Profound Reasoning on Extraordinary New, Upcoming and Recently Released Music

Genre defining artists from formative years still putting out high-quality new music is always a cause for celebration. While some musicians may be content to rest on their laurels and ride the wave of their greatest hits, the ones breaking new ground are to be applauded. More than just that (the applause) a close listen and detailed analysis of their latest efforts are a must. This site recognizes these already established “rock stars” for their drive and ambition in creating brand new works that rival the best of anything else they’ve ever done.

Peter Murphy is one of those artists who continue to defy the odds of remaining relevant throughout multiple decades. Having witnessed his early days fronting breakthrough gothic-rock band Bauhaus (barely of age, catching them in 1979 at a downtown NYC club), his development throughout the following years remained a priority. MTV’s heavy rotation of US No. 1 single “Cuts You Up” from his 3rd solo album “Deep” (1989) lead to catching a brilliant live show at the notorious Manhattan night club “The Limelight.” More recently attended was Peter’s live show at the East Village venue Le Poisson Rouge during his Tribute To David Bowie Residency (meticulously detailed here). With the recent release of select singles over the last few months, Peter is now ready to unleash his first new studio album in over a decade “Silver Shade” on May 9.  Produced by the impeccable Youth (Killing Joke bassist Martin Glover), who did a wonderful job on this comeback Jesus and Mary Chain album here, we now dive into Peter Murphy’s latest.

The album opens with one of three previously released singles, the driving bass and drums propelled “Swoon.” Relying on groove and mood over literal storytelling, ornamental lines like “I talked to the water loom” serve end-of-line rhymes along with curious thought. Well placed ‘Wa-Chung’ guitar chord bursts amplify the pre-chorus bridge and lyric “Preachers up to taste the fruit.” However it is the single word song-title chorus that emerges as the most creative studio sonics. Using his voice as an instrument, extended vocalizing under each repeated single title-line generates an additional hypnotic effect. More upfront and intimate lyrics “I am whoever who” followed by “What else can I do?” sheds possible insight on Peter’s sense of self and continued motivation to create.

Listen to this mesmerizing track here:

Follow-up “Hot Roy” churns along rhythmic electronic pulses that mimic sweaty dance floor grooves while maintaining a sense of foreboding. Lyrically telling of an emerging leader to a group – “our boys game was on – soon would be killer sounds.” While this descriptive imagery may be personally direct, it’s universal enough to apply to multiple topics. It’s essential hook states “we’ll march from the hollow – from glitter to gold” and “we catch silver bullets – we’re saving our hero!” 

 Static electronic pulses, tom-tom drums, angular synth notes and crunchy guitars lead in next cut “Sherpa.” Most know that single word to mean someone who guides people on mountain-climbing expeditions. Since Peter is a known world traveler and has been a resident of Istanbul, Turkey for some time now, it’s not surprising for him to delve into this type of subject matter. “Workers looking for the day, looking as they say – looking for the mountain” are the opening lyrics. The rhythms are driving and straightforward, with Peter’s dramatic vocals exquisitely placed.

A slithering, near menacing groove provides the undercurrent for album title track “Silver Shade.” Also mirroring the name Peter calls his own personal record label, created last year to release rare live performances and previously unreleased material. “You got me throwing glitter in the lake” the singer implores. “Time to take a chance to jump and float” he continues, ultimately declaring “you’ve got me in the glitter river.”

Another advance single release is the bass-synth pulse and percussion driven “The Artroom Wonder.” Autobiographically revealed as inspired by “mysterious” and “cool intelligentsia” at school, “pretenders apart” give way to the “super smart.” Peter’s vocals are nuanced on each recited line, morphing from intimate delivery to full throat howl. With guest musician Justin Chancellor of Tool contributing to it’s deep bass undercurrent, well-placed guitar figures between individual vocal lines adds melody to mystery. Synthesized Orchestral movements add a grand scale in the middle, while references to “The server the Prophet- peace be upon him” suggests something more spiritual. Ultimately the song tile itself is briefly broken out as “the art of wonder” summing up this journey of self-expression.

Listen in right here:

A middle eastern rhythm runs through the electronic throbbing “Meaning Of My Life.”  Triumphant crunchy guitars, icy synths and advanced-level drumming contribute significantly, as Peter passionately sings “I want to tell you!”  The contrast between controlled verses and emphatic chorus creates a satisfying tension and release.  Elongated voice-as-instrument segments coupled with otherworldly ambiance lifts everything further. 

There’s a sense of foreboding and menace on the albums seventh entry “Xavier New Boy.”  Continuing with less pop oriented song structures and extended lengths (with the last three all well over 5 minutes long) subtle piano notes add new sonic elements. Along with it’s bold, orchestrated chorus, protracted movements away from the main structure allow for experimentation, before returning to the dominant progression.

