This Edition of DaveCromwellWrites focuses on four new single releases from much beloved and/or highly regarded recording artists. While one continues their compelling resurgence by way of an expanding new audience base in the USA, others here stay the course with yet-another impressive release. Singer-songwriters are the primary focus this time, but there is always room for a bit of dreamgaze hazy goodness. Whether it’s higher-end glossy production or a grittier home studio offering, a few chords and a melody is always, it seems the right way ‘round.
What a whirlwind year 2024 has been for Sophie Ellis Bextor. As a result of having her over twenty year old single “Murder On The Dance Floor” featured in the widely viewed film “Saltburn,” the track took off again and became an enormous hit. Much like the way Kate Bush’s “Running Up That Hill” had a similar resurgence after being featured in the popular series “Stranger Things,” Sophie was suddenly popular for the first in in America. Long time fans of Sophie (this writer included) already knew how great she (and that song) was, but now all of the USA was singing along to MOTD repeatedly. A certain first daughter (mine) who already loved Sophie’s music from being fed all her albums over those 20+ years, was now saying how she heard it on the radio every hour. A first ever full headline US tour followed, along with TV appearances on the best late night variety shows. Now Sophie is back with a brand new single “Freedom Of The Night” and this sites review periscope digs down into it’s glorious details.
It shouldn’t be surprising the songs opening strains hearken back to Sophie’s “Make A Scene” era and two of that albums biggest songs “Bittersweet” and “Heartbreak (Make Me A Dancer).” Considering she co-wrote this with Richard ("Biffco") Stannard, who was heavily involved in those MAS tracks, the sonic qualities are instantly recognizable. Filling out the songwriting team here are performer/producer Shura and Duck Blackwell (and of course the ever present Richard Jones). Vocals commence within the first 10 seconds as Sophie commences to “wake up” and “put on confidence (like make up).” Bridge is arrived at almost as quickly (under 30 seconds) “I’ve heard dreams come true” with minimal backing of handclap percussion and upward fluttering synths – “come to the other side” she beckons (reminiscent of Familia’s “Come With Us”). Like the best great dance tracks it’s really all about the chorus and this one leaves no doubt. Hitting right at that 30 second mark, Sophie’s voice soars in “OhAh I can feel – Energy – I believe it’s healing me – OhAh All I need is sweet release” and the title line. Repeated again because that’s what these songwriters know works – how to make a dancefloor “banger.” The musical underpinnings are bubbling, bouncing bass synths and four-on-the-floor forward thump.
Sophie has already been quoted as saying it’s all about “that feeling you get when music gives you that lift, that empowerment.” That fits with the next (3 time repeated) hook line “Give in to what to do want.” Verse two mentions the “clock,” “time” and “a web made of moonlight” presented in a singular falsetto vocal register, against an animated heavy-funk bassline. That precise bridge to chorus returns to lock down that essential dance floor hook. This go round the “give in to what you want” comes with a repeated shadow vocal off in the distance. One more essential change with “ooooh – when the moon is high I feel this way” ultimately leading to “I Rise Again.” As an added treat, Team SEB brought in rising guitar superstar Chris Greatti (lovingly covered in this sites feature here) to play a blistering guitar solo. One final pass through the chorus (because it’s just so much fun) and then a sharp ending.
Check out this fantastic song here:
The Official Music Video has now arrived and it’s brilliant fun! Sophie decided to revisit the story of her original MOTD video, but now update it to years later (which of course it now actually is). However, this time she is a “stage mom/mum” and is coaching her own daughter in a similar dance competition. Bringing back essential people like video director Sophie Muller and central judge Colin Stinton, newer creatives like “Saltburn” Choreographer/Movement Director Polly Bennet were also involved. The biggest change (and delight) are Sophie’s adorable co-stars – the young dancers, which include a “Mini Sophie” (her fictional daughter here). The video opens with the mother/daughter team walking into the competition with their matching custom made “Team S E B” tracksuits. At the makeup table Sophie grooms her daughter and rehearses pageant smiles while glaring at the competition. Costumes are readied and the “en-er-gy” is commenced with swirling dancefloor moves. Amusingly, “mother Sophie” is caught peering over the judges shoulders and discovering the scores are not to her liking.
When the line “I’ve heard dreams come true” is reached, there is mom Sophie coveting the prized trophy of flower-adorned silver dance shoe. Sophie grabs a bag of candy and starts giving it to the other dancers, causing them to become distracted and ultimately blow their routines. As Sophie manically cackles, we now understand her comment that this was a “What Ever Happened To Baby Jane” moment. She stares down and confronts a photographer capturing the whole thing and the judges are appalled. Hitting the songs glorious bridge is where “Mini Sophie” has her shining moment. Real and Mini Sophie now in matching outfits take their star turn in quick cut succession, whipping a long ribbon around in triumph. Complete chaos ensues as all the other child dancers begin acting out in distress. As the judges loses control of everything, Sophie and Mini make a bee line for the trophy and award it to themselves with delirious glee! It’s such bad behavior but soooo good in this video.
A Previous Review of Sophie on this site (including links to all the other features on her) can be found Here.
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Earlier this year the artist releasing music under the name I’m The Villain received a detailed review of their latest single (at that time) “Something Is Coming.” Now Gianmario is back with a lyrically introspective, instrumentally lush new track “The Real Me.” The DaveCromwellWrites laser focus is now applied to this current release, detailing the essential elements that flow throughout the composition.
