything's going to be “alright.” “Happy Alone – Into Eternity” echoes the cadence and structure of The Beatles “Dig A Pony” - who Lennon himself appeared to be referencing Buddy Holly. As expected this track meanders off in other directions, with a strong chorus and sparser guitar noodling against a purposed bass and drums. A final, twangy western motif takes the song to it's conclusion. The album's title track lays out a sentimental pop riff against mellotron ambiance while imploring one to “think of me when your drunk on Christmas Eve.” The theme of “lingering perfume” is a timeless one, and the pathos on display here gets right to the heart of it – as does the brilliantly passionate guitar solo.
The 10th and final track “Will It Last a Lifetime” is also the album's longest at 6 minutes in length. That allows for a slow build of confessional lyrics and the uniquely tailored instrumental passages to support that. While the song itself concludes shortly after the 5 minute mark, a curious reverberated piano piece is leads out the final :45 seconds.
Simply put, every song on this album is an impeccably crafted gem, and each one deserves to be heard in their entirely.
Making sure to check out recommendations from trusted sources more often than not opens your ears to something new and interesting. Such is the case with dream-pop duo Drab City, who combine an intriguing mix of dub, hip-hop and jazzy vibes into their aforementioned dreamy vocal sound. While the complete 10 song full-length album “Good Songs For Bad People” is scheduled for release on June 12, three tracks (complete with videos) have been released in advance.
Initial late February release “Working For The Men” is described as “a degraded service worker’s revenge ballad, imagining male tormentors brought to a violent end.” Reading the lyrics (helpfully pinned by the band on their videos) certainly back that up, describing a waterfront scenario where “the men hand me a silver penny, and watch me cleaning.” Dreaming of sail boats loaded with canons to blow the place up. At slightly over 2 minutes, there's still enough audio diversion to make anything longer unnecessary. Distinctive jazz-inflected guitar, abrupt flute accents and distant bell chimes support ethereal ghost-like vocals. Video imagery shows the duo (separately, cut together) in various stages of jittery behavior. A flamenco guitar solo ushers the track to it's conclusion.
“Hand On My Pocket”comes wrapped around a hip-hop beat, vintage sine-wave synths, organ pulses and clean strummed guitars. Sandpaper-soft vocals tell a tale of poverty-driven motivation for a quick strike on the rich.
Late March video release “Devil Doll” rolls out a word-heavy fable at a measured, hypnotic pace. Drums,bass and vibraphone make up the primary audio components, although exotic instrumental breaks with warped flutes also find their way into the mix. The video itself is a single fixed camera black and white view of the band in a room with hanging bits of laundry and a bright floor light creating ominous shadows on their faces.
Late April (and current) video release “Troubled Girl” dips into the subject matter and vocal sound of early 60's girl group pioneers The Shangri-Las and seemingly runs it through a David Lynch/Twin Peaks filter. Video imagery adds brighter color to the female half, while her male counterpart mugs into the camera conveying an element of bizarre amusement.
With the release of their three-years-in-the-making first full-length album “Ghost Moon Ritual,” moody pacific coast duo Lunar Twin now share their electronic dream vision with the world. Over the course of that 3-year time period, Bryce Boudreau (vocalist/songwriter) and Chris Murphy (multi-instrumentalist/producer) crafted 13 songs in all, working from their respective locales of Hawaii and Salt Lake City.
First single “Slow Down” comes accompanied by a companion video adding imagery well-matched to the songs hypnotic, mystical nature. Bass, drums and carefully-placed melodic instrumentation establish the initial rhythmic dynamic. With a syntheszier introduction, the vocals begin: “lord knows – places that you've seen – paradise is emptiness – raindrops on your skin – slow down.” Delivered with distinctive, stylized phrasing – the mood sets in like a calming mantra. Gorgeous imagery shot in the Sonoran and Mojave’s deserts of California and Mexico by director Juana Lopez complete the experience of mystery and wonder. Additional home-movie style footage is also worked in, creating a nostalgic sense of memories with the family from a half-remembered past.