“Cochita Is Lame” moves away from the electronic based instrumentation for what sounds like a 1970’s era rock band.  The synths used appear more as topical enhancements, again mimicking those classic late 70’s recordings.  With it’s structure and vocal delivery, it’s as if Peter brought back Bowie’s Spiders From Mars bandmates for one more go at it.    Lyrically touching on themes similar to Mr. B’s “Jean Genie,” a creative use of the studio pits voice against crunchy electric guitar for maximum effect.

Now fully into the albums deep tracks, “Soothsayer” shares a similar musical approach with the previous track.  Coming on as a traditional guitar, bass and drums hard rocker, Peter’s vocals play along with a more shout-y, raspy style. Hooky background “whoo whooo” voices underscore Murphy’s warning to “never turn your back on” the oracle of the songs title.

Classical flamenco acoustic guitar opens the albums penultimate track “Time Waits.”  Middle eastern strings and rhythmic percussive claps lay a bed for Peter to present his vocals over. “You’ve heard that time waits for no man” he sings with deep, elongated vocals.  The combination of those hypnotic strings blended with elevating vocals and inspired drumming make for a truly gratifying listening experience.

Reaching this studio records final (and longest) song, all attempts at concise pop song are cast aside for the grandiose “Sailmakers Charm.”  Moving from gentle piano driven chords to full dramatic presentation, there are parallels to Mr. Bowie’s later period work.  Such as the adventurous song design and delivery of “Bring Me The Disco King,” Bowie’s “Reality” album closer.   “So you get to the core,” Peter sings – “to show that you know – your eyes are blizzard – no white rain, no snow – as you tear apart – the sailmakers charm.” It’s poetic – mysterious – both understood and misunderstood as well, and fitting closure to this ambitious album.

Included on the album as a bonus track is the surprise duet with Boy George, “Let The Flowers Grow” which was released as a single at the end of last year.  Written in collaboration with Boy George and Producer Youth, Peter imbues the song with a spiritual nature in both lyrics and soaring orchestration. “I’ve been changing” they both sing in harmonious tandem – “and mama don’t know. Let her tears fall, and make the flowers grow. I am changing, now daddy can see - his reflection, in the mirror of me.”

Listen to this majestic composition here:

With those three previous singles mentioned out now, the full album will be released on May 9 via  Metropolis Records. Order the album here.

Connect with Peter via his Social Media:   Official Info Website   -   Facebook   -   Instagram   -   TwitterX

A previous Feature covering this artist can be found on this site here.

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Every once in a while a new album slips under the DCW radar due to a multitude of distractions. Such is the case with this sites already beloved band Night Crickets, who released their latest long player at the end of last year. Having previously written about them both here and here, there really is no good excuse for having missed their latest “How It Ends (?).”  That omission is now being rectified presently, with a review of this latest recording.  It’s well past time to see what this collective of David J (Bauhaus, Love & Rockets), Vincent DeLorenzo (Violent Femmes) and Darwin Meiners (mult-instrumentalist, mixmaster, manager) have been up to.

Opening cut “Red Mist White Knuckles” emerges out of an easy groove drums and bass guitar progression. Funky wah-wah keyboards and guitars layer on, followed by David J’s unmistakable vocals. Delivered in a spoken word, poetic recital manner, “your daddy was an angry man – you’re angry too” he begins. Leading up to the first song title reference “when they read the final will – a vial full of rest mist, and the urge to kill.” A bright tambourine rattles over 70’s soul keyboards as the story continues “you practice TM – it dials back the road rage.” The titles remainder comes in view, stating that “you tend to still white knuckle it.” Buzzy electric guitar power chords slash down as the thematic mantra is repeated.

Angular patterned tubular bells and subtle matched percussion introduce “The Story of War.” Spoken word sentiments spell out the grisly truth, with “rape of the innocents – plunder of riches – scorching the earth – dying in ditches.” It continues, “the oligarchs grow fat, and spit on the corpses. They fill their coffers with stolen gold, indifferent to fallen horses.” A well placed, mournful violin plays, as if at a funeral procession. Pointing out the atrocities going on in present times, “it’s richer to rich, and poorer to poor – the children are fodder – that’s the story of war.” An unexpected field recording coda is placed at the tracks end, describing one use for “crickets.”

Lively, vibrant drumming and descending guitar chord progression kicks off the quicker paced “Should Be Heaven.”  With vocals sung out in full (moving away from the previous spoken-word approach) bass guitar joins in behind lyrics “should be heaven, but it’s only about the win.”  Each subsequent title line is answered by changing follow ups: “but it’s only where to begin,” “but it’s all down to if and when,” “if we could only let it be.” A soaring orchestral chorus elevates the musical landscape, while voices overlay and cascade together.