Choosing to bypass any gradual introduction, the track commences in full motion with electronic high-hat ticking percussion and deep chiming The Cure style guitar. Chord progression and melodies are bold as they morph from major to minor key status with emotional sincerity. Vocals commence with initial lines that go “waiting for a real sign, I wash away the morning light. Find me - In your sweet song - and don't be sad, ‘cause you're alone.” As one would expect, the chorus is where everything comes together, with lyrics “I found myself in Dream and - I don't care if I'm still alive - I Just want to be the real me for this time.”
Extended note synth pads fill in the sonic space for a lush backdrop that enhances this reflective sentiment. There are subtle pitch bends on some of these synth textures that adds another level of melancholy and mystery, just lurking underneath. Just past the midway point an uplifting keyboard phrase provides a bridge to another round of vocals. A modulating pulse now repeats during this segment, combined with an additional descending sonic element. The beat drops out for an ethereal vocal passage accompanied by yet-another elevated keyboard enhancement. With full percussion kicking back in the chorus is repeated while that beloved Cure-sound guitar returns for an earnestly gorgeous outro.
It’s always a pleasure to hear from Lunar Twin songwriter and vocalist Bryce Boudreau, having covered a number of that bands releases here over the last few years. This time he’s tipping this site off to a previously unheard artist that goes by the name Matthew Nowhere. The promise that both Lunar Twin members (which also includes instrumentalist Christopher Murphy) are to make contributions to Matthew’s forthcoming debut full-length “Crystal Heights” is exciting news indeed. For now there is this current track “Love Is Only What We Are,” which receives the full DCW analysis.
Accompanied by an official video that opens with images of a swirling night sky, steady synth pulses are soon met by deeper bass, as the artists silhouette gradually comes into view behind floating overlays. A steady snare keeps the beat as melodic guitar figures join into the mix. As Matthew starts his lyrical journey. “right now I’m staring out a window - In a wall that’s made of ancient pain.
This life has turned me into ashes” with the final line “But I love it all the same” delivered with high-gloss multi-layered voice production. As the second verse doubles down on “changing feeling” and “heartache” its all on the chorus to “give it a name.” Which is does in an uplifting pop manner, relying on “la la’s” for vocal hook celebration, with the title line and ultimate resolve to “give this love away.” A noticeable bass line delivers full motion sensation throughout that chorus, before giving way to that steadier throb pulse on verses. Delving further inside the story, when you “have nothing left to say” then “I guess I can sing” is the answers. A moody synth-driven instrumental section populates the tracks mid-point, before returning to the primary rhythm. With images of flowers now filling the video screen, some tasty guitar licks are given the green light on the songs outro.
The always creative band The Suncharms are back with a re-imagined 2024 update on a shimmering “Things Lost” album track. Originally titled “Torrential Rain” on that full-length record (dutifully reviewed in its entirety here) this new version has been shortened to simply “Torrential.” Now featured on a brand new compilation “Aspirin Age Volume Four” (a shoegaze compilation), by Broken Sound Tapes, it it well placed inside this mammoth 48 track album. A full DCW review comparison between the original and now updated version commences below.
Where the original album track featured a less-distorted sound focusing on shimmering guitar, hard charging bass and drums, this updated version enhances those same elements with bolder emphasis. Lead vocalist Marcus Palmer always brings a coarse edge to his dreamgaze vocals, and one can only assume those references to an “overgrown cemetery,” “angels with moss faces” and “broken tombs,” still leads to a search for “something to make me feel alive.” What’s particularly lovely about this track are the inclusions of counter melodies descending behind the forward charge, back and forth two-chord progression.
When the chorus hits its all the feels you can imagine. “Knocked over by an arctic wave. Torrential rain, drenches my face. Something, to make me feel alive. A lost song, on a 45.” It’s no secret this website’s writer (yours truly) has had a long running admiration for The Jesus and Mary Chain. This track in particular seems to embody everything that is great about their influence. There’s bits of “Some Candy Talking” in the Spector-esque double stare drum shots and melancholy descending counter-melodies. The soul searching story continues “Sat in crystal seas with you. Feeling the warm breeze. Dark thoughts are haunting me. What can the broken tombstones teach me?” One more pass through the chorus, and then that oh so MaryChainy magnificent final minute instrumental end-out.
The relatively mild weather here in New York this current month of February has been a welcome respite. Presently spared from backbreaking snow shoveling and near sub zero temperatures allows more time for music listening and writing reviews. Back with brand new music is a long-time friend of this site and frankly at this point a UK Legend. Another returning collective has also released stunning new material in that most-beloved hazy-gazey genre. New to the site finds the recent work of an LA-based artist also receiving the now world-famous DCW detailed analysis.
Back in 2019 this site did an extensive historical recap and review of English recording artist Sophie Ellis Bextor on the release of her orchestral “greatest hits” album “The Song Diaries.” That album and this review both did well and all was sailing along smoothly. Sophie even managed to work in a trip to Japan in early 2020, before as she says “the world tilted.” Pinned down in our homes as we waited out this crisis, Sophie kept us entertained with her Friday “Kitchen Disco” internet shows. We were welcomed into her home for these half-hour concerts. Looking back from our perspective in 2023, those shows were a delightful silver lining, allowing a view into her home life and a temporary reprieve from not being able attend shows.
When things began to open up again, Sophie started taking her “Kitchen Disco” shows on the road, much to the delight of live entertainment starved concert goers. In that time she also published a self-penned autobiography and cook book with her husband Richard Jones (which also pivoted off the “Kitchen Disco” theme, as in “Recipes From”). In addition to renewed print and tv appearances, Sophie continued her successful ongoing “Spinning Plates” podcast series, as well as spots as a DJ on BBC Radio. Now there is news of her next full-studio album “Hana” being set for release at the beginning of June this year. With this being her 7th album of entirely new material, an advance single “Breaking The Circle” has just been released and receives a detailed review below.