Other standout tracks like album opener “Drunken Sky” set the tone with elongated keyboard textures, hissing percussion and measured bass notes. With a slow-burning trip-hop groove underneath, vocals are delivered in a hushed whisper, reminiscent of the Jesus and Mary Chain's slower, more experimental work. “Leaves” emerges out of deep buzzing synths and a more active percussion track. Vocals come on with a sandpaper hue and natural tremolo at the end of each line, eliciting additionally pleasing similarities with the frequently compared to Mark Lanegan. “Hawks” builds out of rising electronic pulses, creating a sensation of fluttering wings before the unfolding poetic story that follows.
“Free against the wind. High above this wilderness. Shadows on the rise. High upon your feral wing. Spirit never dies.”
Once again a significant live happening closing out January serves as the opening salvo for February's DaveCromwellWrites extravaganza. An opportunity to catch one of our (newly re-energized) living legends (recovered from health issues) should never be missed, if at all possible. As far too many of our most influential musical heroes move on to the other side with unsettling frequency these days, a finite amount of chances remain to celebrate their work with them. Newer, still-emerging artists creating work that fascinates find their way into this month's feature as well.
Goth/Glam-rock legend Peter Murphy returned to New York City for a week-long residency of make-up shows at the East Village venue Le Poisson Rouge.
The air was charged with an additional level of excitement and sense of gratitude being able to witness these performances after Peter's heart attack scare from last August (when these shows were initially scheduled).
On this night of January 23, 2020, Peter and his band played the first night of his Tribute to David Bowie.
That excellent rock and roll band included “the two Mark(c)'s” that accompanied him on his extensive 93 shows “The Ruby Tour: 40 Years of Bauhaus”(many with David J on bass) Mark Gemini Thwaite (Guitar), Marc Slutsky (Drums), this time with Emilio Zef China (Bass/Violin).
The original plan was for Peter to do a month long residency in August that would mirror a similar completed series of shows in San Francisco.
Completing all but the final (and penultimate) four shows in that late summer month, these latest shows represented the fulfillment of that commitment once recuperated.
An additional member was included with the band this time around, adding a richness to the sound with keyboards and acoustic guitar.
The venue (Le) Poisson Rouge first opened in it's present configuration in the spring of 2008, founded by former classical music students David Handler and Justin Kantor.
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However this 158-160 Bleecker Street
location (as one might suspect) has a rich historical backstory to
it.
Located at the corner of Thompson and Bleecker Streets in Greenwich Village, the club was originally opened in 1958 by Art D'Lugoff calling the space “The Village Gate.”
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Much like the current venue, it's primary performance space is both the ground floor and basement. The original 1896 structure known at the time as Mills House No. 1 served as a flophouse for transient men.
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In its heyday, the Village Gate also included an upper-story performance space, known as the Top of the Gate.
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Throughout its 38 years, the Village Gate featured such musicians as John Coltrane, Coleman Hawkins, Duke Ellington, Jimi Hendrix, Dizzy Gillespie, Bill Evans, Dave Brubeck, Charles Mingus, Sonny Rollins, Dexter Gordon, Art Blakey, Woody Shaw, Miles Davis, Stan Getz, The Velvet Underground, Edgard Varèse and numerous others.
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Founder Art D'Lugoff opened The Village Gate in 1958 and remained at the Bleecker and Thompson street location until it ultimately closed in 1996.
That rich history continues through to this day, with the current iteration having celebrated 10 years (and still going strong) in 2018.
Returning to the present (though ironically a show presented by a now historical goth-rock figure presenting the catalog from one of their musical influences referencing an even earlier period), Peter Murphy and his band delighted the audience with one classic Bowie song after the next.
