October catches the Cromwell range of view fully engaged on new recorded works from artists either previously featured here, or first time entries to this site. All of this new material show musicians taking their creative ideas - much of it developed by way of live show performances over the years, and forging it all into high-quality studio recordings. Each artist exhibits true emotional commitment to their respective style of music.
A band this site has been keeping a close eye on over the last year or – The So Lows - hail from “the land of enchantment,” that beautiful wide-open big sky southwestern state of New Mexico. In full disclosure, I'm compelled to mention having lived there on two separate occasions after my parents retired and moved to that locale. I've since been back on vacations with my current family, and can attest to it's rugged natural beauty. The So Lows have just released a new album ‘Times Not So Weathered,’ and receives a most-worthy DaveCromwellWrites track-by-track review analysis. Led by the singing/songwriting duo of Molly Miller and Ronnie Rael, the sophomore album is the first to feature Troy Krusz on slide and lead guitars, Barron Preuss on bass guitar, and Haven Willis on drums.
Album opener (and the record's first single) “Smile” comes on intimately at first – with Ronnie's vocals out front asking an existential question “and I wonder how you ever got this far – with a feeling that just won't shake.” The accompanying acoustic guitar is warm and vibrant, as Molly comes in with matching harmonies on the following lines. The rest of the band thunders in and the rootsy, blues/folk/rock progression swings into full motion. This easy groove vibe immediately brings to mind what a guy like Izzy Stradlin brought to GNR as well as his own solo work. Which in turn points back to The Rolling Stones “Exile On Main Street.” The chorus here is simple and to the point – “I wanna smile like you” celebrates the best things in life – all against a backdrop of tight, rhythmic accents and snaking slide guitar.
Follow-up cut “MMIW” sets everything in motion with chunky electric guitar and syncopated deep tom tom percussion. Ronnie sings out with a more passionate, soulful edge right from the start here. Depicting a situation of imbalance and potential negative results, the repeated hook line “heartbeat and a look away” is delivered with precise harmonies and slide guitar. Guest vocalist “Quiltman” adds authentic chanting for a crucial passage, while a blistering guitar solo brings the track around to the final chorus. Third track “Engine” builds off a bright, chiming 12-string guitar instantly laying down a descending progression. Soaring solo guitar lines create a lightness as bass guitar and drums power along this fragmented 1-2 time signature. Full harmony vocals with Molly slightly out front create an enchanting overall feel as the song continues to unfold. There are a number of curiously mysterious sounds emerging underneath, with one approximating a diving down bass texture. Special props must be given to slide guitarist Troy, who's virtuoso playing here is equivalent to David Lindley's outstanding work on so many of Jackson Browne's albums. The overall combination of Ronnie's acoustic and Troy's various electrics are matched brilliantly with Molly and Ronnie's equally impressive star-turn harmony vocals.
Opening once again with vibrant finger-picked acoustic guitar (a Martin HD-28 dubbed “Lines” we learn via recent social media post), “On the Lam” embraces that particular form of escape. “I got to find a way – feed my dog if you would” (ah, that's sweet) “and tell 'em I'll be back some day.” Snare drum propulsion surges forward, approximating the stuttering rhythm of a railroad car. Deep twang guitar doubles down on the southwestern vibe pulsing through these grooves. Poetic lines roll smoothly throughout, like “I've been running that line – since before the railway,” and “you know the land is forever, I could just jump off this car – and go straight to the sky.” A honey-textured guitar solo creates additional melody and motion to this forward chugging train.
“Worth the Weight” adds a soulful feel to those glistening acoustic guitars via a rich extended note undertone and higher pitch-bended fills on top. There's a subtle gospel element to Ronnie and Molly's harmonies here, embracing the spirt of a song like The Black Crowes “She Talks To Angels.” “Bring it down on me, so the truth can mean, what we want it to be” serves as lyrical entry not only to this song's title, but the overall album title too. “And we dream – of a time not so weathered” . . . ultimately concluding “it doesn't matter anyway – let it rain, I'll feel the pain.” Emotionally powerful moments continue to unfold, as on the lyrical refrain “And you can cry like you used to, 'cause it all makes sense. It's not a reason to falter,” (with Molly going solo here) “just a reason to try again.” Repeated passes through the title line creates a sense of duality on the word “weight” whereby “wait” could fit in just as well. An impassioned buildup to the songs ending (Ronnie and Molly's expressive vocals coupled with sinewy guitar figures) wraps up with a left-in studio voice definitively stating “there we go.”
It's a full on bluesy-rock stomp chugging out of the Rolling Stones influenced “Give All.” Ronnie and Molly's cascading vocals on lines “I heaaarrrrr youuuuuuu” joyously recreate the extended phrasing on their psychedelic 1967 release “We Love You.” Even the guitars here emulate the electrified rhythms of Keith along with the slide work Ry Cooder added to that band on their classic albums at that time. One often felt that Aerosmith's “Sweet Emotion” also looked to that original Stones track as point of reference on their hit song. The So Lows keep things closer to rootsy than anything really “psych” - other than the overall “cosmic” feel of everything they seems to put in all their songs. As this track progresses, Ronnie and Molly's tandem vocals push the feel closer to the swampy blue-eyed soul of Delaney and Bonnie. “Lay Down Misfortune” rolls out in three-quarter time, merging Country-Western conviction with a Folk-Troubadour narrative. Sounding like Greg Allman's Georgia-Country-Soul at points, a subtle change occurs in chords and vocal phrasing suggesting the eccentric jazzy folk-pop of underground legend Nick Drake. With those whimsical qualities emerging at times, a steady pedal steel-like guitar solidifies a country-home feel.
