It’s been a minute since DaveCromwellWrites covered a live show (well, last November to be precise). While all too true that the recent focus has been predominantly on recorded works (not always the case as densely covered live event were a common occurrence on this site, not that long ago), this current feature celebrates a dazzling, multi-performance show. Also included are two distinct interviews (something else that was once as staple here) along with some studio recording reviews as well. It all adds up to yet-another thoughtful and detailed probe into this thing we call “rock music.”
When it was announced that Live Nation was putting on an “Eighties Goth Prom” at House Of Blues in Orlando Florida earlier this month on May 3, the opportunity to catch this event was there for the taking. Headlined by world renowned Depeche Mode tribute band Strangelove, the lineup also included The Cure tribute Lovesong, Not Nine Inch Nails tribute to NIN and The Electric Duke tribute to David Bowie. Having established a prior working relationship with the multi-skilled Julian Shah-Tayler via his solo work, the occasion to see him do his Bowie show and as an essential member of Stranglove was too good to miss. In addition to the performance, an interview was arranged with Julian and all the members of Strangelove. That full discussion follows below, along with a review of their recently released album “Rendition.”
Based out of Los Angeles, STRANGELOVE-The Depeche Mode Experience is a dazzling concert event. Bringing to life the very best DM songs, they draw from the artists 40 plus year career with accuracy and authenticity. Under the guidance of Brent Meyer (a/k/a “Counterfeit Martin”) his portrayal of DM mastermind Martin L. Gore on stage is a joy to behold. Frontman and vocalist Leo Luganskiy (a/k/a “Ultra-Dave”) is both a visual and vocal dead ringer for the charismatic Dave Gahan. Julian Shah-Tayler (a/k/a “Oscar Wilder”) is no stranger to this site, having reviewed a number of his albums here previously. James Evans (a/k/a "In The Fletch") is the bands Andy Fletcher in every similar way possible. Chris Olivas (a/k/a "Chris-tian O-gner") is the quintessential drummer every band would love to have.
The Golden Ticket
Necessary item for a smooth experience
Sitting down with the band an hour or so before they were to perform on this Saturday evening, the Q + A flowed in a professional yet-casual fun filled exchange.
DCW: Getting right to the heart of the matter, where do you see your place in this huge rock and roll music landscape?
Brent Meyer: The Question is do we have any back story beyond being a tribute band entity, because everyone views us in that light – in the context of coming to these shows. I started this project 18 years ago, and some people who’ve followed me from those early days only see me in this context are surprised to discover I do other things.
DCW: It’s the “onion” concept where there is more to an individual than just what you see on the surface.
Julian: And much more to make you cry (laughter all around).
DCW: Leo, what else do you do when not at this? Do you have a solo project?
Leo: Yes, I do my solo work and also a couple of side projects. Something I’ve been pursuing over a decade. Coming from a teenage dream to be the next alternative metal artist. Combining the elements of songwriting and being inspired by bands like Deftones, Korn and an archetypal teenage angst. Other influences are more sophisticated such as the Swedish progressive metal band Katatonia. Focusing on a heavier writing style with the music, but the vocals are very song oriented. As an artist you kind of want it all. To be equally appealing to the common show business factors, but you want it to be beautiful to anybody. It doesn’t matter if it’s techno, synthpop, rock or metal, sometimes you get lucky and discover a band that makes you overlook anything you ever thought you might like. When I was growing up I was in to more electronic music, which is completely opposite to something that is post-punk or heavy music. Then I discovered the band Placebo and it changed how I think of any of that. It was so completely out-of-the-box and it was the right time to discover it. They’re all stylistically different but there is a mood that you feel. For me, it’s the mood and the atmosphere that the band is bringing that matters more than what style it is. So when you are creating something of your own, you end up taking bits and pieces from all of that, while still trying to be tasteful if you can.
DCW: It’s been well-documented that keyboardist Alan Wilder left Depeche Mode due to the lack of credit he was given for all the work he did in the band. Would you agree with that assessment?
Brent: Absolutely. He was basically uncredited at least as co-producer on every album he was involved in. The quintessential Mode albums that defined their sound for most fans.
