An in-depth Interview and hotly anticipated EP Review kick-off this month's DaveCromwellWrites Features. Experiencing their debut New York City arrival fueled a lively and insightful interaction. No less important are two full-length, track-by-track reviews from trusted labels and artists. With one returning and another first-time creator receiving detailed analysis on their latest recordings, the quest to make sense of it all carries on without limit.
When press releases about a new band called The Buckleys started showing up via email over the last two years, an appreciation for the music and image they were producing was instantly felt. The ear (and eye) catching track “Money” (the band's first worldwide release) was simply too good to ignore. Keeping an eye on their progress from that point on, the band is now back with a new EP “Take It As It Comes.” Hailing from the southeastern coastal town of Byron Bay, Australia, the hardworking sibling trio of Sarah, Lachlan and Molly Buckley embody a wholesome quality combined with a touch of glamour and timeless cultural appeal. Raised in a musical family, they were all taught instruments and began singing together at an early age. An enlightening introductory video “Meet The Buckleys” sheds more details on that.
Combining elements of Pop, Nashville Country-Western and Indie Rock, initial press began calling their style “Hippie Country.” With that designation referencing a new look on what came before, their sound is the epitome of modern creativity. They took an immeasurable step forward after signing to Chris Murphy's Petrol Records label in 2019. The former INXS manager encouraged them to emphasize creative freedom above everything else. Having traveled and recorded multiple times now in the Country Music hub of Nashville, the band has been allowed to further spread their creative wings under the tutelage of Grammy-winning producer/engineer Chad Carlson. With the band recently coming to New York, Nashville and LA for press stops and personal appearances, I was honored to catch up with them for a face-to-face interview.
Meeting for in-person interviews are often on-the-fly events, with locations switching inside a 24 hour window. New York City's University Place was the designated neighborhood, with final destination at Tortaria Mexican Restaurant. We were able to secure their street-side private enclosure, allowing for a completely-to-ourselves, no distraction environment.
Running first into Reybee PR rep James Boss and Lachlan Buckley outside the enclosure, Lachie (as he is sometimes called) remarked on how he liked my t-shirt, which had a skeleton skull with tophat on it. He asked if that was “skeleton Slash” but I let him know it was simply a more seasonal image. However, the guitar-centric member of the band confirmed he was very much a fan of the GNR guitarists playing. Moving inside the intimate space, both Sarah and Molly Buckley greeted us with warm smiles and overall friendly demeanor. The conversation was lively and casual, as we explored a variety of topics regarding the bands inception up through and including their current direction.
The band were featured at the end of October during the Byron Bay Film Festival where they premiered their new documentary, Take It As It Comes. Capturing their time recording current EP of the same name at East Iris Studios in Nashville, the docu is dedicated to their mentor, friend and guiding hand Chris Murphy (who sadly passed away in 2021). Some of the songs were also written in direct response to the devastating floods their home country has been facing. “Have you ever slowed down – stopped to take a beat – listened to the sound – of two hearts in harmony. Could we all take a step back – be thankful for what we have – lend a hand and stand together- through times of uncertainty” is how the opening lyrics go on the title track. The band explained how this sentiment refers to their hometown community coming together in a time of crisis.
Co-written by all 3 members along with rising Nashville star Jared Hampton of the band LANCO, Molly explained “we wrote this track at the very end, a day before we went in to record.” Noticing what sounds like a minor chord on the changeover word “uncertainty,” Lachlan confirms it and adds “it's actually a minor 7th.” Such is the subtle sophistication of their compositions. Asking who's voice is doing the “1, 2, 3 go” count-up bridge between gentle acoustic opening and the song's mostly upbeat remainder, Sarah states “that's Jared on there – we kept it from the original demo.”
More positivity is revealed with subsequent lyrics that go “I don't know where the winds blowing – I don't know where the road leads – maybe left is right and right is wrong – but maybe all we need – is to hold each other closer – is to love a little longer, and stop searching for a reason to divide and disagree.” That leads into the BIG Chorus “Take, Take Take A Look Around – the Clouds are gone, the Suns Come out. Gotta Take, Take,Take it as it comes – cause you might not get another one.”