Female vocals take center stage with Molly's solo lead vocal turn on “Permanent Horizon.” Once again, an easy-groove Stones-like feel is established with electric guitars and more active, busy-loose drumming. “Sometimes we all need a place to go,” is how the smoky, emotive vocals begin. “What if I can't get it right?” she asks – quickly followed by “what if - it get's worse when I try” (with those 5 words emphasized by bass guitar and drum punctuation). While the repeated title line chorus is smooth and straightforward, a testifying conversational style on subsequent lines adds an intimate charm to the delivery.
“Let Go, My Atlas” dips back into three-quarter time for this acoustic guitar driven, reflective track. Ronnie's voice is fully out front, with Molly's rich harmonies adding depth to the plaintive melody. A variety of guitar fills and textures add color and motion to a song without any drums or bass. This allows focus on voice and lyrics contemplating mysteries of the universe. “In a way I feel I've seen myself in you – before. Rising with the moon – holding on. Trying to make sense of it all,” is how one passage goes. An unusual wind-rushing texture emerges underneath for the songs final :45 seconds, leading out to an ending where that is the only sound remaining.
“Means a Lot” has Molly taking the lead vocals once again, for the final and longest cut on the album. Clocking in at 6:46, it serves an an epic and fitting close to everything leading up to it. While introductory guitar chords and wistful extended notes establish an initial melancholy feeling, a sense of hope develops. “If you really wanna know – we can do time together,” leads sincerely to “thanks so much, it means a lot.” A series of elegant guitar interludes surface in places, as one might expect from a song of this length. Thoughtful questions crop up, with lyrics asking “does anyone see – how I see – how everything connects?” Contemplating that universality progresses to a realization of “how everything reflects.” As the track builds instrumental momentum, mysterious spoken-word elements permeate the undercurrent. The intensity of the band rises, the tempo quickens and drives everything to a dynamic conclusion.
Listen to this band's wonderful new album on Bandcamp, and find how how to acquire it in your preferred format via all of their social media.
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Adam Lippman is an indierock singer-songwriter who's been close with the DCW world here for quite some time now. In fact, first contact was established nearly a decade ago. However, his long musical journey goes back much further as a member of various noteworthy bands from the mid 1990's up until recently. Inbetween he released a few solo albums and EP's, while playing well-known tri-state area clubs and festivals as a supporting member as well as fronting his own bands. Adam is now back with his first new solo music in 15 years. With a full album on the way, new single “Sunblind” is the lead track out now on his own Papa Tone label. Mixed and mastered by James Mauri at @aberlin_sound_recorders, the track features Chuck Beckman on bass and Pete Wilhoit on drums. Adam plays all other instruments along with vocals and the songwriting.
A lush synthetic orchestra opens the track with a touch of reverence, until bright chiming guitar chords forcefully push through. Bass guitar and drums rumble up from underneath as additional guitar tones, back-and-forth pulsing keyboards and distant voices mark out the progression. A quaint story unfolds with opening lyrics “Once you gave me a chance - for your hand - at the back yard dance - in the rain - in New York - we were younger.” Those vocals are delivered with soft inflection at a measured pace, with certain words elongated for affecting emphasis. It's a vibe similar to the cool processed voicings on The Alan Parsons Project 1982 hit “Eye in the Sky.” While significantly different than that aforementioned classic, the chorus here jumps just as hard, with the hook lines “takes me forever and forever takes me forever you know. Now we had better get it together bring back that yesterday glow.” Attention to complete songwriting craft is on full display with the post-chorus turnaround “time is all we need to find put it all behind I am on your side.” The second verse serves up an impressively crisp drum fill and the song title reveal with the line “your sun drives me blind.” An instrumental interlude combines rising synth melodies with countering guitar notes, creating a lovely push-pull sensation.
Check out the track right here:
Follow Adam for album updates and info on how to acquire his music on preferred streaming services Hear Now, Spotify and YouTube.
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Finding their way back once again into the DaveCromwellWrites universe are the Sydney, Australia based gazey-noise-rockers Trillion. The 5 piece collective have a new single “Sure” set for release on the 27th of October. Having covered their work extensively over the last two years (with the band making “Best Of” in both 2019 and 2020) “Sure” is the first salvo from the band’s forthcoming “Atomic Sunshine” album.
The track kicks off in full motion (no fade in here) with pitch-bended guitar chords sawing back and forth as the bass guitar and drums throttle along. A murky 3-note rise/descend becomes audible, adding ghostly textures to the proceedings. With only a hint of possible voices leaking in, a shift downward into an impressionist murk emphasizes grinding distortion over a recognizably steady drum beat. Exploding back into the initial hook, additional layers of brightness shear through the sonic spectrum, evoking those timeless qualities associated with psych and gaze. A deeper trench is further explored blending low rumble modulation with soft narrated voices. As the steady drums briefly drop out, a shimmering wash of guitars provides momentary reprieve at the 2 minute mark. Quickly bringing the rhythm section back, an elevated wall of sound pushes everything upward for the next :30 seconds. More low-end grumble returns to the fray as a mixture of guitars, voices and tom toms press the behemoth onward. While drums remain busy (in that way Colm Ó Cíosóig does during MBV's otherwise shapeless “Holocaust”) guitars and bass are more about texture than any actual chord progression. Voices float into the overall mix, adding one more level of blissful reverie before it all comes to a quick stop conclusion.