DCW: When I listen to his solo project Recoil, I hear so many of those distinct audio qualities.
Brent: The sound had all the Depeche Mode signatures, but it moved away from a pop sensibility, that melodic songwriting core, it was more about the atmospherics and sonic landscape. He chose to explore that, and who knows what Alan’s songwriting capabilities might have been in the band, given the chance.
DCW: James, your role as “Fletcher” in the band has playing keyboards and singing back-up vocals. Which do you feel more accomplished at.
James: I think I sing better than play keys. My vocals keep me going while I’m playing one handed Fletch lines. The ironic part was that he had more keyboards set up than any of the other guys, while playing fewer lines.
DCW: I saw Depeche Mode play Giants Stadium in New Jersey back in 1990 with the Jesus and March Chain as support. That was an incredible show, and I believe it was right when Martin started playing guitar with the band.
Brent: It was pretty much right then, that tour and the one before, the “Music For The Masses” one.
Leo: Arguably that might never have happened if “Black Celebration” and “Music For The Masses” didn’t lead up to what they did there. You can hear that stuff in songs like “Behind The Wheel.” If you reverse engineer some of their songs – their callbacks – and what they ended up doing in the future – the melody of “Pleasure Little Treasure” is basically “Personal Jesus” in a way. It’s re-conceptualized with an entirely different impact.
DCW: Do you think that’s intentional, or just a natural occurrence?
Leo: It’s both. Coming from their integrity and style and some of humor about it. Sometimes they’re really mopey and dark, and sometimes they’re really ironic. There’s beauty in that, and keeps you kind of wondering.
DCW: Have you ever met any of the DM band members?
Brent: Yes, absolutely. Martin is a big supporter.
DCW: He likes you?
Brent: He’s spoken very favorably about us in press and print. In a fairly recent press junket in New York Dave was kind of ‘taking the piss’ about how much time he spent watching our videos online.
Julian: Leo and I both worked indirectly with Ava, who is Martin’s daughter.
Brent: I have as well.
DCW: That’s cool. I caught a show by Dave Gahan’s daughter Stella Rose way downtown in NYC a year or so back.
Leo: I’ve seen some of her shows and met her briefly.
Brent: We’ve seen her in tiny clubs.
DCW: And she knows what you do?
Leo: She doesn’t exactly what I do, because it was more of an accidental meeting after one of her shows at Pianos. She’s more involved with her peers and the new generation of younger musicians that might not know about all the older stuff.
DCW: Some do, some don’t. I was always curious about what came before I was alive. There was a period of immersion into 1940’s and 50’s jazz, inspired by Kerouac’s “On The Road.”
Julian: Brent’s degree is Ethnomusicology. He’s the nerdy center of all this.
Brent: We’re both kind of the conservatory of things, with Julian and his Classical Music background.
Julian: We’ve occasionally done shows with a U2 band and they’ll bust out the Passengers song “Miss Sarajevo” and when Brent does the Pavarotti opera solo there is not a dry pair of knickers in the house! (Much laughter all around).
DCW: At one time you were training to be an opera singer?
Brent: I never had any illusion that would be something I could make a living at, but I did want to pursue the training that afforded and follow the through line in terms of symphonic composition. It benefits in terms of arrangement, even though it’s all midi and electronics, it still all directly affects this. Alan Wilder, very much a classically trained musician himself, even stuck little sampled bits into the recordings. The chords that start “Never Let Me Down Again” references Carl Orff’s “Carmina Burana.” There’s also Wagner samples, there’s Mozart Requiem, there’s all kinds of little easter eggs that he’s placed there in Depeche’s music. In fact they had a b-side of him playing Beethoven’s “Moonlight Sonata” straight up on piano, and I think that’s pretty cool.
Julian speaks to the audience
DCW: Let’s talk about your Strangelove recordings, specifically the “Rendition” album. Were you all in the same room when you recorded this?
Brent: Never! (laughter) Our original track and the Depeche songs were all done separately. The only one’s that had any of us physically together were when Julian and I did a live stream of all Martin songs and a couple of those are on the album.