Deep, low-tone strings introduce the track before a cymbal swirl leads into the piano-driven progression. Sophie's vocals commence right away with her asking “do you want to know what I think?” Well – yes – indeed we do. “Do you want to hear what's in my head?” follows as a lively drum pattern thumps along in tandem with those hammering piano chords. “It's too early to go to bed” she continues. “Do you want to hear a secret? I think there may be a day when the sun doesn't rise!” Oh, my. She's posted how “it’s a song all about those philosophical conversations you have at 3am when anything feels possible,” and that may have contributed to its creation. However, one feeling here (along with the universal meaning of “breaking a circle” - ending some kind of cycle) is a reference to the current fears of a full-on nuclear war, where “the sun doesn't rise” because it's been the end of us all.
However, the mood switches to a change progression where she states how “I can see a new horizon in your eyes.” That pivots into the big chorus “here we go into the light of the great unknown” ultimately “soaring up into the twilight zone” to the resolution of “breaking the circle.” Moving forward there is a “crashing through” an “edge of destiny” calling out to “come with me and we can chase what the end might be.” Resolving with “and when the morning comes – will everything feel the same?” Late night existential musings indeed. The hard-edged piano rhythm and matched percussion continue to established a driving musical propulsion.
“Can you sit a little closer” she continues to ask. “There's a magic in the night time air,” with an uplifting rise in her vocals on that final word. Repeating the “night time air” again for good measure, the bridge-to-chorus cycles around once more, this time with an alternating background vocal line running parallel against. Additional vocal overlays include a celestial “here we go” and “come with me.” Other subtle sonic chances seem to have the hammered-piano motif morphing into a more synthetic keyboard sound. Sophie adds further vocal lines like “don't want to live like days gone bye” and “it's time to rip it up and let it die.” A quick-stop, dramatic pause momentarily punctuates – before the final Big Chorus takes the track out to its conclusion – ending on a final question - “and when the morning comes, will everything feel the same?”
Another musical collective having a bit of history here in the DCW metaverse are the Sydney, Australia new school fuzzpop and lofi gazer 5 piece band Trillion. After prior reviews of their EP's and singles here on this site, the group has now released their debut full-length album “So Soon Now.” Having previously waxed on about their “modulating glazed and gazey guitars,” “impressionist murk,” “blissful reverie,” “buoyant bass,” “billowy guitars,” - not to mention the “warbling” and “shearing” (oh, and there must be “shearing”), a head-first dive into these new tracks follow below.
Opening (and title) track “So Soon Now” wastes no time getting off the ground as it kicks in full-throttle from the opening note. It's aggressive stomp emphasizes the bands trademark 3 guitar approach over the deeper low-end of bass and punchy drums. Male-female tandem vocals echo the Mbv/Slowdive/Blonde-Redhead fractured cadence in both diction and mix placement. There's a touch of “romantic” feel with the swooning chords that also touches on what Ringo Deathstarr does so well. Follow-up cut “Lo-Fi Days” progresses at a more measured pace, with a delightfully muted clarion-bell guitar stroke standing out as an every-4-beat delineator. As the chorus explodes with guitars and voices all crashing together in a singular sonic meld, its impressive how the drums stay clearly defined within that fray. A momentary pause at the 3 minute mark serves as buffer, before the push to conclusion (which includes an enchanting :25 second ambient guitar coda).
Third entry “Atomic Sunshine” makes inventive use of echo and delay on the opening drum beats. That is soon met by a wall of dream-gaze guitars as a snaking bassline provides counter-melody underneath. Strong tandem vocals with the females voice mixed slightly in front sing out lyrics that can actually be heard. Extended passages of softer, easier-going sentiment connect with more dynamic bursts. The album's first video single release “Cherry Blossom” is a hard-driving, forward charging affair that is self-described as “a song about the judgement that comes with living life to the fullest.” An instant affinity was felt with this track as it's title is the same name as one of our beloved cats. Although we initially named her “Sakura” it was quickly translated to Cherry Blossom (and then just Cherry), symbolizing the ephemeral nature of life.
Check out this amazing song and video here:
Fifth track “Kusanagi” (also Japanese mythology referencing a sword that represents the virtue of valor) features classic gazey pitch-bended, down-stroke guitars, double-time drumbeat and brightly stated vocals. Strategic open passages of only drums and a single guitar give reprieve as well as setting up the explosive guitars and alternate chord advancement that follow. The single title word chorus matches seamlessly with it's associated progression. “Falling Down” clocks in at a mere 2:09 making it the shortest entry on the album. The shapeless razor-burn guitar churn and submerged vocals elicits recall of something Brian Eno said when hearing a particular MBV track – calling it “the vaguest song he ever heard.” That description would apply to this cut as well. Recently released second video single “Take It Slow” brings back the bass and drums rhythm support, anchoring everything under scorching guitars and subtle melody lines. Vocals float in and out with a multi-layered chanting cadence, and chord structures following clearly defined patterns. There's a bit more emphasis on the lower-end sonic hue cycle, as guitars pitch downward in a more blended form with the bass.
Check out this metaphysical video here:
“Close Your Eyes” comes on with that heart-tugging, gazey-haze that a band like the aforementioned Ringo Deathstarr frequently dabbles in. Vocals are appropriately submerged for maximum dreaminess, as those starry-eyed guitar chords churn away. Crafted melody lines emerge over the turbulent textures, exhibiting the power of a three guitar assault. “The Silent Sea” pivots off a backward-leaning guitar chord down-stroke before moving into four-on-the-floor structure. Pitch-bended off-kilter (or as they self-describe “offset”) guitars push the pace forward, while a singular unblended voice provide lyrics. A Sonic Youth-style breakdown emerges in an unexpected (but welcome) midpoint sequence. Final track “Sometimes it's Alright” is a symphonic tour-de-force of ambient experimentation. Beatless, shapeless and relying solely on texture, it is actually quite soothing in it's measured rise and equally gradual fadeout.