[With vocal steps rising ] “oh, oh, oh, oh – as far as I know – nobody knows – we make it up as we go.”
[resolving the musical circle] “Gotta take it as it comes.”
Listen to this gorgeous song and view the accompanying video here:
Initial single and the EPs second track “Oops I Love You” is a bouncy pop-country gem that showcases all of the bands appealing qualities. Sarah's vocals deliver universally relatable lyrics with lines “Our love is overrated, promises break, I don't like complicated, the movies are fake yeah. Ain't it so lame how they all end the same damn way. Now I never believed.” Moving quickly to a vocal hook, Sarah and Molly harmonize “But You ooo ooo – taking me down – I don't know what to do – nowwwwww.” Leading into the most-catchy, earworm Chorus: ““Oops I love you, don't mean that I want to baby – Oops I kiss you, don't pretend you didn't want it – my mistakes are yours to take so please do .”
Second verse delves into the natural laws of attraction in this modern society, stating “So where the hell you from? And what were you thinking – walking in, messing up everything. If it's true, then why'd you do - I bet you do it on purpose. You think it's so cool. You're probably worth it.” The accompanying video features footage of them performing at East Iris Studios in Nashville, with Lachlan playing an angular, inverted guitar hook on the upper half of his double-neck guitar. The second pass through shows him playing the riff on the lower half. Asking him if the combined guitar is actually needed to cover different sounds, he confided “sure, the 12 and 6 string halves each serve their own purpose,” plus he added “it's also looks pretty cool.” A nod to Jimmy Page as visual influence in this regard was cheerfully acknowledged, though he cites Jimi Hendrix as his primary inspiration.
Watch and Listen to THIS wonderful track here:
Deeper tracks like “What Ya Gonna Do About It” opens with a forceful drumbeat, chugging bass-heavy low-end notes and higher register guitar accents (that have some kind of wiry effects on it). There's even an organ chord dropped in there for good measure. Sarah initially sings in a lower-pitched, intimate vocal reading, before changing over to a fuller, passionate voice. A rising step bridge to the chorus continues the feeling with lines ““Would you believe me if I told you that I loved you – would you try and stop me if I let you in – put your money where your mouth is – your mouth on my lips – yeah, I want your kiss.” On to it's captivating chorus: “So what'cha gonna do about it” [sung in harmony with background “oooh oooh oooh's”]. “It took you long enough so listen – I wondered when you figured it out.” Enhancing this chorus are three big descending progression guitar chords, prominently featured in the changeover to the next verse.
“Fool Me” is a country-western ballad driven along acoustic guitars and rim-clack percussion. “I wonder where you are and I know I shouldn't – everyone's asking what we're doing. I don't know what to say – how about you?” Sarah sings. “Everything moves it's own motion, watching you move has got me holding my breath – and you are too” she continues. The bridge rises with lines “This flame, it keeps burning – is burning – perfect (with the final word stretched out “perrrrrfeeeect”). Right into the smooth chorus: “Foooool me again – I want you to fool me again. Baby we are what we are – we both know what this is. I can't not let you in - So Foooool me, fool me again.” A song for those times when the fantasy and illusion of something more is good enough for now.
EP closer “Love Me Wrong” (which is currently topping the Australian Country Music charts) emphasizes an easy, breezy style, with high-end bended/reverberated guitar notes leading the way. “I've been waiting for the real thing,” Sarah emotes, “and it feels like this is it, yeah it could be” she continues. Clever twists on traditional themes, like the line “trying to fit a square into a round heart” create an endearing sentiment on loves possibilities. “You can't take it baby if you don't break it – I will give you all the space in my heart” becomes the singalong hook. With the ultimate request that you “DON'T love me wrong,” the songs title is a subtle deception. The charming addition of film clip audio adds one more appealing element to it all.