Julian: “Sublime” is the song that Leo and I wrote. I had sent him a couple of tracks and he came up with something fabulous, vocally. We then threw it back and forth continuing to develop it, and then everyone put their parts on.
Chris: That track wouldn’t have sounded as good if I hadn’t gotten my drums on it the way I wanted.
Leo: That’s true. The ideas and construction were because of the combination between a very modern drum sound and a very live one. That’s why in certain moments you notice we kept the drums “naked” – a dry and clean sound.
Chris: When I got the general track, there was no vocals on it. There was maybe only the verse part, and a few other tiny parts to it. I got the vibe though, and put down a John Bohnam-esque beat. A similar feel to what I play on DM’s “Useless” and “Never Let Me Down.” There was a point where I wish I would have added a little bit more later on and do things a little bit different, but overall it worked out well. Eventually they started to cut things up and Leo added his elements of new electronics stacked on top.
Leo: Right. For instance some of Chris’ drum samples are more like a room sound, while others are from places that were bigger. You always want to go back and forth with the blending. Even back to the demos, where you like the original consistency, and combine that other sounds to make something truly unique. You don’t want it to sound like anybody else, and that’s what takes more time. When it clicks with everyone, is no longer distracting and it’s working, that’s when we say “yeah, this is us.”
Julian: I have to give a lot of credit to Darwin Meiners who mixed what we sent him, which was a lot of stuff.
Brent: A herculean task.
Julian: He did such a good job with it and made it sound like we might even be in the same room together to record it.
Brent: Which was definitely not the case. He had to craft all that together.
DCW: “Sublime” is positioned as the album’s tenth entry (with two remixes of it after that). The primary version is a guitar-centric, buzzy ambiance affair with forward drive drumming in support of Leo’s heightened vocals. The “thoughts of loving you/hating you” express universal relationship turmoil. “Let me in - I will disappear with out a trace - when i get what i want” becomes the emotional center. While “The pleasure and the pain - cuts me right out” suggests a release of personal ego, when experiencing the “sublime” of immersing yourself in the one you love. Heavy, chugging guitar leads a bold sonic conclusion that includes soaring vocals and elevated percussive elements.
DCW: Leo, do you write a lot of songs?
Leo: I think it’s safe to say “yes.” It’s an ongoing process for all of us. I can’t really call myself a “musician” (at this point) because you kind of have to be more well-known, but definitely ideas are happening all the time. Ideas, concepts, side projects – until something really clicks with a lot of people – this is when you become an artist. This is where people start putting you in a category “oh he’s a rock artist or a goth artist.” I think of those labels as something like winning an award. You can’t really give it to yourself, it has to be assigned by other people.
Digging deeper into the bands "Rendition" album reveals a treasure trove of audio delights. It opens with a wonderful re-interpretation of “Useless,” this time with emphasis on Brent’s sharp guitar figures coupled with Leo’s surprisingly fluid bass playing. The expressive lead vocals and precise harmonies from Brent and James are of course there. Julian’s keys and Chris’ drums also deliver at the exact levels the song calls for.
Ultra’s “Sister Of Night” leans on keyboards and electronic percussion to support Leo’s passionate vocals (with Brent and Julian background vox). “In Your Room” is essentially a solo track from Julian Shah-Tayler. He plays everything on it and does all the vocals. Having reviewed a number of his albums outside of this band already, the familiarity is not only in the song, but it’s overall production.
“Insight” comes from those “live lounge session” Brent referred to, and features his expressive vocals and Julian’s piano and backing vocals. The ability to bring this song to life in an intimate live setting is most impressive. Fifth entry “Mercy In You” flips the script with a solo piano and vocal performance from Leo. The “Songs of Faith and Devotion” entry becomes even more poignant in this stripped down form. “A Question Of Lust” comes by way of Julian back in his studio, building a solo version of this classic with all the tools and talents at his disposal.
Dipping back into their “live lounge sessions” Brent and Julian serve up an electric piano and synth extravaganza with the recent (2023) DM song “Soul With Me.” Brent’s powerful and expressive voice reflects the original’s beauty with resonance and reverence. Moving over to earlier era DM, 1985’s “Shake the Disease” features all the bandmembers (minus drums) with a stripped down entry. A near acapella version from all four vocalists, the minimal instrumental backing is all that seems necessary.