The gentle acoustic guitar, violin and mandolin driven “Don’t Be Afraid” comes accompanied by a meditative video produced and directed by Ramzi Abed. You may recall his previous work with Night Crickets on their video for “A Free Society” (fully reviewed here).  Depicting an initially relaxed atmosphere of rural life (cat strolling by, morning coffee in flannel shirt) prismatic images shift to military men as the songs dreamlike refrain “don’t be afraid” floats with surreal quality. With featured guest vocals by Jason Lytle of the band Grandaddy, the videos protagonist is seen staring at apocalyptic fireballs. Spoken word soon follows, and the heart of the matter states “the world seems like a sewer – an insane crazy place – with innocents names on bullets – and the executioners face, is that of a child.” Off-kilter synths provide a midpoint break, alongside more visuals of the man going about his normal routine in his home. Up against that come additional apprehensive words. “When the viruses are thriving – and hospitals are full – and the nurses burn from overtime . . . when the bells of your mortality – are ringing on a hill – the reaper and the weeper – two sides of the kill. Well all politics are divisive – never the twain shall meet - but the forests, they are burning – and all sides feel the heat – that’s cause for pause.” 

Check out this cinematic video and thought-providing track here

Vibrant echo-y drums, electric piano and “Ohhhh” backing vocals set “Where’s The One?” in motion. “Love is just a word they say” the lyrics begin, “some will hear it everyday. I could hear it over again – maybe once or twice, I’d listen then.” Along with horns appearing under the chorus for added audio support, a tempo change occurs and bluesy organ riffing accentuates the essential “big, bright baby blue moon” lyrical hook.

Low buzzing bass tones, ticking time percussion, shaking tambourine and descending bass guitar notes roll out the mysterious “Like An Avalanche.” Verse lyrics are delivered in a quick linear cadence with a hint of knowing sneer. The title line chorus alters vocal tone and background ambiance, using guitars and drums for emphasis. The downward bass progression returns in a more dominant manner, accompanied by those now signature booming, sonorous drums. Creative spaces are carved out for inserting odd synth textures. The verse/chorus cycle repeats adding psychedelic layers on its final pass through.

Mystical atmospherics and throbbing bass guitar lay framework for the spoken word “I Am Dead.” “I have levitated – floating through the forest at night. In the distance is the witch house – fading faces watching through the glass” are the primary poetic lines.  An additional voice runs in tandem with these words, repeating them but doing so in a slower, more elongated cadence.  Distant deep boom drums and reverse looped guitars further support what seems like a “Grimm’s Fairy Tale,” where the “house is approached as a full moon rises in the sky.” Those contrasting dual vocals (where the title line eventually emerges on that slower track) hearkens back to early Velvet Underground experimentation.

Mournful strings are used on the gentle dual voiced “What Is This Love?”  Plucked harp notes and minimal percussion contribute to this meditation. “I smiled at you and you smiled at me, what is this love to you and me” is the universal question.

Opening with feedback and pitch bendy guitars, “Sunflowers And Starlight” tone poems lyrics “it’s dark outside – whether cold or bright, there’s pain out there.”  Soon morphing in a more traditional song structure, vocals are now sung “still snow on the ground and now it’s raining.”  A quiet pause happens at mid-point, before resuming with sparkling tambourine and the vocal sentiment “turn off the noise of the world for a while.”

Based around the phrase “The World I See Is Not The World I Want,” this co-write with actor Willem Dafoe emerges via measured tribal drums.  Steady keyboard pads and fluctuating synths provide additional musical backing for alternating line “what in the world is the way of the world.”  Midway the overall atmosphere seems to be floating away on clouds, before returning with defined drum beat and violins.

Find out how to get this album at their label here.

Follow Night Crickets on their Social Media   -   Facebook   -   Instagram

Previous DCW Features on this artist can be found here and here.

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It was the latter half of last year when this site became aware of recording artist Matthew Nowhere. Tipped off by Lunar Twin songwriter and vocalist Bryce Boudreau (whose own masterful work has been reviewed here numerous times) a detailed review was given to Matthew’s track “Love Is Only What We Are.”  That cut was an initial taste of Matthew’s soon to be released debut full-length “Crystal Heights.”  Another album cut has now been dropped in the form of a collaboration with lyricist/vocalist Bryce Boudreau with the mesmerizing “Transforming.”  A deep listen and the thoughts that produces follows below.