Preview the track right here:
Full song release on on the 27th of October.
Also check out these complete DaveCromwellWrites reviews of previous Trillion releases HERE and HERE.
The ability to attend live music shows out in public with your friends once again has been a long time coming. After a soul-crushing shutdown / lockdown of 2020 that continued into early 2021, we are finally getting back to in-person appearances. Summer in NYC and adjacent Long Island has always provided many opportunities for mostly-free events in open park theaters as well as clubs and restaurants. Along with a variety of recorded music both new and vintage covered in this months feature, comes a long-overdue return to live presentation recaps.
Among her many talents and accomplishments, Laura Schaefer is an impressive singer in the soft rock, country, adult contemporary, and pop music realm. Catching a recent run of live appearances both indoor and out in the open street festival environment showed the performer captivating audiences with her nuanced vocal interpretations. Appearing on Sunday night's during these summer months at the highly-regarded Westbury, Long Island restaurant Cassariano, the duo act of Laura and Bill (with the equally accomplished Bill Blais on keyboards and vocals) entertained patrons with a dramatic set of classic cover songs.
You can't go wrong digging into the summertime soul of The Drifters1964 classic "Under The Boardwalk."
The same can be said about exploring late 80's/early 90's mega hits like The Eagles "Love Will Keep Us Alive."
Street festivals are always a great place to check out live music on a warm summer night. A band Laura has been doing some guest vocal appearances with are the wonderful Americana Country Rockers Tri State Alehouse.
This band are equally adept at covering a wide range of classic covers songs as well as their own original music (more on that further down in this feature). Adding a female voice for solo and backup work fits in seamlessly with these guys.
In addition to her current collaborators and bands frequently offering guest vocal spots, Laura co-wrote and released a number original songs as the lead vocalist in a band called Blue Mile. The album's opening track “What I'm Cookin'” serves up an easy-going acoustic guitar and bongo percussion groove, with clever lyrics on the essential art of flirting. “Caught my eye . . . 'cause you knew I was looking,” gives way to references of “recipes” and “dishes done” tying together the song's title theme. Attraction may come via “checked makeup” and “straightened skirts,” however the cautionary chorus warns “don't you think that I'm just a fool in love” because after “spending some time with you” - well, they're “moving on.”
Deeper emotions are explored on the country-rock tinged “Rest Of Our Lives.” While the multi-tiered acoustic guitars mirror classic-era Crosby, Stills, Nash and Young – Laura's passionate phrasing and vocal tone bring to mind two legends of that same early 70's period - Emmy Lou Harris and Linda Ronstadt. “You expect me to take this lightly?” she questions - “sorry but I had to pause” is her immediate response. “Because when you showed your emotions – it took me by surprise.” “Why did you have to ask me – where do we go from here?” “Well I guess that brought up – All Of My Fears” (singing those last four words with powerful feeling), “and I got so many fears”. The chorus (and title line) is sung in tandem harmonies, with both male and female voices pulling it all together.
Gentle acoustic guitar picking introduces the predominantly Laura penned “Nobody Lives Here.” Singing out with tender sincerity, the listener is immediately drawn into her world of honest introspection. “I didn't come to break your heart, but somehow my life feels so incomplete.
I've gotta take my world apart, I'm sorry but that means I've got to leave. I think it's time, to shed the skin, keeping me wrapped up so carelessly. I look inside real hard, for what I just might have to see, is a heart so dark and cold and oh so empty.” Rather than a simple recitation of these already well-crafted lyrics, key words are extended and held for dramatic purpose, embodying the power of storytelling in a musical setting. Reaching the chorus (and song's title), male harmonies and tambourine percussion add richness to this poignant tale that resolves on the line “but the voices that I hear tell me to start again, make this heart a home - for you and me.” A second verse serves up one more truly insightful lyric, “when you're blind, to all that's true, the ghost of what you dream is all you see.”
A slinky cat shuffle melody provides the basis for Laura's frank look at manipulative relationships on “You're Not The Person.” Far from pointing an accusatory finger (only) a sense of complicit behavior is also noted. “Lovers and liars, we're both some of each – I guess that's the way it's gonna be,” sets the tone for a harmony-laden chorus. “You want me when and only, I can be your prize. Too bad for you I'm only using the same lines,” comes as a musically elevated punchline. “You're not the person I thought you would be. And maybe you're saying the same about me. But I won't be waitin' for you by the phone, I'd rather be lonely all alone,” is the ultimate conclusion.
Country-ballad acoustic guitar chords enhanced by chiming single note emphasis rolls out the heartfelt “Didn't You Know.” Against this lean accompaniment, Laura delivers her lyrical prose of loss and it's aftermath. “You walked through the crossroads of heaven - did you know, you'd leave me behind?