Final “rendition” is a solo vocal and piano entry of “I Am You” from Leo. Subtitled “Audition Version,” and given the short 1 minute in overall length, one wonders if this was an actual submission to gain entry into the band. Regardless, it’s beautifully done. The first “Sublime” remix comes by way of Julian Shah-Tayler’s recording studio laboratory. Extended in length, all the instruments from the original are stripped away and replaced by an array of synths and electronic percussion. Ambiance abounds with plenty of open spaces, allowing for Leo’s vocal track to stand out a bit more. Final entry is the second “Sublime” remix – dubbed the “Entre Nous Remix.” Stripped once again of all previous instrument, new keyboards and percussion tracks provide a bed for Leo’s lead vocals and the remainder of the bands backing voices. Both remixes are decidedly dance-floor ready.
Strangelove continues to tour throughout the summer and beyond. Check their Official Site for all the dates.
In addition to the Strangelove interview, a second one was conducted on this night with no-stranger-to-this-site solo artist Julian Shah-Tayler, shortly after his opening performance as The Electric Duke Bowie Tribute show. Numerous recorded works of his have already been reviewed here previously, and now the opportunity presented itself to interview the multi-faceted man in person.
DCW: Watching you play piano in your videos (outside of this band) you are very accomplished. Did you have classical piano training?
Julian: Yes, I was classically trained.
DCW: Yes, you also mentioned in a recent video interview that you were also on a path to be a doctor. At the same time as this, were you also getting piano lessons?
Julian: Strangely, my Grandmother was a music teacher, and she was very proud of my uncle who was a doctor. My mother is a lawyer, but she is also very musical. One year she won a Welsh music competition, and was very proud of that. So she would encourage me with music all the time. However, my family would have all liked me to be a doctor, but it just wasn’t my path.
DCW: When did you first start playing piano?
Julian: I was 5 years old. I loved playing instruments and doing musical things, but I didn’t particularly enjoy practicing.
DCW: Could you read the musical notation charts?
Julian: Yes, of course I read music.
DCW: At some point with the emergence with the 80’s synth sound and morphed over to playing these electronic keyboards?
Julian: I’m a little younger than that, so I didn’t really get into synthesizers until I joined this band here, Strangelove. Everything I did up till then was about recording studio work. Brent was previously describing how Alan Wilder would take pieces of orchestral works and include them. I did that as well, without any prior knowledge of what he was doing. I would take Beethoven or Stravinsky or Benjamin Britten and I would stretch my selections to make an orchestral sound for the stuff I did. I didn’t have any synths, only pianos so I would improvise in other ways. Like I would take the sound of a squeaking door, sample it and use that as a sort of keyboard sound.
DCW: At one time were you on a path to be a classical piano player?
Julian: I would have never been a classical concert pianist. I was, I wouldn’t say mediocre – I was good but not great. When you listen to Lang Lang you hear how spectacular and brilliant they are. I was always interested more in composing, and if you want to do that, you don’t become a classical pianist.
DCW: Early on you had the songwriter bug?
Julian: Yes. I wrote my first piano piece when I was nine years old, and my first song when I was 14. I needed to be self-expressive, that was very important to me.
DCW: When did you first make the move to the United States?
Julian: I came over with a band named Whitey, who I co-wrote a lot of stuff with. We had songs in “The Sopranos,” “Breaking Bad” and we did very well. We went on a tour with Peaches that was really good. So, that’s how I ended up in the USA.
DCW: You originally grew up in Leeds, UK?
Julian: I was born in Leeds, but didn’t grow up there. I went to boarding school in Durham, which was the basis for Hogwarts in the Harry Potter world. I then went to University in York and later moved to London when I was old enough to do the whole thing with music.
DCW: You’ve been a solo artist from your earliest days, but you also do these other projects.