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Opening the show with “Suffragette City” (from his star making breakthrough 5th album, 1972's “The Rise and Fall of Ziggy Stardust and the Spiders from Mars”) immediately drove an already anticipating crowds intensity level right to “10.”
What's immediately noticeable is how comfortable Peter is with re-interpreting Bowie's voice. Multiple sources have stated there is probably no one else better suited to pay tribute to “the thin white duke” than the physically and artistically similar Mr. Murphy.
Moving next to the classic “Queen Bitch” (from his 4th studio album and 1st for RCA, 1971's “Hunky Dory”) Peter's rendition delivered the necessary level of camp called for, while drummer Marc Slutsky laid down an essential rock solid beat (which he would proceed to do all night).
Jumping ahead to the furthest recording he would go – the eighth studio album, 1974's "Diamond Dogs" and a rousing, sing-a-long (but they pretty much all were) “Rebel Rebel.”
Fun Fact: Bowie originally intended to merge the novel Nineteen Eighty-Four by George Orwell with his own glam-rock vision of a post-apocalyptic world. Initially wanted to make a theatrical production of Orwell's book, however the author's estate denied the rights. This explains why the Nineteen Eighty-Four theme was so noticeable throughout (especially on the second side).
Dipping back to sixth studio album (and first Bowie wrote and released after breaking through and becoming a star), 1973's "Alladin Sane" and a rousing version of "The Jean Genie."
Having been written and recorded during Bowie's first US tour in 1972, he described this first single from the album as "a smorgasbord of imagined Americana." However, the song title is a pun on the name of French existentialist Jean Genet.
Returning to the Ziggy album, a near perfect rendition of "Moonage Daydream" was presented - of which can be gloriously re-experienced in the video below:
"All The Young Dudes" and "Starman" sing-along's followed that, with clip captures of those (and clips of every song up to that point) accessible here.
Going once again to the Ziggy album (which would be the most referenced record of the set) an impassioned, intimate version of "Rock 'n' Roll Suicide" was played, with the below video representation capturing it perfectly:
Touching hands with an adoring audience, Peter and the band headed off for a quick pre-encore break.
Returning to the stage once more, the band launched into the song most everyone anticipated: "Ziggy Stardust." After all, Peter and his early 80's band Bauhaus (now doing big time reunion shows again) did a memorable cover of it in 1982. For comparison's sake a rare live version of Bowie and his band turned up a few years ago showing how they played it live a full decade earlier in 1972.
Here's how it looked an sounded by Peter and the boys at this current show:
More Fun Facts: The inspiration for Bowie's Ziggy character was originally based on leather clad rocker Vince Taylor who took too much LSD and went temporarily insane. Bowie once bumped into him outside a London tube station and Vince pulled out a map to show David where the spiders from Mars would land.
The final song of the night was truly inspired version of "Space Oddity" with Peter performing the entire lengthy, extremely moody piece lying on his back on the stage. It made for a surreal experience and a fitting end to the nights performance.
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A superior quality rock and roll band.
Psychedelic "Blue Man Group" Friends In Attendance.
And catching a moment with the popular iconic image on bass drum head.
Special mention to guitarist Mark Gemini Thwaite who not only handles all the lead guitar work with Peter like a pros pro, but has been doing for quite some time with other legendary bands like The Mission UK, The Wonder Stuff, Gary Numan and others.
Opening the show was New Orleans Drag Performance Art singer Vinsantos. Previous work with David J (also a founding member of Bauhaus) and support on last year's “The Ruby Tour: 40 Years of Bauhaus” extended onto these shows.
The expected flamboyant performance of this artist gains credibility via introspective lyrics and playing their own keyboards. Making yourself available to meet the audience afterwards is always a winning move.
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The seemingly boundless energy of Philadelphia-based creative force Tom Lugo re-emerges once more with the debut album from new collaborative project Cielo Oceano titled “The Space Has Always Reduced Me To Silence.” Partnering with like-minded guitarist and programmer Andres Lugo, astral atmospherics are blended together via keyboard and guitar textures while pulsing bass-lines and crisp piercing percussion provide sensory motion underneath.