You said that, you'd love me forever – you said that you'd always be mine. They told me that time would do the healing, they told me that you'd still be here. But now that you're gone all I'm feeling is the heartache of a life all alone.” As the chorus emerges, subtle slide guitar bends expand the country feel, as a harmony voice joins in on each “Didn't you know,” leaving Laura to complete each line with “that I would believe you” - “that life would deceive you” - and “that I would be left here – to make it alone.” Not content to resolve it all there, a extended bridge immediately follows with full tandem harmony vocals “Time passes by, I see you again, but only inside of my heart. You hear me cry, alone in the night, I need you to say it's alright.”
A lighter mood is set with the good-timey Bo Diddly-beat influenced “Party Dress.” Perhaps more inspired by the classic rhythm of “Willie And The Hand Jive,” Laura sings about the joys this life also provides. “Gonna get up for work and put my party dress on, gonna pick out some lipstick and put a lot on. Gonna shake like a tree in a warm summer storm when I hit the dance floor and party tonight. Gonna drink from the sweetest molasses tree, gonna love you and leave and then we'll see. Gonna let myself fly so high and so free when I hit the dance floor and party tonight.” Harmony voices join in on a joyous chorus that goes “Yeah life is treatin' me so fine so I'll take a minute and spend some time,
with friends who dance and party all night – these kind of people make me feel right.” Essential rhythm acoustic guitar backing tasty lead acoustic finger pickin' and shuffling percussion completes the happy-to-be-alive party atmosphere.
Although Blue Mile's time has come and gone, there are rumors Laura may record updated versions of some of these songs at an as-of-yet-to-be-determined point down the road. In the meantime, select live show appearances continue throughout the summer days ahead.
Live events attended, indoor and out
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While we wait for potential new recorded material, the previously mentioned band Laura has been doing guest vocal spots with recently – Tri State Alehouse has a more current album out with their inspired recording “Open Here.” Core members Jonathan Crist, Jeff Schumacher and Mark Ambrosino wrote and produced these 12 original songs (and one surprising cover) with a variety of guest co-songwriters and musicians. What you get on this recording is a quality Country/Rock Band with an “Irish Edge” from the Long Island/NYC area.
Opening the album on a reverential tone, “The Price” blends patriotic American country with the aforementioned “Irish Edge” by way of guest musician Eamonn O'Rourke's strong fiddle throughout. Follow-up cut “Highway” jumps right into the harder rock and roll realm with it's quicker rhythm and multiple guest lead guitarists delivering piercing solos. The song's title serves as a metaphor establishing open road driving as a means of alleviating life's pain. “Jump Right In” takes that rockin' vibe and swings it over into a deep shuffle groove. There's a southern rock feel to this good-time tale of calling on some sweet lady catching your eye. A hybrid of Lynyrd Skynyrd, Black Crowes and a bit of The Rolling Stones, essential lyric “you and that little tight red dress, I'm about to lose my mind” says it all.
“Everything's Gonna Be Alright” combines a jubilant country groove, southern Irish fiddles and sinewy electric guitar solos, with lyrical advice to focus on the positive around you. “Whitaker” builds off steady shuffling percussion, telling a tale of one man overcoming hardship to ultimately live a full and happy life. An emotional peak is reached at the album's mid-point with the Gospel infused “Who Am I To Judge?” A Neil Diamond feel runs through much of the lead vocal recitation (who has embraced Gospel elements on some of his own hits), with this track bringing in the Kellenberg Memorial High School Gregorian Consortium for spiritual backing vocals. Special props to guest musicians Steve Skinner (credited with piano, hurdy gurdy, keyboards, electric guitar) and Gus Fafalios (lead and rhythm guitar) for some truly firey licks on it.
Check it out right here:
“Loudest Party” serves up an appreciation for NASCAR racing, complete with opening engine rumbles before kicking in with a full-on fast and furious rocker. Chunky wah-wah enhanced guitar riffage sounds like Slash on GNR's “You Could Be Mine.” Shifting gears in every possible way, “Rock A Bye” presents an emotional story of life and the guiding hand of your dad. For those fortunate enough to have had a caring paternal role model throughout their lives (and having become one themselves), it's easy to relate to and embrace these affecting lyrics. It's a family affair involved with songwriting for the uplifting “On The Other Side.” Traumatic loss can either lead you down a dark road or conversely to one of forgiveness. Seeing the good your presence can offer and the family ties that bind convey views into our living years as well as the hereafter.
It's never a bad idea to include at least one classic cover on an album, and the band does just that with their version of the Rolling Stones “Angie.” While the original track relied predominantly on acoustic guitar, piano, orchestra (and Mick's voice, of course), this version has a harder electric guitar fueled edge to it. The overall pace is quicker, with the originals softer piano now replaced by hammond organ, more forceful drumming, a rougher lead vocal and soulful backing singers. Speaking of soulful, “Freedom Rise Up” approximates a similar electric guitar-based rhythmic groove of a song like Eric Clapton's “The Core” with a spiritual chorus elevated by additional expressive voices. “I See Harry” tells the story of a man who helped out wherever he could, wrapped in a country music form. Final cut “Wendy” serves as something of an homage to the Springsteen mystique of “amusement parks, boardwalks” and taking the night on the run with a girl – well, a girl named “Wendy.”
Check out all of these songs at the band's official site – including how to acquire this album, as well as when and where their next live appearances will be.
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Continuing their relentless quest for sonic excellence, Ottawa-based Paragon Cause have now released their third album “Autopilot.” Expanding on the auditory palette they've been building since their first two albums “Lies Between Us” and “What We Started,” (both meticulously reviewed previously here on this site) a bolder evolution in composition and sound design has arrived.