Other miscellaneous topics covered in the interview were things like current books being read. Molly confessed to presently reading Keith Richards outstanding memoir biography “Life.” That lead to lively chatter about it since I had devoured all 547 pages of it on it's initial release. Sarah mentioned to also being a fan of biographies, with “Julie Andrew, Blondie and Carole King” being the most recent coming to mind. Molly put forward that “Lachie is a surfer” as one might expect from growing up in the Bay community. “Yeah, I'm a surfer boy - a surf rat,” he chimed in. Sarah mentioned how they're “into fashion” which Molly quickly interjected “yes, we looooove fashion.” This was immediately apparent from one look at their very stylish, but not necessarily practical for walking around New York City shoes. The ladies acknowledged indulging in bit of a “Carrie Bradshaw, Sex In The City” appreciation in that regard.
It was a pleasure to interview this bright and talented band of budding superstars!
Keep up with The Buckleys on all the popular Social Media as well as Their Official Website.
* * * * *
Back in May of this year, ambient dreamgaze collective Sueño con belugas were reviewed here on DCW for their introductory track “Normal” in anticipation of upcoming album “Memoria Cósmica.” With the release of that full eight song album, a chance to dig deeper into their sound is now available. While collaborative in both writing and recording, the prime motivator behind these “dreamers of whales” is Héctor Caolo Alvarez (known also as bassist and key member of Puerto Rican dreampop band Un.real).
The full album continues with that experimental concept first heard on “Normal,” which emphasizes collaboration between a number of like-minded musicians throughout Puerto Rico's independent music scene. Designing the recording to flow continuously like a single piece, each of the eight compositions come together for an uninterrupted listening experience. Opening track “52 Hz” floats along a gentle strumming of electric guitar, background drone and additional layers of brighter guitar notes.
A singular synthesizer textures takes over for it's conclusion, bridging into next cut “Agua Atómica.” At nearly seven minutes long, the albums lengthiest track evolves out of a mysterious shimmering undercurrent. A slow, chugging progression emerges after a minute in, with solid, easy-groove drumming and clarion bell guitars. Soft, sensuous female vocals commence, and the feel is like a deliberate journey desert terrains. The beat drops out momentarily, allowing the voices to elevate skyward. As the journey commences once more, full beat, background vocal layers and rough-edged guitar distortion all come together for a final push.
“Caracol” rises slowly out of natural field recordings that lead into a spoken-word segment. Deep humming tones are blended with the sound of ocean waves and loops of unknown origin, paying homage to Brian Eno's more experimental ambient pieces. That leads into previously reviewed cut “Normal,” which features bold electric guitars, throbbing bass and cymbal-wash enhanced drumming. Heavy guitar and bass interplay provide strong rock and roll hooks between female voiced Spanish language vocals. Belugas can be heard swimming in the tracks final minute. “Fantasma” changes course with it's opening strains of gentle acoustic guitar. A whispery, near childlike voice begins to sing, as a rising pitch ambience builds from underneath. A dream-like lullaby feel permeates throughout, from start to finish.
“Gris” comes on like a proper rock song, bass guitar driven with clearly defined guitar chord changes and precise drumming to match. A male-female vocal duet takes alternating verse lines, before coming together in richly textured vocal harmonies. A deep bass and drums instrumental midsection thunders along with higher-register guitar lines soaring over top. Those guitars are given an additional bass-and-drum-free segment, sounding like the kind of break The Smashing Pumpkins build into their songs. All the instruments return for the driving conclusion.
“Detrás del Volcán” changes the tempo considerably, with an introspective, soft-vocal presentation. Open note guitar chords provide initial musical accompaniment, before gazey, quick-strum washes and a steady drum beat fill-in midway through. The final (title) track “Memoria Cósmica” extends out those “interludes, field recordings and cosmic experiences” promised in the liner notes. That eventually morphs into fuller guitar washes with ticking time-clock percussion. Low-end notes seems to double-down further on what Beluga whales might sound like, if we could listen in to them out in the deep oceans of our planet.
Listen in and learn how to acquire this magical journey here:
Previous Features on this artist can be found Here and Here.