With opening track “Hard to Breathe” clocking in at 6 minutes in length, there's plenty of room for beat-less spacial exploration. “Moth To A Flame” ambles along on floating waves that create an impression of unattainable longing. Deeper percussive elements and throbbing bass emerge on the title track where vocals are presented in that style William Reid used on those early Jesus and Mary Chain recordings. Over 7 and a half minutes of “Nada mas que decir” melds those droll JAMC vocals with the early drum machine sounds that seminal band admittedly nicked from bands like Suicide. Lugo + Lugo masterfully capture the vibe running through so much of “Barbed Wire Kisses” on this one.
“Seasons”is a 4 minute atmospheric interlude that suggests the ambient work Brian Eno has spent his entire post-pop career exploring. “The possibility of only one answer” introduces a level of menace for the first time, conjuring up early Sisters Of Mercy vibes. “Woven” adds subtle effects to carefully enunciated vocals as a steady bass-line and guitar washes all contribute to an air of mystery. Clocking in as the longest track on the album, the nearly 8 minute “Distant Memories” place emphasis on deliberate vocal phrasing with introspective ambient interludes in-between. A bonus track of an earlier single release “Emptiness” is included, coming full circle with it's Jim Reid-like slow drawl vocalizing.
Previous features on this site that include Tom and/or his music can be found here, here, here and here.
For more information on Tom's entire Patetico Recordings music catalog, go here.
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There is an unmistakable floating quality to the new release ”Lovely one / Islands” by Puerto Rican gazey/dreampop ensemble Un.Real. While a distinct four chord melody is clearly audible (although passed through rather slowly) the sheering textural quality to those synth and guitar driven sounds emanates from mysterious places of wonder. Bass and drums soon enter the mix and the wall of atmospherics is then layered with additional soaring melody lines. Musicians Gardy Perez-Ruiz (guitars, synths) Hector Caolo (bass) and Eden Cruz (drums) are the trio responsible for much of these sonic forays. The final element arrives via sweet and gentle female vocals from Bernice Cruz (who also contributes synths), providing a next level of reverential beauty. There are certainly reasonable Cocteau Twins parallels here, not only via Robin Guthrie-like guitars and Liz Frazer vocal similarities, but even a distinctive Simon Raymonde-esque bass-guitar hook. A rising, hammering riff emerges at the two and a half minute mark lifting the entire proceedings to celestial heights. Three minutes of gentle guitar picking and soft synths create a sense of sitting by calm waters to close everything out here.
Heavy psych-n'-gaze-rock is well represented on the latest track from Cardiff, Wales UK's Excellent Skeleton. At nearly 10 minutes in length, “Stop Waking The Sun” serves up epic proportions unleashed with unabashed sonic cataclysm.
Opening with a :45 second repeated title line vocal intro that soon floats behind guitar progression figures, the band kicks in with a heavy stoner rock groove. Everything from 60's psychedelia up through J Mascis-level doom-riffs permeates through a heavy fog atmosphere. With all that, there are elements of that Manc-Manchester feel on the verses, with it's long vowel vocal phrasing. At four minutes in, a momentary guitar chord driven ambient interlude sets up the big vocal hook that follows.
“Sometimes I can feel – the sun washing through your face. Sometimes I can feel the death of the human race.”
The drums slash hard with dynamic cymbal crashes and the bass and guitar double down with that timeless drop-d groove that appeals to lovers of hard rock far and wide. At 7 minutes in a cosmic bubbling sonic element takes over, driving momentum upward to the stratosphere. As the dominant progression continues to unfold with bold guitar chords, throbbing bass and stomp-down drums, the rhythm section ultimately drops out for a final minute of pure aural mayhem.
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.