The core duo of Jay Bonaparte (guitarist/songwriter) and Michelle Opthof (vocalist/keyboardist/lyricist) bring back Raveonettes legend Sune Rose Wagner as an equal songwriting partner for all of the songs. In addition to his impeccable production work, Sune adds guitars, backing vocals, percussion and keyboards, creating an instantly recognizable imprint on much of the work.
Lead off cut “Two To Play” builds out of a straightforward snare drum and high-hat pattern before a deep-bass guitar rumbles out front, defining the progression. Poetic lyrics describing motion (“looking forward, falling back – running – moving along”) and dual involvement (as the title would suggest) come wrapped in glorious rising hooks and lush keyboard enhancements. Second track “I'm Not Here” puts out an icy late 80's film-noir homage vibe, with it's long-note synth pads, distinctive heavily FX'd guitar figures and stalking beat. The mental image of Terri Nunn with Berlin or Dale Bozzio fronting Missing Persons walking mysteriously through a Blade Runner future scenario (so popular at that time) is evoked through this audio experience. The shimmering vocal lines “I can't live like this” and “I scare myself sometimes” furnish necessary hook resolution.
Reaching the third entry finds the first of six total versions for the album's initial single “Think I'm Going Crazy Over You.” With five separate remixes (and one bonus track live version) “Jupiter Mix” is up first, receiving a full video treatment along side it as well. Enlisting the aid of producer and Sneaker Pimps co-founder Liam Howe, the notable English collaborator relies heavily on celebrated 80's synthesizer Roland Jupiter 8 (inspiring this mix title) for the retro sound quality and overall mood. “Brooklyn Mix” leans more on a traditional bass guitar approximation at first, before bringing back the recognizable buzz of that polyphonic analog synth heard on so many of the 1980's biggest hits.
“Acorn Mix” (the longest version) takes yet-another approach, building up via an over 30 second drone, before a traditional rhythm second of drums and bass drive the progression forward. That trad-band feel is the direct result of PC recruiting formidable assistance in the form of veteran LA musician Eric Avery. That angular, melodic bass pattern combined with more forceful, syncopated drumming affords a foundation for dynamic synth flourishes throughout. It's not until the “613 Mix” that Mr. Wagner makes his presence felt on this song. Providing his own bass and drum treatment, more atmospheric space is allowed overall. One more SRW version shows up dubbed the “Staten Island Mix,” whereby Sune's fondness for hip-hop percussion creates a busier undertow. Those privy to the “Live” (Bonus Track) version will get the most guitar heavy version of all.
A sense of relief in the act of unplugging and focusing on internal well-being comes shining through on “Disconnected.” A driving beat, electronic hand-claps, buzzing guitars and tinkling-ice keyboard fills dispense audio delights. However, it's the chorus that yields an instantly catchy sing-along hook that would slot right along side any pop-hit Charli XCX has written. The majestic “Making Up For Lost Time” becomes the album's high-point, combining precise songwriting with opulent production. Overdriven guitar chords, slow-moving riffs, Phil-Spector-like tambourine and minimal bass drum percussion render a lush sonic field for the emotive vocals. The truly beautiful chorus proves once again that simple ideas are often the best, when expressed with this much passion.
Check that one out right here:
“Play Me” continues with that rough-edged guitar sound (near industrial) while adding some welcome pitch-bending for good measure. Alluding to the games people play with each other in relationship, the relatively brief track (at a mere 2:15) benefits from it's quirky rhythm and towering vocals (particularly at the end-out). Alternately, the albums longest track (at 5:06) “More Than We Can Handle” materializes out of softer, distant synths, mechanized percussion, low-growl bass and ethereal guitar figures. Voices float in, sharing space between the gentle reverberated guitar textures. Relying more on mood than defined structures, a Cocteau Twins feel is diffused throughout.
“Denied” embraces a gothic atmosphere using dungeon-synths, lyrical guitar figures and melodramatic vocals. A new level of backing voices emerge with a synthetic echo line following the primary one. The overall feel is dark and foreboding, with accusatory lyrics suggesting nefarious activity needing to be exposed. The album's final track “Time To Leave” is keyboard-driven with ghostly background voices, steady bass-synth pulse and melodic electric-piano figures. Against the repeated line “time always tells the truth,” a variety of expanding structural changes and diverse instrumentation enhance the overall experience.
With their follow up album "Our House On The Hill" now out on Woodsist Records, Brooklyn's The Babies exhibit the cohesiveness of a fully realized band. Lead track "Alligator" finds Kevin Morby presenting his vocals in that conversational style first made popular years ago by Chuck Berry (think "Memphis" or "No Particular Place To Go"). The opposite of flowery (or obscure) poetry, the words come at you exactly the way people talk to each other. "There's no plans - watcha doin' later? Take my hand - alligator." And "I like your hair - how do you do it?" Ultimately the frustration is revealed when it's stated "It's no fair that you're taken. It's unfair, that you're spoken for." "Slow Walking" is classic boy/girl duet with lots of tongue-in-cheek "whoah oh wah" background vocals. What initially seems like an "I don't love you anymore" song twists and morphs along with way, with Cassie saying later on that "I'm not leaving like I said I would." "Get Lost" churns along a buoyant four chord progression with that now instantly recognizable Cassie guitar lead sound. These instrumental notes played are melodic to the point of being lyrical - that is, as if they are another set of lyrics.