Accompanied by a soothing YouTube visualizer, modulating synth patterns in that bright buzzy horn sound kick everything off.  Percussion joins in alongside that recognizable Bryce vocal that name checks both the song *and* album title within the first 9 words.   “Late at night” Bryce sings – “dreams alive – in crystal heights – transformed before our eyes.”  The first instrumental break features synths echoing similar nostalgic 80’s sounds The Human League used on their hit “(Keep Feeling) Fascination.”  The chorus continues to paint a picture of “palm trees bend the breeze” and “a child’s minds alive transformed before our eyes.”  Everything pulls back leaving a standalone undulating synth pattern, soon joined by buzzing bass-synth running a counter figure, before percussion and thematic melody returns.

Bryce vocals continues “been awhile . . . the years go by – you know you can’t go back – or sooner learn to fly” he muses.  A subtle shift in pace emerges here, with bubbling electronic backing and dominant guitar note strokes ushering in the next round of vocals.  Bryce continues to croon “I’m not hypnotized….growing old to die… half awake the wind and waves late at night in crystal heights.”  One more angular, cascading electronic note break leads to the lyrical resolution “to touch the heart … to touch the sky … we only seek … transformation … the highest peak … transformation … the highest peak.”

Listen in to this trance-inducing song here:

The “Crystal Heights” album - now available for pre-order - will be released digitally and on Limited Edition transparent blue vinyl on May 23.

Follow Matthew Nowhere on Social Media – Linktree – Facebook – Instagram – Bandcamp 

Follow Lunar Twin on their Social Media – Facebook – Instagram – X/Twitter – Bandcamp

A previous DCW feature on Matthew Nowhere can be found here.

An in depth Feature on Lunar Twin can be found on this site here.

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Authentic Examination on New Music and Video Releases

Four exciting new releases serve as the comprehensive focus here in the July DaveCromwellWrites Feature. Along with trips to the beach and numerous free live shows in the park (one of the truly great thinks about summertime around these parts), time has been carved out to investigate and ruminate on some of the more thought-provoking new music releases. Old friends and new share space here, with descriptive representations fully accompanied by the music they choose to share with the world.

The good folks over at Big Stir Records have a new full-length album release by LA psych-pop rockers Maple Mars. Titled “Someone's Got To Listen,” it's the band first album in over a decade, and debut for this label. Playing to their strengths honed from years as recording artists and legendary live performers, soaring harmonies, layered guitar interplay, lock-down rhythms and deft songwriting run through all ten of the album's song. What follows here is a track-by-track analysis and commentary on each one.

Punchy power-pop and soaring vocal harmonies feature prominently right from the start on opening track “Useless Information.” “Twisted truth – they just confuse” perfectly encapsulates tracks titles and overall sentiment. Lead single “Gliding” emerges out of piano chords and harmonica before launching into the songs driving thematic melody. A serious Beatles/Badfinger vibe is felt through a harmonic styling that emphasize multi-tiered vocals, blended guitars and urgent percussive undercurrent. Tempo changes create emphasis on verses, while open space guitar figures provide necessary instrumental breaks.

Initial album teaser “Goodbye California” falls into an easy mid-pace groove, with lyrics stating how “everything is bright – everything is shiny -every sin is disguised – hiding in clear moon sunshine.” Even a “warm breeze” won't help you “when California falls to the sea.” A tasty guitar solo leads the track out to it's conclusion. “Anchors Aweigh” jumps to a quicker progression, with double-time snare-drum shots and downward driving guitar line. “I wonder if the winds of change will become a force” and “the salty dog will stay the course” bookend the metaphor of this cuts overall theme. Busy drum fills, rubbery bass and bouncing guitar figures all contribute to an integrated musical accompaniment.

“Someone Take The Wheel” bursts out of a chaotic psych-rock feel, with forceful clattering drums and FX-laden guitars. While vocal harmonies over top attempt to harness a level of control, the “Helter Skelter” instrumental approach underneath threaten to shake everything wide open. Points for the lyrics “can't see the forest for the sleaze.” A syncopated snare, bassdrum and highhat beat kicks off “Teenage Dream” as it drops into a chugging, good-timey groove. Sweet call-and-response harmonies drive the hook that goes “wasting time – try to make the scene – moving through those weekend dramas – chasing the teenage dream.” Melodic guitar riffs ride over top of crowd noises, adding a cinematic effect to it all.

“Sleepwalking” comes on vocal heavy right from the start, with a lyrically dense storytelling prose. Conjuring up imagery of “dark dreams” and “standing in a forest wondering what it all means.” The guitars emphasize harmonics over the now-expected hard charging drumming. Ethereal textures introduce “Silver Craft” exhibiting an initial floating sensation before the main progression commences. Morphing between a more cerebral sonic approach and the energetic power-pop already established previously creates an interesting mix of atmospheres. The space travel references appears to dovetail nicely with the album covers imagery.