* * * * *
Bookending Big Stir Records first major album release of 2022 (reviewed here way back in January) is their final release of the year, “Sounds In English” by Sweden’s Richard Öhrn. Best known as the guitarist and one of the songwriters for the indie pop band In Deed, this release serves as his solo debut. Taking the “solo” designation to it's utmost extreme, Richard wrote, arranged, recorded, played all the instruments and sang all the vocals. Coming together over a period of nearly a decade (while also working on other projects) out of a home studio in the Swedish countryside, a penchant for retro sounds spanning the '60s through '90s can be heard throughout the 12 tracks. The album title refers to what you hear when listening to songs – the sound of the words, rather than it's literal intended meaning. It also points towards the English and American bands that influenced many of the songs.
Opening track “Seal Your Move” dives right into an early 1960's pop feel, with chiming 12-string electric guitars leading the way. Sampled mellotron flutes inject a folky chamber pop quality as the track progresses. The title refers to a chess tactic where one seals their next move in an envelope, to be opened when resuming a paused game. The poetic parallel is urging someone to delay their actions until they can think it over one more time. A beautiful Simon and Garfunkel vocal-harmony inspired “5th Month Announcement” follows, with gentle finger-picked acoustic and deeper electric guitar accompaniment. The “announcement” comes as the result of discovering a pregnancy half-way through term. Shuffling percussion, bass and additional guitar licks contribute to an overall flowing river feel.
An agile toms and snare drum fill introduces the speedy power-pop gem “Time's Not Running Out,” an homage to the American Merseybeat-influenced style of the '90's. Referencing the aftermath of a breakup, “It never ends the way it started, the past is for the broken hearted” provides clever lyrical insight. Some sweet, ripping guitar solos commence midway through, enhancing the sweeping, forward driving experience. Piano and organ figure prominently on the 1-2-3 waltz time signature of “The Coolest Manners.” There's fascinating bits of Beatles-y nuggets (circa “White Album”) woven inside it's structure, and a tasty rough and tumble guitar solo throughout the final minute. “Someone To Forgive You” accentuates that early 60's Merseybeat vibe, with 12-string acoustic and organ prominent in the mix. A wordy tale of regrets and dealing with the fallout from decisions made.
An inventive hand-clap loop and gentle piano melody sets “Love and Friendship” in motion. As the positive story of reconnection unfolds, a string section plays in the space where a guitar solo might ordinarily occupy. While The Byrds “Bells of Rhymney” is evoked on the intro of “Take This Bottle,” it's their mentor Bob Dylan (and a touch of E. Costello too) serving as touchstone for the bulk of this track. The 12-string chime is apparent along with old-school acoustic piano. The chorus is perfect for a pub singalong, while vocal diction on lines like “now you're just a little bit too close” channels Dylan-esque phrasing. A circular snare-roll-to-around-the-toms drum pattern and distant reverberated clack sets up “Every Shade.” Minimal accompaniment under the vocals allows for lyrical focus on verses, and emphasis on the lush background harmony chorus. Measured slide-guitar forges an emotive element within the songs structure.
Alternating rising and descending piano chords serve as the rhythmic progression for “I Chose You.” Lyrically contending with end of a friendship (and not really knowing why), the songs title and associated words make clear who it was that initiated this relationship. There's a brass band backing to the New Orleans-meets-Country vibe of “Could Have Loved You More.” A particularly favorite line (and one that hits close to home) offers: “I don't dream – I only think while sleeping.”
Flamenco-style guitar and reverberated piano also factor into the overall experience. The piano driven “If I Could Read Your Mind” has an initial torch song feel, along with elements of Jeff Lynne/ELO emotive vocal/chord changes. Edgy guitars snake their way into the mix, adding an epic quality to the overall production. Final track “Spanish Moon” combines keyboard plucked strings with acoustic guitar and progressively ascending military-roll percussion. A fuller string sound ultimately emerges accompanied by the wistful fade-out line “someday you'll know.”
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.
* * * * *
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.
* * * * *
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
* * *
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.
* * * * *
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.
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.