Q: Do you feel the type of lyric and vocal presentation on a song like “Alligator” allows listeners to quickly get into your music and the messages it is attempting to convey? Does Cassie play all the smokin' guitar leads? (and especially the one on that song?) On that note, how did the recording of the whole album go? Is there a fair and agreeable distribution of who plays what when it comes time to lay down tracks?
Cassie: Kevin's said that when he wrote "Alligator" he was trying to channel a Jonathan Richman style of storytelling. As for the leads - Yup! There are a few leads I don't play - Kevin plays lead on "See The Country" and part of "Slow Walkin" and Tim Presley of White Fence plays lead on "Chase it to the Grave." The recording was a very smooth process. We recorded many of the songs after having played them live a bunch, and we tracked most of the instruments live.
Q: Is there a certain amount of wry humor being projected on the album? Who brought “Slow Walking” to the table first? Do the two collaborators then write their own part of the story?
Cassie: "Slow Walkin" is a song that I had half written before I showed it to Kevin - I saw potential for it being a good song for The Babies but wasn't sure where to go with it. Kevin and I jammed on it with acoustic guitars for about an hour and then it was a done deal. Even though I came up with it first I think of this song as being very collaborative - everyone in the band contributed something to it.
Q: "Mess Me Around" channels Black Francis at his peak Pixie period and even the sustained lead guitar lines sound like an homage to that band. Is the accusatory "you're a dumb idiot" lyrics your sense of how those "messing you around" perceive you?
Kevin: "Yes, although I am not the character in the song. But to that character, that is correct. It's a chant of anger and frustration towards a situation you were born into and wish you could get out of. It's pointed at all sides actually, outward towards an enemy, as well as inward, towards one's self."
Q: "Baby" is the first Cassie solo lead vocal. "I got a reason now - for you to come around." It goes from initially sweet and heartfelt to demanding - "you gotta come around." The video recently released to accompany depicts the universal fantasy of when singing Karaoke, you are imagining yourself on stage at a huge venue. The video itself is charmingly low budget in the way Sonic Youth would sometimes do. In fact, the deadpan vocal presentation hints at Kim Gordon cool. Does Cassie see Kim as any kind of influence or reference point for her own pubic personna (music or visual style)?
Cassie: I love Kim Gordon and Sonic Youth, but I can't say that she (or anyone else in particular) has had a huge influence on the way I sing or present myself in public. With my singing it's like - it's the only way I know how to do it. I don't even want it to sound like it's deadpan, but I guess that's how it comes out. I have been influenced in recent years by Lou Christie . He has really innovative vocal arrangements and I love his use of falsetto. Also the harmonies of bands from the 70s, like the Carpenters and America .
Q: “That Boy” finds Kevin detailing everyone’s (it seems) heartbreak. The seemingly simple rhyming quality of the couplets give the impression of an unlabored composition. As if it flowed out quickly with relatively little editing. Is that an accurate impression or was there more designed effort involved?
Kevin: "That's pretty spot on. The song has never had much structure, it's a song I had written a long time ago, that was never too defined, just something I would always come back too when idly strumming the guitar, and I tried to capture that essence in the studio by just doing a few takes of me playing it."
Q: Kevin shows up solo with acoustic guitar on the quiet and instrospective "Mean." Delivered in class Boby Dylan style, the "chorus" (including Cassie on ghostly background vocals) consists of the one word "mean" (repeated three times). A surprising saxophone solo makes its way into the mix unexpectedly.
The Dylan vocal stylings are taken further with "On My Team," progressing it forward the way Bob did from his early acoustic recordings to the full instrumentation he realized with The Band. The repeated title line morphs from Kevin vocal only to Cassie fully out front. Has the Dylan influence been as profound on you as so many others have stated over the years? Is he still the gold standard that songwriters look to when making music that puts its emphasis on lyrics?
Cassie: Kevin really loves and is inspired by Bob Dylan. Me, not as much. I like him but there's a wall there that I haven't broken down. I'm more of a Neil Young kinda gal.
Note: I had previously written a review of signficant album track "Moonlight Mile" here:
Q: "See The Country" is another Cassie lead vocal, with Kevin on background. "Gonna see Sedona in the snow, and the rolling hills of Idaho" is how this travelogue goes. Ultimately "where will I go?" becomes the thematic hook. Touring extensively the way you now are, do you feel you're getting an adequate opportunity to see all the interesting things this country has to offer?
Cassie: Yes. I've always loved traveling across America since I was a little kid and my parents would take me on vacations to the National Parks. Part of the reason I love touring is getting back that childhood feeling. It's wonderful to be able to see so much beautiful scenery.
This interview appears in an edited form in The Deli Magazine, Print Issue No. 33, which can be found here:
What it is: Melodic three minute rock songs with lyrical emphasis.
For those who like: Modern Lovers, Pixies, Dinosaur Jr.
Relevant info: The Babies released their second album “Our House On The Hill” this past November on Woodsist Records.
Equipment/Recording interview for Delicious Audio(featuring Cassie and Kevin)
- How much of your recording is done at home versus in the studio?
Our latest record was recorded in a nice studio. Our first album was technically recorded at Kevin's house, but it was a studio-like setup, recorded by Kevin's bandmate in Woods, Jarvis Taveniere.