The organ, piano and synth driven “Crooked Smile” touches on a softer psychedelic approach. With no percussion, acoustic and electric guitars are carefully woven into the mix, blending seamlessly with the lush vocals.  Album closer “Redemption” benefits from a single guitar and voice intro, before launching into the full band progression. Initially touching on the topic of “deception” and “trust,” hand-claps punctuation is sprinkled in at points for catchy hook benefit. “Is there any justice for the sacrificial lamb?” is juxtaposed against “the corruption of the damned.” While pondering those issues, elevating guitar figures rises to the stratosphere and land on a melody driven turnaround. An unexpected keyboard-synth interlude emerges with a minute to go echoing Beatles “I Am The Walrus” vibes. Even the vocals that follow take on a Lennon-esque feel, leading the track out to it's denouement.

Listen to their song "Gliding" here:

The album is out now as a deluxe vinyl LP and CD at Big Stir Records, as well as streaming worldwide.

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Andres Alfonso Lugo is a Baltimore-based recording artist who's work has been featured here on DCW numerous times. While those previous reviews focused on the bands he belongs to, the current work here being delved into is his solo project Los Dientes Hundidos en la Garganta. With that phrase translating into “the sunken teeth in the throat,” the music created is less ferocious (though still quite powerful) than that expression would suggest. Inspired by Brian Eno, Harold Budd, Robin Guthrie and minimalism, Andres provides guitar, loops, programmed drums, bass and synth, while enlisting contributions from Ferran Pont Verges (Die Noia Futuriszka) with guitars, voice and mixing on "Loops of Energy."

Rising out of a distant ambient mist, a singular bass guitar begins to rumble with purpose. Gentle synth waves ebb and flow around this central throbbing texture before the thump of snare, bass-drum and high-hat percussion enters the mix. Two minutes in and a sudden rush of shimmering distortion floods the sonic field, adding an uplifting quality over the already-established rhythms. With the centrally placed bass guitar providing both driving force and melodic changes, glistening guitars and looped atmospherics continue to expand audio horizons. A minute in further introduces voice-as-instrument via celestial choral layers. That is soon met with higher-register guitar notes, continuing the measured pace melody rise.

At five minutes in more lush chorusing fans out across the auditory spectrum, with keyboard synths becoming more prominent in moving the melody forward. What remains ever constant is the steady vibrating bass guitar right down the audio center, complimented by clear elemental percussion. The midway point sees the progression modulate back and forth momentarily, before continuing what feels like an ascension into the clouds. An overlay of incandescence emerges in the seventh minute, serving-up the quick-strum guitar that gaze-music aficionados love. Further on, a descending melody line finds it's way into the mix providing a complementary alternative to what has already come before. After nine and a half minutes, everything drops out except for the bass guitar and percussion, creating a momentary plateau. As the other elements return to the mix, strong guitar figures establish descending melody lines along with one more round of ethereal voices to the tracks final conclusion.

Listen to this sonic exploration here:

The track is available as a free download on bandcamp.

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Receiving news about a new project involving long-time fave David J (of Bauhaus and Love & Rockets fame) is always welcome. Busy as he's been over the last few years with revived live shows, hearing about brand new songs and group collaboration peaked curiosity. The debut album “A Free Society” by newly minted combo Night Crickets also includes Vincent DeLorenzo (from Violent Femmes) and multi-instrumentalist Darwin Meiners. Drawing their name from a conversation about something David Lynch said, the recordings came together via audio files shared between Los Angeles, Milwaukee, London and San Francisco. The band has now released a new music video for the song “The Unreliable Narrator,” which receives a full review below.

Opening the video with a silhouette image of three antenna-headed “night crickets,” those of us familiar with Love and Rockets can't help think of “The Bubblemen” from L+R's early history. A deep voice recites the song's title line as hypnotic drone, cavernous jungle drums and clacking percussion play behind images of three men slowly passing by. That familiar David J bass guitar presence is soon felt as black and white images of the band rise mysteriously upward. Color soon enters the visual mix in form of psychedelic backdrop, as more band figures are shown moving their fingers in slow-motion. Vocals commence in full this time, spelling out how our “unreliable narrator gets his intel second hand, from disreputable sources.” Slow moving pictures of bandmembers alternating between black and white and color combined with billowing clouds of smoke add mystery to the unfolding story of having “an axe to grind and a cache of theories – the conspiratorial kind.”

An engaging instrumental respite emerges at the song's midway point, creating the sensation of a dark ride through mystical lands. An eyeball with flames shooting out the top of it serves as yet-another graphic form in the video. As the song's title is repeated hypnotically, you can feel the music shifting underneath with suble changes in rhythm and melody. Impressive snare drum accents and bass guitar runs are soon followed by more dynamic guitar chords. Putting a close to the whole story with final lines “you can't believe a word he says, so you're foolish if you do,” puts a bow on the whole package, as does actual night cricket chirping attached to the very end.