Check out this amazing album here:
Follow Trillion on all their Socials:
spotify.com/trillion
trillion1.bandcamp.com
facebook.com/trillionsydney
youtube.com/@trillionsydney6897
instagram.com/trillionsydney
twitter.com/trillionband
A Previous Feature Review of Trillion (which includes links to all the others on this site) can be found Here.
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The circular way an album or artist finds their way toward a review here on this site is a curious and fascinating one. In the case of accomplished recording musician Julian Shah-Tayler, the most-likely spotting of a recent Night Crickets write-up inspired contact regarding their own recent work. As it turns out, Julian has been making music in one form or another (both in bands and solo) for a substantial amount of time now. In fact, he's written over 300 songs, which is impressive by any measure. A full-length album of original songs titled “Elysium” was released a few months ago, which now receives a deep-dive review below.
Taking note of the vintage glamour cover image photo tribute (slyly recreating Roxy Music's 1973 “For Your Pleasure” which featured model Amanda Lear), we're already off to a great start. Opening cut “End Of The Line” combines electronics with funk-style bass guitar and deep-vocal stylings, immediately delivering on the Bowie/Prince hybrid influence promised in the liner notes. Catchy keyboard hooks after each chorus line and in-between verses serve up pleasing synth textures. A Robert Fripp-esque guitar solo and deconstructing end-out emphasize its unexpected conclusion. Second track “The Devil Knows” boasts the musical assistance from famous and accomplished friends in the guise of David J on bass and Mark Gemini Thwaite (henceforth referred to as MGT) on guitars. Having written about the famous David's latest output with new band Night Crickets just last month, it was 3 years ago when coverage of MGT's guitar mastery in Peter Murphy's live band first appeared here on this site. Both musicians add cachet to this intimate (yet danceable) lyrically driven song.
Romance and sensuality are the driving forces on the dreamy lovesong “Melt.” With vocalizing morphing between the aforementioned deeper-toned Peter Murphy and David Bowie's mid-range tenor, impressive lines like “I have to make you love me tonight” (as opposed to the more de rigueur “I have to make love to you”) stand out. “Secret” pulls together throbbing synth-bass, chunky soul rhythm guitar and hand-clap percussion on verses displaying a free spirit. The chorus is lively and upbeat, with horns behind extended words for singalong emphasis. A tasty, wirey guitar solo adds a dose of rock and roll to this pop confection. “Evolution” comes on full electronica with it's bright synth melody line and pulsating machine-driven rhythms. While still maintaining rhythmic continuity, the chorus moves into a smoother aural state, utilizing multiple-voiced harmonies for dreamy effect. Irregular guitar textures emerge as the song progresses, adding counterpoint to the dominant synth-melody line.
Opening with the howl of a wolf, “Lupine” builds around plucking bass notes and repeated audio sample. Morphing into a chugging guitar-bass+drums rocker, an analogy of human desire as an animal hunger is fully explored through the lyrics. “All Good Soldiers” continues that simpler guitar-bass-drums blueprint further by stripping it down to the basics. Vocals are delivered with an uncanny similarity to Bowie in both tone and phrasing. A substantial instrumental section allows for buzzing guitar forays, leading into a gentle bass guitar and softer percussive accompaniment. “Head Up High” benefits from a solid drum track and richly textured keys (via Sam West and Nathan van Hala, respectively) along with its beautiful melody and finely crafted lyrics. One of the best produced tracks on the album, the positive message presented makes it an instant favorite.
“Kintsugi” featured another guest drummer, as Chris J Olivas (Berlin) lays down a raucous pattern underneath new wave guitars. Lyrical references to Japanese precious metals repair techniques serve as a metaphor for the emotional turmoil of the heart. “Earthquakes” combines ambient synths, a bold, rubbery, bouncing bass-line and heartfelt vocals that encapsulate the best 80's new wave singers. In this instance, Cy Curnin of The Fixx comes to mind. Additional lyrical points are given for working the thematic imagery of “shifting tectonic plates” in as an allegory for (once again) emotional devotion. “Bet Your Life” is an acoustic guitar driven composition that layers in elements of buzzing ambience, busily descending bass-lines and metallic percussion. It's extended coda rewards the listener with an enveloping instrumental dreamscape. Resolving all the themes laid out in the previous songs is final cut “Darkling U.” Syncopated electronic keyboards and percussion are met with an angular bass pattern, creating an otherworldly, futurist dance track. Elements of industrial emerge in the harsher tones and aggressive forward pace. While the songtitle reapportions something the aforementioned Prince would do (change “darling” to “darkling”), it feels more Nine Inch Nails in the synths and execution. Kudos once again to Nathan van Hala for the clarity of mix and to all involved in its brilliant production overall.
Check out this eclectic album here:
Connect with Julian Shah-Tayler/The Singularity via his Social Media here.
There has been much written already about the four year gap between albums for British singing star Sophie Ellis Bextor. Though that may be chronologically accurate as far as albums are concerned, to her most ardent fans (present company included) she has really not been out of site for all that long, as she released a steady stream of individual tracks and live performances as stopgaps between the proper full-lengths.
However now we have her fourth official album – Make A Scene in our possession and it is a joy to behold. 14 tracks in all, the record is a technical and emotional tour-de-force anchored by the inclusion of these previously released singles, which now slot proudly against a series of outstanding new songs as well.