- If you use a studio, what do you record there and what do you record by yourself and why?
Our only release that we have recorded ourselves was the EP "Cry Along With The Babies." We record in a studio because we're a full band and it seems like it would be difficult to make a decent-sounding recording with the whole band.
- What are the pieces of equipment that you find particularly inspiring when recording at home?
Kevin and I both have Tascam DP-008s that we use when recording on our own.
- What one piece of hardware/software would you most like to add to your recording setup (cost not an issue)? Why?
I'd like to have a reel-to-reel 8 track and an old tube condenser microphone.
- Do you expect your next record to be self-produced, or would you like to work with a producer? If it’s the latter, who would you most like to produce your band, and why?
Our next record will likely also be recorded and produced by Rob Barbato, who we worked with while making "Our House On The Hill." We love working with him. He is extremely talented and easy to get along with.
- Do you use rack effects or guitar pedals to forge your own sound? If you do, please list the ones you use the most and let us know why you love them.
I use an Electro-Harmonix Memory Boy and a Boss Super Overdrive while playing live, and also while recording sometimes. Kevin uses a booster pedal playing live and that's it. We also both sing through Holy Grails.
- Do you have a particular recording style that you aim for? What techniques do you employ to recreate it?
We wanted our last record to have the energy of playing live, so we tracked almost all the instruments live for many of the songs.
- Who determines the direction and style of your recordings?
It's a group decision.
- Is there a person outside the band that's been important in perfecting your recorded or live sound?
Rob Barbato was incredible as a producer. He brought many ideas to the table that made our recording sound way better than it would have otherwise.
- Would you say that your live show informs your recording process or that your recording process informs your live show? Both? Neither?
Both. Our live show informs our recording primarily, but there are some parts on our record that we hadn't been playing live, and after we recorded them we started.
- Is there a piece of equipment that you find particularly useful on stage?
I love my '65 Fender Pro Reverb amp. It never lets me down. It's hard to play out of other amps sometimes.
- With bands doing more of everything themselves these days (recording, performing, self-promoting, etc.) and the evermore multimedia nature of the world, how much effort do you put into the visual component of your band - fashion, styling, photography, graphic/web design, etc.? Do you do these things yourself or is there someone that the band works with?
I'm a visual artist as well, so the visual component is very important to me, especially in terms of album artwork and music videos. It's important for a band to have a defined aesthetic, whatever that means to the band themselves.
- What do you find to be the most challenging aspects of the recording process? On the flipside, what aspects are the most rewarding?
There can be stressful moments when someone is trying to nail a part and it takes a while. However, it's extremely rewarding when you listen back to the song and it sounds better than it did in your head.
*****
An edited version of this recording and equipment interview can also be found at The Deli MagazineDelicious Audio site, located here:
Covering shows and artists in New York City (and surrounding
areas) is constant source of sonic and visual stimulation. It's why I live
here. However, I sometimes wonder what it might be like to live in other
regions of the USA. More specifically, what are the underground and alternative rock music
scenes like there?
Sure, I know about Austin - having attended a number of SXSW
festivals.
California has always been on my radar as a dominating force since
the early 1960's. But - what about a place like Las Vegas?
Engaging in a bit of research, I discovered a thriving rock
scene bubbling under the surface, similar to what goes on in New York,
Philadelphia, Boston, DC, Chicago, Minneapolis and Austin.
Local hard rockers Microdot have a sound that leans towards
the powerful armageddon-fueled force popularized by genre leaders like Tool. The
guitar chords are flanged and crunchy, while lead vocals are delivered with a
foreboding sentiment.
Listen to "Eternal Youth" for a prime example of this:
Down The Boulevard present a quicker urgency with their hard
rock style. "Alibis" comes at the listener with an almost frantic
approach. "How could you look in to my eyes - while smiling through your
alibis," is the accusatory lyrical refrain.
Systemec delivers a heavy industrial sound that pays homage
to purveyors of this genre like Rob Zombie and Prong. "Skywind" more
than capably plunders this semi-mechanized sound, while showing a lyrical
cleverness as well. Using the time-honored "sky" metaphor, the lyric
"watch the sky slip away" can easily be morphed into "watch this
guy slip away." Heady stuff.
As one can see, simply scratching the surface shows a
thriving underground of rock bands in a city that is mostly known for gambling
and more "traditional" forms of entertainment.
A road trip to check
it all out live and in person is soon to be on the itinerary.
The outdoor music festival has taken New York City by storm. No sooner has one completed a multiday marathon just the weekend prior (and produced specific point-of-view coverage of those shows) that another weekend event comes right on it's heals.
The Village Voice held it's second annual 4Knots Music Fest at South Street Seaport in nautical lower Manhattan on Saturday, July 14, 2012.
Featured performers included San Diego, California goth rockers Crocodiles - who's frontman Brandon Welchez does a pretty good Jim Reid visual.
More about them further down, however the day was long and the action started in the much earlier afternoon.
Checking in a the Press Table and securing one of these was essential for making it back into the photo areas, as each band changed over.
The first band on the Main Stage was a San Francisco based act Nick Waterhouse
Nick and his band play a jazzy style that incorporates elements of soul and R&B as well.
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Though Nick took the lion's share of lead vocal duties, he did lean heavily on a backup vocalist who brought a lot of style and energy to his overall musical presentation.
Another quality touch was the double saxaphone section, creating sonics not heard from any of following performers on this day.