Check out this curious video and song here:

The Vinyl Release of A Free Society is out on July 29 via Omnivore Recordings

A previous feature on David J can be found on this site here.

Two Dave's share a moment after the show.

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An inquisitive individual who records and plays live music under the moniker 77 Apes has caught the attention of DCW through their steady persistence. It is a solo artist endeavor where lyric-heavy songs are accompanied by acoustic and electric guitars, fleshed-out with background rhythm tracks. Brooklyn born and now Connecticut based, the songwriter sings about desperation, hope, love, sex and life itself. Their recently remastered and released track “Devil Knows Devil,” now garners the full CromwellWrites deep dive analysis.

Steady, chunky percussion and plucky chugged electric guitar introduce the seriously determined “Devil Knows Devil.” Bright strummed chords accompany opening lyrics “I wake up this morning – walk out into the rain. Gotta get to the city – on that downbound train.” A gritty tale of life today from a storytellers point-of-view, structurally sound melodic chord changes enhance lyrics about “souls” in “pain.” A twist comes on the title line reveal of not needing “to tell this to you because – Devil know Devil babe.” This resolution implicates at least one individual, or perhaps a part of us all. A rise in both vocal and audio intensity commences on the next pass through with larger society concerns pairing “old man poor” with “young man's crime.” While we further discover there's “no absolution” or shot at a “second chance,” a piercing, steady guitar solo cuts through the midpoint with appropriately dramatic effect. Pivoting to acoustic guitar for a more intimate reading, literary references to “Bacon's Triptych” and “Poe's purple pain” draw together “the words of the sages.” The final push makes effective use of extended electric guitar notes behind acoustic strumming leading to the closing line “Guess I'll see you coming – there on judgement day.”

Check out this track right here:

Follow all things 77_Apes via their Linktree.

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Live Show Photo + Video Recaps - April / May 2014

Every once in a while it’s fun to do a “slap-dash-for-no-cash” photo recap of recent shows attended. 

Without further ado (or ballyhoo) this one commences.

Saturday April 12th started out with a trip down to Brooklyn's The Flat, catching an early set from emerging band BEIJU.

Fronted by the soaring melodies of Caitlin Seager - who once served in a similar capacity in her previous band Night Manager .

The band also features veterans of other formerly prominent local acts - with Greg Timmes on guitar, Cal Fish on bass and Ethan Snyder on drums.

Find out more about BEIJU Here

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Next up was a wonderful new discovery that goes by the name Sunflower Bean

Though I soon found out they too had emerged from the ashes of prior bands - guitarist Nick Kivlen and drummer Jacob Faber from Turnip King, and bassist/vocalist Julia Cumming from Supercute! (who I chatted with on the streets of Austin, Texas during SXSW in 2011 - Here - third video down).

I was impressed with the complex, sophisticated songwriting - that still maintained a decidedly rock edge to it all.

Check out this cool video and song they recorded at their friend's home studio, and put the video together on an iphone.


Particularly interesting are the doubled vocals in places, and the "spooky" way all the voices sound on the lyric "in the year 2013"

Find out more about Sunflower Bean Here

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Busy night that it was, I soon hightailed it over to Brooklyn Night Bazaar to catch one of my very fave bands - Hunters

Featured numerous times in this blog and on The Deli Mag (written by yours truly) - it is no secret how much I appreciate the many qualities of vocalist/frontperson Izzy Almeida.

Of course guitarist / vocalist /songwriter Derek Watson makes it all go with drop D perfection.

Izzy has changed her look a bit - going from blonde (then pinked) hair to this more demure brunette color.  Looks good on her though.

The projections behind the bands at Brooklyn Night Bazaar are always top notch, and kudos goes out to that venue for their consistently professional presentations.

This new look also featured Peter Pan collared bookishly-gothic attire (a change from the t-shirts and other ensembles previously worn).  Izzy mentioned after the show she had been reading a number of great classic books from that period, which served as style inspiration.

Though headbanging was toned down somewhat (due to concussion issues - hopefully now completely resolved) - the show still had all the ferocious energy one has come to expect from this band.

visually appealing

with songs to match

It's always a high energy good time with Hunters

Read my previous write up on them Here - which links to all other features I've written about them.

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Four days later it was over to The Music Hall of Williamsburg for a Steve Madden Presents event - featuring The Pretty Reckless

Fronted by the willowy presence of Taylor Momsen, the current members are Ben Phillips, Mark Damon and Jamie Perkins. Their debut album, Light Me Up, was released  in 2010.

Combining the bands higher-than-club-level clout along with whatever Steve Madden's organization brings to the table, the overall presentation (dynamic visual light show and sound quality) gave everything a bigger, arena-show feel.