Leading off the album is "Revolution" which was written by Sophie, Greg Kurstin and Cathy Dennis. With Keyboards, Programming and Production by Greg Kurstin, Sophie made her way out to Kingsize Soundlabs in Los Angeles, USA to record this one. Like most of the songs on this album, it is first and foremost a dance song. Sophie’s voice starts out run through filters and effects as she repeats a "get on the Revolution" refrain. The lyrics composed are both clever and amusing: “Bang Bang, it's a hold up, You about to give it up, in the booth they're slipping up (which is an amusing line, considering the fact that Sophie DJ's out a lot herself ) “we've been patient long enough” (with keyboard lines running parallel behind Sophie's voice right there). “It's a hold up, Rebels gonna play it tough, Wreck the deck and needle off, Shut it down and turn it up.”
There is an "Uh, uh, uh, oh! Oh, wah oh" vocal passage that provides a very catchy hook.
“Face to face, It's murder on the dance floor (the way she references one of her biggest hits here is both a wink and a nod to both her fans and possibly those that may only know her from that song and perhaps “Groovejet”). Well, of course it would be playing - they are at a DJ booth by a dance floor!
“Cut to the chase, Just give us what we came for” -all of these lines delivered against forceful snare drum shots - with the biggest one coming at the end - sounding like a shotgun blast.
On to the big chorus: “Get on the revolution, Get on the revolution, Get on the revolution [and then the slowed down, deep robotic voice saying] “In this club tonight” Could that really be Sophie’s voice, altered by Greg? Or - did he do that part himself?
The second verse has an equally high energy party vibe. “Bang bang, In the club crowd, Better all fall down and bow” (Interesting imagery, as one could imagine all the dancers doing this at once). “Chaos holding, What a wow, Tearing up the sound now” (Sophie’s voice in a higher register, harmonizing the line). “Now shout it out loud [Deep thunderclaps] Now we're warming up the ground, Wreck the deck and needle off, Shut it down and turn it up [The vocal line doubled with an autotuned harmony]
Back to that great bridge with forceful snare drum shots and then the chorus once more. Followed by yet-another unique vocal hook where Sophie repeats the word Army, Army, Army, Army, Army, Army - in a descending pattern. Though it sound more like "Oh Me!"
That great opening track is followed by one of those wonderful single releases from last year – the glorious “Bittersweet.” If you've lived at all - who hasn't experienced a "bittersweet" relationship? Seriously I wonder if all relationships with people don't wind up with at least some bittersweet qualities. The "sweet" is the joy you feel when encountering someone you have an attraction with. The "bitter" comes with some level of disappointment experienced. Perhaps as the result of too high expectations? The key is to make sure the equation is more sweet than bitter.
So it is with one of this albums "heavyweight" tracks. A lead single that harnessed the formidable skills of Richard Stannard & James Wiltshire - better known as The Freemasons. Sophie is very much involved in the whole writing process, which also includes her "melody twin" Hannah Robinson.
Adding his midas touch to the production duties - the one and only Richard "Biff" Stannard (for Biffco). Both Freemasons and Biff handle the keyboards and programming, with sound mixing done at Biff's studio in Brighton. As always, when she's involved - backing vocals handled by Sophie’s sonic double - Hannah R.
The song has lots of whooshing and percolating synths (of course). Sophie sings the tale of "desire" and "craving the heat" - oh that glorious *heat* The chorus is a perfect melody. If this is Sophie and Hannah's work (and I suspect it is) they really *are* a wonderful songwriting team.
The tale weaves on, with references to "pleasure seeking" and "feeding a need." On initial listen there appears to be more "sweet" than "bitter" here. Perhaps the writing began with the title - then chorus - and it all fit together so perfectly - an entire song was written around it. It wouldn't be the first time this tactic had been employed in art. There have been entire movies made based solely on a title they came up with.
Well, then there is this line -- "any time you call my name" - know anyone like that? They hold power over you. Early lyrics referencing how she "can't choose the fuse that lights the spark" - "lines are blurred and they're dividing" - desiring both "light" and "dark" - shows a level of, if nothing else - then confusion. As is the lines stating "I know I shouldn't go" and "despite my mind." So, there is some trepidation there - but it’s all overtaken by "body curiosity." Hot.
Following that is “Off & On” - the much heralded song from Calvin Harris, Cathy Dennis and Roisin Murphy. One of the very few on the album where Sophie was not involved in the songwriting. One wonders how this was shopped around and how it eventually wound up as a song that will now ultimately be associated as one of Sophie's.
Overall Produced by Calvin Harris, it's noted that the vocals, however, were produced by Cathy Dennis. All the instruments were performed and arranged by Calvin and much like Sophie’s collaborations with Hannah Robinson, the background vocals are sung by Cathy Dennis. As the song begins, Calvin's hyper-active swirling keyboard sequence rises up from the depths and position itself as the dominant sonic focus - which is then met with his striking keyboard chords that mark out the songs progression. Sophie sings: “No I can't get out, I'm trapped inside of it, I won't let go, pain keeps driving it, I only hope and pray, that I can make it pay, keep pushing it, I keep pushing on.” Sophie’s voice is processed and compressed, creating a unique and appealing texture.
“I did the best I could, I learned to sacrifice, I tried to make it work, This time away has done me good (nice harmony background vocal here - Cathy Dennis?) It's a change, from you.” With a chorus that goes “ Keep switching me off and on, and off and on and on,” there is a "got myself back together" 'shadow' or follow-up vocal line that evokes Michael Jackson’s prime dance music era. That one segment of this song alone shows Sophie’s keen ear for dance pop with a little bit of soul. As Sophie has made it very clear over the years how much of a fan she is of MJ, this emergence in her music then should come as little surprise.