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The early part of this festival had a second stage going as well, staggering the start times so you could effectively move between both stages without missing much, if anything at all.
Heading over to the smaller Skippers Stage - we were just in time to catch Devin
This performer and band put on an extremely high energy show that was as much fun to watch as it was to listen to.
There are touches of the Elvis sneer - the ramshackle qualities of a band like The Replacements in the group dynamic - and even a bit of Billy Corgan in the singers vocals.
Devin rocked and kicked ass all in one. Recommended!
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Shuffling along with the herd over to the main stage again, it was time for the much hyped (in my world, anyway) Bleached
Cute girls, no doubt about it.
Appear to be filled with confidence and all the right rock attitude as well.
I believe my fellow credentialed photo-pit associate thought the bass player warranted taking more than a few snapshots of.
I coulnd't really disagree with him.
And yeah - it's a lot about those shoes
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Youthful enthusiasm!
There's nothing like a nautical backdrop for your promo photo.
As for the music they make - well, I realize that everything's been done before - but this REALLY has been done before - and much better - by others.
It's pretty much The Vivian Girls - with less on-key vocals. That's not to say they weren't fun - or didn't have segments of the crowd dancing and whipping their riot-grrrl hair around in a carefree way.
Even this fellow:
Whom we (in the photo pit) dubbed "riot boy" - was having a hair flipping time of his life!
I give them props for showmanship - and doing all it takes to keep a festival crowd active - I just don't see anything unique or outstanding here.
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Having written a preview about the next band to appear on the "Skippers Stage" - it was imperative to catch the set from Brooklyn's own Team Spirit
More compact surroundings made for better side-shot photo angles.
This band's recorded works did impress - and so did their live show.
Enjoying the show in progress, but in dire need of some refreshments, we headed up to the Peking VIP ship for a quick beverage break and to check out more from a different perspective.
Nice crowd.
Check out what they sounded like on this day:
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Down the gang plank we trudged once more - this time to catch the set on the Main Stage by Hospitality
This Brooklyn band is fronted by a female vocalist/guitarist named Amber Papini and played a minimalist indie pop style with jazzy inflections.
One left handed guitar (here the bassist) always creates a symmetrical look on stage.
Amber's vocals are intimate and up close in your ear.
Hospitality’s compositions focus as much on the spaces between the notes, as the notes themselves.
The music is pop, but structurally more complex than the more basic variety.
Listen in on one of their performances here:
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Heading back up onto the Peking VIP ship to catch the final 2nd Stage performer (Delicate Steve) we witnessed the most dramatic event of the day.
As Steve and his band were getting ready to play, a fire broke out on Pier 17, directly across from where we were located.
Apparently it started as an electrical fire from underneath the dock.
The New York Fire Department response was swift and boats with powerful water cannons put the blaze out.
The fire was no match for the Super Cannon!
Video of the moment, captured:
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Meanwhile, Delicate Steve ripped into a spirited set of music.
It seemed like Steve's playing was particularly hot and smokin' on this afternoon.
As witnesses here:
Even as the fire department swarmed the adjacent dock, putting out the last remnants of the fire.
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Finally it was time to catch the highlight show of the afternoon on the Main Stage
San Diego's Crocodiles
Despite having to endure a lengthy wait while the Fire Department gave the "ok" for music to be played again, the band was in fine form and delivered a blistering set.
Frontman Brandon Welchez commands the stage with a strong presence. Once could make the case that at times his appearance strikes a resemblance with Sune Rose Wagner of The Raveonettes.
The the other core founding member - guitarist Charles Rowell stands out with a dominant guitar imagery, not unlike William Reid of the legendary Jesus & Mary Chain.
Drums and bass are essential for any live show worth it's weight.
Having a keyboardist gives Crocodiles a richer sound as well.
Quality rock from a band that knows just what it should sound like.
The Seaport creates a natural backdrop that creates instantly attractive photos
Roming around the audience catch the pulse of the crowd (everyone was totally into it) one video capture of a particularly favorite song of theirs:
Even the photographers were having some crowd-surfing fun.
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Having endured an already lengthy day of Festival activity, drid and I decided to head on up the the Pizza Uno restaurant (conveniently located right above the proceedings) to refresh somewhat on this sweltering hot afternoon.
Soon enough it was time for The Drums to perform.
Much has been written about this band - with opinions ranging to extremes in both the positive and the negative.
I've always found their live show to be incredibly amusing, and their recorded works to be both professional with more than a few really catchy songs.
For this particular show it seemed like frontman Jonathan Pierce played it a lot more "straight" than he has done in the past.
Which was somewhat disappointing as I'd grown accustomed to seeing him gyrate in twistedly spastic ways. I was looking forward to more angular (and lets face it) awkward dancing.
Well there was a little bit of it - but not nearly as much as I remembered from previous shows. Perhaps he's tired of hearing about all that so has tightened things up a bit.
Still, the very heavily 80's influenced tunes are there, and I think they actually do that sound rather well.
Here's one of their more recent tunes as evidence:
At this point, drid and I were in serious need of more substantial reinforcements, and headed out of the festival to Front street and a proper restaurant.
Making at least a cursory attempt to then attend some of the scheduled Afterparty, the chaos in front of Beekman Beergarden (alternate entrance due to the fire) made the decision to call it a day that much easier.
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.