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Taylor's midwestern classic rock roots shine through, as she capably fronts this hard rock outfit.

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Skinny blonde rides hellbound rock train.

Her band plays with the confidence and ease of experienced professionals.

Exchanges like these were not uncommon throughout the show.

I initially became aware of Taylor's existence when she appeared as a regular cast member of the television show Gossip Girl.

It was soon discovered that her real love was to play kick-ass rock 'n roll in her own band.

She even strapped on a guitar for one song.  What's not to like here?

Find out more Here

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Three days hence it was a pretty big deal as legendary Love and Rockets and Bauhaus founding member David J rolled in to New York City's Pianos for a celebrated showcase.

Arriving just in time to catch long-time friends Dead Leaf Echo, an impeccably delivered set held the crowds attention.

Moody lighting and grainy projections bring LG's vision of the band to life.

Ana played guitar for this whole set, moving away from the equal-time on keyboards of prior performances.

As LG seemingly looks to the heavens, Kevin locks down the drumming with precision and creativity.

Playing many tracks from their previous full length release Thought + Language

As well as their latest true.deep.sleeper, Dead Leaf Echo always put on a musically engaging show.

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Next up were the always brilliant Vandelles

Jas, Honey and Linds came on a like a house on fire and blew the audience away.

Camaraderie that goes back a long way.

Propelled by a forceful rhythm section.

And that killer guitar sound

Way ahead

Winning over new fans as the set progressed.

Bringing the thunder and ruckus

Get down with the lovely fever

Bad to the bone

Things got wild at the end with a crowd surfing guitarist meeting the people up close.

Check out my previous entry on The Vandelles on this blog Here

As well as show recaps during their support slot for The Jesus and Mary Chain in Philadelphia and New York

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The time had now arrived for headliner David J to take the stage and present to New York his newly crafted show.

Drawing on his vast catalog of music, early in the set leaned more towards acoustic songs.

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Putting the guitar down at times (often to play harmonica) David allowed his trio bandmates the room to recreate his classic songs with precision.

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Classic Love and Rockets compositions like "Rainbird" made for early acoustic highlights.

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Once David grabbed the bass, everyone knew we were in store for a number of the heavier songs.

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David brought up a beautiful, voluptuous exotic dancer (I would later find out) named Kat Mon Dieu to add a bonus visual element on the heavy track "Kundalini Express"

Nothing comforts like a Burlesque Feather Fan

What was played (more or less, and not necessarily in that exact order).

Meeting one of my long-time respected artists after the show.

And some new friends too.

It's always satisfying to get your photo re-shared by the artist on his own page.

Find out lots more about David's current activities and projects on his Facebook Page and Official Site

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A week later it was out to the wonderful always free Brooklyn Night Bazaar

Not only to check out one of that venues great shows, but also catching up with former UK resident and now fellow New Yorker Mark Crozer

Along with his own solo projects (info about which can be found at his site MarkCrozer.com ), Mark is a touring member of The Jesus and Mary Chain

We grabbed a cappuccino beforehand, then proceeded to check out the night's entertainment.

First up was a pleasant surprise for me - a group of young girls from Philadelphia named Amanda X

One unique feature about them was their guitarist played left-handed, even though (I would later discover) she was actually right handed - but simply had self-taught herself to play that way.

She didn't even reverse the order of strings, making her path to competency all the more compelling.

She reminded me a bit of Honey Valentine (from The Vandelles) in her overall appearance.

I was impressed with the full band presentation and give them a "recommended" status.

Find out more about them Here

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After their set Mark and I got up to more shenanigans

Then buckled in for the night's big show

Tucker n' Emily's Total Slacker wow'd the crowd with their own particular brand of mayhem.

Zoe throttled the cans with all the power and thrust we've come to know and love.

Tucker coaxed sounds out of his guitar that were at times out of this world

My friend Mark Crozer (of The Jesus and Mary Chain) was quite impressed with them.

Emily worse this cool form fitting dress that made her look a bit like . . . .

. . . Taylor Swift

If she knew how to play "slimecore"

Tucker makes a point here

But seriously - just who did kill Kennedy?

Once you go slack, you never go back.

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Four days later it was time for a hang with my good friend Jason of The Vandelles.

Tuesday, April 29 would be a good night for a hang in Brooklyn, taking in a show at The House Of Vans

It was a coffin crypt keepin' good time.

First band on were those local Brooklyn lads who've a revived a bit of what Britpop n' that "mani" Manchester sound was all about in the early 90's - Spires

Their constant touring has honed their sound to a tight precision.