A second verse finds Sophie singing about how the "love broke down" and that she had to "rewire it" and how "I tried to make an honest man" [whoah ah oh] "out of you [oooh ooooh oooh ooh - she sings out in an elongated note]" The change and breakdown is a bold move as it allows the listener a moment to move off the dance rhythm and focus briefly on the lyrics, without a beat behind it. "Wired to the sun like a laser beam, Power surge, Come ["COMEEEE"] feel the energy, And I'm ready to shine ["SHIIIINE"] and shine and shine and shine forever. The cut up and repositioned vocals at the end ("got myself" and "you thought I'd be") sound especially catchy.
This song touches on a third kind of "universal theme" (with the two big universal themes being either an "I’m so in love" song - or the sad breakup song) - this one is about something in-between. A relationship where two people keep starting, then stopping, then starting again. Ultimately the writer/singer has had enough and needs to pull themselves out of this frustrating scenario.
Following that is another one of the albums advance lead singles - and also from the golden writing and production team of The Freemasons and Biffco (with Sophie, of course) – the brilliant “Heartbreak (Make Me A Dancer).” Keyboards directly credited to James Wiltshire and the percussion to Russell Small, while additional programming to Richard ("Biff") Stannard.
Along with the percolating dance rhythms driving it, there is clever use of Sophie’s voice as background vocals - echoing the words "heartbreak, heartbreak" (and not a Hannah Robinson to be found anywhere).
The chorus, of course - is perfect. A quintessential sing along hook that gets everyone jumping up and down on the dance floor (as witnessed first hand at the Gay Pride on the Pier event in New York that Sophie appeared at last year). What sets the chorus up even better is the rising synth line leading into it.
The lyrics are both uniquely inventive and universally understood. For anyone who's ever experienced heartbreak - this is your way out. If you want "love [to] stop bringing [you] down" - get out on the dance floor and shake it away! Because why should you have to "do it alone." No - the DJ will give you the answer. The universal saving grace of music.
"Not Giving Up On Love" returns Sophie to the familiar ground that produced her first ever smash hit ("Groovejet") - the partnership with an internationally acclaimed DJ. Enter the all world superstar that is Armin Van Buuren. Additionally a songwriting team of sisters - Olivia and Miriam Nervo contributed significantly to this track.
Lyrically, this evokes one of the greatest fight song ever. Not in some kind of aggressive, assaulting action or even someone who is difficult (and therefore always in clashes with others). More in the sense of that classic song "eye of the tiger." Where they talk about "the key to the fight" and "rising UP (to the challenge of our rival).
Sophie and the Nervo sisters did a brilliant job in capturing this feeling through their impeccably crafted words. Lines like "when we stand *united* - our hearts they beat in time" - of course this is a love song. But not the gooey "oh I'm so in love with you" sentiment - but more of an affirmation of unity - as well as an element of defiance against uncertainty. "It's just the two of us" - you and me against the world. "And if it all falls down" - it doesn't matter. "Nothing else matters" because "I know were strong enough". I'm also not going to quit on us. "I'm not giving up - I'm not giving up on (our) love."
As for the music itself, the No. 1 DJ in the universe cleverly adds a piano line, which stands in stark contrast to the lush synth driven massiveness of the overall track. Once again credit must be given to the Nervo sisters, who are credited with *vocal production* and (move over Hannah) background vocals.
The breakdowns, percussive tracks and handclap sounds shows AVB's highly evolved sense of dynamics.
Since this formula works so well for Sophie, she then teams up with another international DJ for "Just Can’t Fight This Feeling." Presented as an equal collaboration between Sophie and celebrated French dj and multi-instrumentalist Junior Caldera, this song finds itself released on both of their imprints. The two of them were joined in the songwriting by Julien Carret, who also contributed to the producing and mixing. Also, another one of the heavyweight, advanced singles – in 2010 this baby hit No. 1 in both Russia and Poland and No. 13 in Junior’s home country of France.
This album track sounds almost like a dub or remix version, right from the start – with Sophie’s voice cut-up and positioned left and right in the sonic fields. A pure dance floor groove, the lyrics speak of infatuation with one individual, even though you might be "standing in a crowded room." The rhythm is downright bouncy and could easily slot right into one of those rave parties where the ecstasy kids go wild jumping straight up and down. A beatless "why don’t you, why don’t you, why don’t you come with me?" section is both ambient bliss and momentary resting place before the rave begins once more. Does anyone say the word "can’t" (cahahant) any better than Sophie? I think not. Additionally, the lyrical turn about being "overboard" and "can’t be saved" – then a reference to "pray" – clever writing.
It's just one huge song after another as the next track is Sophie's first single release with the arrival of this album, "Starlight." Written by Sophie, Richard X and Hannah Robinson, the noteworthy sound designer Richard X handles production duties, with mixing by Pete Hofmann and backing vocals by the facilitating Hannah Robinson.
Gentle synth chords being the progression as a distant sonic texture feels like the echoes of a cavernous subway or underground station. "Hold a moment in time, And look to the skies” Sophie’s voice is placed right where it belong - full and upfront in the mix. "We are frozen in light, Not a second goes by" she sings with emphasis and passion. "Is it a waking dream holding me?" The way she pronounces the word "holding" shows more emotion in the studio performance. "You never really know till you know. In the blink of any eye, Hearts will unite" is how the verse goes.
The Chorus is big and bold as she sings "We are one, Find us under the starlight, starlight, starlight." Keyboards strikes the chord each time she says the word "starlight." "I could die, Right here in your arms" as a disco percussive highat sounds propel the dance feeling. "We are one, Caught here under the starlight, starlight, Cos tonight we found heaven in the dark." Sophie mentioned in a recent interview how she and Hannah Robinson tend to work well together - how they both write melodies in a similar way. It would be fascinating to be the proverbial fly-on-the-wall during these writing sessions - and see how the two of them come up with these vocal melodies.
"A silhouette in my mind, It's just you and I, And as the starlight shines, Our bodies outline." There are inventive changing chord progression behind this lyric. Sophie's has referred to this song as referencing a whimsical feel. Well, she has written a song called "By Chance" before. Perhaps a future title might possibly be "Impulsive."
"Under Your Touch" is next and comes by way of the prolific team of Sophie, Hannah Robinson and Liam Howe, who also produced the track. Background Vocals (as is on all of the songs she has done with Sophie): Hannah Robinson. The song opens with rushing synths leading into a quintessential disco drum beat. "Come, The night is waiting, I want to waste it on you, Voulez Vous." There's a shadow, repeating background vocal behind each of these lines that adds lushness to it all.
The chorus goes "If I could be under your touch, Nothing would take me away, Cos I've been dreaming you up, again and again." This sentiment works as an allusion to our Illusions - and how we fantasize about this perfect (for you) other person is. "Baby I'm so ready for love, [great background "ahhhhhhh" vox here], I'm so ready for love" [then a robotic background repeat of this line] Want to be under your touch" - where Sophie sings "touuuuuuch" out long and an even more synthetic voice repeats the line after.
Lyrically, the second verse has Sophie going for what she desires - by "breaking tradition" and "making a move" to get it. Her voice is harmonized nicely on the second pass through the chorus. It becomes a bit of a game trying to figure out just which background vocals might be Hannah. Sophie has already stated how well the two of them write melodies together, but I would add to that, how well both of their voices blend on these collaborations.
The third change in the song comes immediately after the second chorus: "The way you've made me fall, It isn't logical, I had a taste and now all I want is you [with the "all I want is you" either doubled or " Hannah'd"] So don't look and see, Come put your hands on me, On and on, nobody else will do [same here - either Sophie or Hannah harmonizes on that last line]. What follows is a nice ambient breakdown passage with no percussion, but plenty of dreamscape synths that almost evoke what producer/keyboardist William Orbit did with Madonna 's "Ray of Light" album] Back into the final chorus, with Sophie now stretching out more, singing out stronger, but still within the structure of it all. It ends with very elegant and serious sounding orchestral strings.
The album's title track - "Make A Scene" extends songwriting credit to Joseph Mount & Sophie and was produced by Futurecut/Metronomy. Ominous, near-industrial sounding synths begin the track, before handing the sonic base over to equally slightly off-kilter saxophones. "I have seen daybreak and sunrise and dawn times before," Sophie beings. Two levels of percussion enter the mix - a higher pitched electronic tambourine-shake and lower register thumping pulse. "But never in time and in motion of four to the floor." This is clever lyrical imagery. “Join my crowd we're one and the same [we have!] We put our best move forward, again and again. We're the people feel outsiders to life, But now we've come to realize we've got to get the fire ignited." Sophie uses the word "ignite" during interviews to describe inspired collaboration. It's a great descriptive term for what happens with relationships that begin to "spark".]
Musically there are jumpy saxophones and synth lines creating a forward motion that's both interesting and slightly odd. There are equally quirky vocal passages, such as the end of the chorus where she says "Cause I'm not afraid of this sceeeeeeene" - extending that last word. At the end of the second verse where Sophie sings "we're going to get the night excited," the vocals there are sampled, cut-up / repeated / twisted / cool (excited-ed? ) The dominant saxophones are reminiscent of Danny Elfman/Oingo Boingo "Dead Man's Party."
The writing team of Sophie, Richard X and Hannah Robinson are responsible for the next track as well, titled "Magic." Once again produced by Richard X for blackmelody.com, with mixing by Pete Hofmann for interfaceyourmusic.com, and as with all the other tracks she's involved in, backing vocals by Hannah Robinson. A "hooo, hooo, hooo, hooo, hooo," vocal phrase introduces this one, as bubbling synths rise up from underneath. The as-expected perfectly placed in the mix percussive clacks foretell the impending arrival of Sophie’s verse. "Love was cold, Just a memory, Was a slave to my history," Sophie sings. That last line could certainly be applied to more universal themes of loves lost - but perhaps Sophie is referencing here her early days as a solo artist, and with that the requisite successes. Sometimes an artist can appear 'chained' to their history, forever trying to recreate a prior event.
"So long, too long Excellent dramatic pause between the above two sets of words] Through the silence I heard you call, My defences began to fall. I'm yours. All yours The Chorus here is as big and instantly likeable as the greatest pop songs. "I need your loooooooooove [singing out that word so strong and long] to warm me like a sun." One of Sophie’s fave themes - the warmth and life affirming qualities of that big yellow ball in the sky that keeps us all alive. "Inside my heart - I still believe in magic." Such a wonderful melody and chord progression. If, as Sophie says, she and Hannah write melodies so easily together - this has to be one of their finest hours.
Sophie's voice speaks the line (asking the question) "Do you believe?" The song moves back to the chorus melody - with smooth, sugary "ahhhhh, ahhhhh's and the word "magic" floating inside it all The final sounds are cool, as if someone grabbed the turning tape reel and suddenly held on to it. Sophie’s overall optimism shines through in this song. In an increasingly uncertainly and cynical world - Sophie still believes in the magic this life can provide - if you are still willing to look for it. To allow it to show. Finally, the line "the two of us - right here - right now - Always" can't help but reveal Sophie’s ongoing, happy relationship.