I had previously written about this band's first single release "Candyflip" Here

That reviewed inspired their PR Agency TellAllYourFriendsPR to pull this quote for their email blast promos:

"Takes direct aim at the late 1980's "Madchester" era, capturing that vibe and sound with impressive results" -The Deli

Find out more about them Here

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Time for the big headliners to come on - Britain's The Horrors

Formed in 2005, the band has gone through a stylistic evolution between then and now.

Four albums in to their career, the latest is the recently released "Luminous"

They exhibit a commanding presence, and full use of the big stage and light show that goes along with that.

Backdrop projections also serves to give them a larger visual imagery.

Singer/frontman Faris Badwan serves more than capably as the focal point,

However this a very much a band endeavor, with sequenced keyboards frequently dominating the sonic forays.

Faris Bueller's day off

Much more can be discovered about this band Here and Here

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That following Saturday (May 3) was a pretty big deal for me as I was getting to see an iconic band from my early formative years.

The legendary Terri Nunn and her currently revamped version of Berlin descended on New York City's The Cutting Room

The show was absolutely amazing, and brought back every memory I could have hoped for.

My personal favorite Berlin song will always be "The Metro," and their performance of it (complete with projections of the original MTV video) was nothing less than spectacular.

Terri's voice is as strong as ever, and her band is the perfect mix of hard rockin' professionals.

She played just the right blend of classic hits up through and including significant catalog tracks.

For their early 80's hit "Dancing In Berlin," a number of fans were invited up on stage to, well dance WITH Berlin!



Check out the original video for this song

Terri also made her way out into the audience to engage with her fans up close and personal.

It was yet another very cool moment.

You can tell how much she loves the live performing aspect of her career.

After the show some lucky fans got to meet members of the band - like this one named Misty here - who took a snapshot with her newly minted crush - Berlin guitarist Carlton Bost

This fan was completely thrilled to meet the eternally gorgeous Terri Nunn

Read my previous feature on Berlin right Here

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A mere 2 days later it was back out to catch my very good friends The Vandelles play a special showcase at the new and very popular Brooklyn venue Baby's All Right

Fresh from their triumphant David J support slot at Pianos, the band picked up right where they had left off on that night.

The Jas-man wasted little time in getting to the squall, much to the delight of the audience.

Naturally, the dreamy heartthrob that is Honey Valentine provided all the percussion needed.

Lindsey proudly rumbled her Univox love through a distorted chain of electro-pulses.

Whenever this band plays, the weather is always lovely.

Nick's lighting creates wonderful hues.

Greens, blues . . . 

. . . and reds

Honey expresses her right to bare arms.

A special guest appearance was Pete F from the band Dinowalrus doing a jump up and jam along.

As a result, a new kind of guitar crunch could be heard.

Freeing J up to do the traditional lead singer thing.  Another great show!

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The band Weekend played next.  I've Previously Written about how they've made a couple of good albums.  They're kinda boring live, though.

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The headliners for this night were a band getting a lot of buzz going lately - the motorik/psych/gazers Toy

Their sound blends krautrock beats with extended guitar textures and keyboard whooshing forays.

The trio of "frontmen" - guitarists Dominic O'Dair, Tom Dougall and bassist Maxim ("Panda") Barron were the core musicians of mid 2000's pop act Joe Lean and The Jing Jang Jong.  Tom Dougall is the younger brother of former Pipettes and now successful solo artist Rose Elinor Dougall, and also played guitar in her band for a time.  Joe Lean was The Pipettes original drummer.

The band also features keyboardist Alejandra Diez and drummer Charlie Salvidge.

Their sound is a modern take on the 1970's-era "space rock" band Hawkwind.  Playing a hybrid of pop and dream-gaze with these "motorik" beats, while leaving room to extend the song length allows for forays of free improvisation.  This is very similar to the formula Hawkind employed - that of blending hard-rock and acid-rock, uniting the sonic power of the former and the free improvisation of the latter.

While the band was initially setting up, frontmen Tom and Jasno of The Vandelles has a chat.

Overall the the look and image is quite cohesive.

Keyboards add a level of texture that provides an additional sonic density to it all.

Though I have to mention that the bass player (especially his hair) reminded me a bit of Mott The Hoople "legend" Overend Watts.

The view from further back in the room.

Having set up the lighting in Baby's All Right (with his partner Nick) Jasno took to actually working the lights for the Toy show.  A man of many talents.

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The very next night found me at The Music Hall Of Williamsburg for another significant event.

Legendary 90's band Slint were gracing New York with their presence.

Attending as a guest of concert going buddy Drid, we witnessed a revival and celebration combined.

Playing much of their 1991 breakthrough album “Spiderland,” those songs feature dramatically alternating dynamics and vocals ranging from spoken word to shouting, with narrative lyrics that emphasize alienation.

You can listen to that entire record Here

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