Now arriving at the previously much discussed "stalker" song. - "Dial My Number," this too is another Liam, Hannah and Sophie composition. Produced and mixed by Liam. As always, background vocals by Hannah. Lyrically, this was one of the most anticipated of all the songs. In interviews, Sophie had been telling this story for a while. How an obsessed fan had gotten hold of her phone number and was spamming her with messages. Well, here she lays it all out. How this person is actually a "coward," and that she is only playing with this individual, as a way of "killing time." How this text sending obsessive couldn’t possibly "understand how she feels" and how she is going to "keep it real."
Her repeated reference to "having fun killing time with you" and "set you right" and "what we have won’t see daylight" implies that she may have actually responded to some of the messages. This is a bit of a revelation, as previously in all interviews, she stated she never did (respond). But seriously, *who* (in their right mind) thinks they could possibly lure Sophie away from her happy marriage? Well, I guess that says it right there - clearly they are *not* "in their right mind."
Musically, the synths are bold and successfully locked to the percussion. Lots of great atmospherics fill the sonic palette. Nice vocal hook via the "and when it's deaddddd on the line, do you think the girl is mine" passage. The rising "ahh, ahh, ahhh" change passage (again - Hannah or Sophie?) adds musical strength overall. The song is a perfect dance floor rave-up. I could picture one of those packed Armin raves throbbing and bouncing up and down to this one.
Digging further into the "deep tracks" on this album comes "Homewrecker." Written by Sophie, Greg Kurstin and Lindy Robbins. Recorded, mixed, produced, keyboards, guitar and programming - all by Greg Kurstin. This one is really his production overall. Recorded in Los Angeles, USA.
Moving away from the buzzy, brassy synths for a moment, a more traditional organ sound leads off this track. In fact, that traditional organ sound could be interpreted as the well know wedding march sound - given this songs lyrical subject matter. Musical point made, the buzzy synths soon take over, as the main progression of the song begins.
Verses begin to tell the tale of someone looking to steal another’s man away, with the fourth line delivering a well textured punchline - "run along and get your own guy." The story evolves about how a flirty individual's "hand lingers on his arm" and how this viper "laughs a bit too hard" - all to make an impression.
A first bridge section is impeccably polished in both song structure and production, as Sophie states how "you know I'm on to you." From there it moves on to what you would almost call another bridge, where Sophie imparts advice "to all you round the world stealing someone else's guy" - how she is wise to them - "I know your kind."
The chorus consists of one single word (the songs title) sung out in a variety of elongated musical notes. There's an angular instrumental section that must be the guitar playing credited to Greg Kurstin. It sounds like a rubbery up and down progression. It’s somewhat unusual and I like the fact that it's included.
It might be interesting to learn how the song "Synchronised" came to Sophie, as she was not involved in writing any of it. Written by Fred Ball and Ina Wroldson and produced by Fred Ball who also provides keyboards and programming. I can see WHY she included it, however - as it has the most wonderfully catchy chorus. The song opens (and closes) with a gentle plucking on, what must be credited-guitarist Ben Epstein’s work - though it actually sounds more like a stringed harp.
The gorgeous chorus goes " And I lock it up baby, I never said I could win you, But I lock it up tightly, And I'm synchronised with you. The second verse reveals a relationship coming apart. "Synchronise our fall." Leading to a change section fully spells it out. "Forever sealing what we never really had. Forever feeling what was gone - before I closed my eyes."
This is a song about a last ditch desperate attempt to capture (or 'synchronise') the feeling of love and connection with someone - that you know is slipping away - or perhaps that you never really had at all. But the song exists in the here and now - and - right now - I'm "locking up" this feeling in my heart. It is quite the emotion wrencher. Sophie never fails to deliver a passionate vocal performance. The final section of the song is layered with Sophie’s voice, singing out with emotional force.
The final track on the album is "Cut Straight To The Heart." This one is Ed Harcourt’s, Dimitri Tikovoi’s and Sophie’s baby. Written by Sophie, Ed Harcourt and Dimitri Tikovoi with Piano, Synths, Strings Arranged and Conducted by: Ed Harcourt, and Produced by: Ed Harcourt and Dimitri Tikovoi.
Dramatic piano chords and synth rushes introduce this one. No percussion at all. "I never saw this coming. Since the beginning you were in control. And now my heart is drumming. Believe this love could maybe save my soul" Twinkling bells effects are used throughout to create the correct mood for a ballad like this.
On the chorus Sophie sings out "Don't let me go" with the word 'leeeet' out long in a torch song style. "Now I'm right where I want to be. Don't let me go. You cut straight to the heart of me" There's a cool instrumental interlude at this point - the piano sounds treated and therefore, creatively unique. There is also a tasteful blending in of actual (not synthesized) string instruments on this track. Violas and Violins.
There are vocal passages later on where Sophie’s voice is doubled and repeating like a background chorus. With mechanical handclap sounds mixed in. Then Sophie sings over top of that in a more forceful and passionate voice ("you cut straight to the heart of me" and the "don't leeeeet meeee go").
Lyrically it is a love song at its basic essence. It goes deeper, though. Sophie sings about her "soul." Of hearing a voice "out of silence." Of the subconscious knowledge that you are right where you should be. With poetic references to "dreams" and "the light." The overall tone is one of reverence, maturity and a self-aware understanding.
Sophie has hinted in recent interviews that this more mature, introspective singer-songwriter style may be the direction she is going on her next album. Time will tell. Until then, we have this wonderful album here and now to enjoy.
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.