Julian: I like collaborating with people, and especially with very talented writers. If something like Whitey comes along, it helps me learn. The same thing with Leo here in this band. Another I’ve worked with is Tiki Lewis who has really spectacular stuff. If I find people I like working with, that is a welcome diversion. However, it will never be my focus beyond what I do – it will be just another thing.
DCW: It sounds to me like you’ve gotten a number of songs in films, television shows and/or video games. Is that something you put out there to be found, or do you have people contacting you for specific projects?
Julian: Both – all of those things. Currently I’m working on a tv script based around my music. It’s my story, and is a written 13 episode arc. The pilot is fully written, and the next 12 episodes have synopses.
DCW: Do you have the people in place – the contacts, to bring this to life?
Julian: I had all that before the global shutdown of 2020. A couple of production companies were interested in making it. I currently have one production company who is now interested and I’m collaborating with over the next couple of months to bring it to fruition. We will make it happen because I’m fairly confident the person I’m working with has the means to do it.
It was truly a pleasure to finally meet Julian in person, as well as all the other wonderful musicians working on this night.
Also performing on this night was an amazingly accurate The Cure Tribute show by the mesmerizing band Lovesong.
This show was the closest thing to attending a Cure live show, without it being the actual band! Frontman Rusty has got his Robert Smith down in not only sound, but all the physical movements diehard Cure fans have come to know over decades. In fact, the whole band is a precise, well-honed machine that reproduced every song brilliantly.
Even before details were hashed out with contacts in Depeche Mode Tribute Strangelove, a spot at this event was secured via Lovesong’s “win a ticket to the show” contest running on social media leading up to the event.
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Even though ultimately not needed, the gesture was most certainly appreciated (and told them so in a brief chat after the show).
The unanimous consent among anyone who has experienced their show is they are the premier Cure live show out there (other than the actual Robert Smith and company).
Listen to this clip of "Just Like Heaven"
Who doesn't love the achingly beautiful "Pictures Of You"
Or the sheer uplifting joy of "Inbetween Days"
Perhaps it's time to go for "The Walk"
Or get lost in "A Forest"
Nothing captures the balance of doomy wonder than the instrumental passages of "Fascination Street"
I'm glad I got to see "The Cure" this year!
Lovesong continues their tour throughout the upcoming days as well.
A long-time favorite has re-entered the DaveCromwellWrites world with a brand new full-length recording. Alongside that is a previously never-before heard artist offering up their unique take on a 90's era classic. Finally an often reviewed, most-respected label has remastered and reissued an earlier catalog EP. Every song on all of the above mentioned releases now receive the infamous DCW track-by-track review.
Press releases indicating that new music from long-admired Cloudland Canyon had been trickling in over the last few months. Having already been a devoted fan of the purposefully vague and mysterious output from this creative force since the mid-2000's, each new single release added to the excitement. Now the full-length album is here, and for this reviewer it brings back all the memories and reasons for that initial fascination. Led by former New York and now Memphis based electronic music master Kip Uhlhorn, the artist has tapped into the mutual admiration of Spaceman 3/Spectrum's Sonic Boom (Pete Kember) for production assistance. The result is a magnificent collection of otherworldly music tuned into those dreamlike states some of us experience with each night's sleep.
Opening track “Circuit City” bursts out in full motion with no buildup, careening along at a bustling pace. Familiar deeply reverberated male vocals commence over (or is that under) a repeating AI voice pattern that sounds like the word “my, my, my” in perpetuity. There's a distinct pop chord progression at play, complete with a chorus (even if the lyrics buried beyond recognition). While the title line can be made out occasionally, that's hardly the point. Many wonderful sonic elements emerged throughout this over 6 minute opus. The percussion is busy, with bongo-like textures fluttering up (and then away). A driving synth-bass takes a dominant position at the 4 minute mark, with the previously bubbling sonics fading back. That sets the stage for a “battle of robotic sounds” (of sorts) to follow.
Follow-up cut “Internet Dreams” wraps itself in a dance-floor ready krautrock beat that pulls elements from both German electronic pioneers Kraftwerk and Tangerine Dream. Vocals come delivered with primary force from a strong female voice. “Losing time – barely there. Lose myself – light as air” are her opening lines. The hook comes in the form of a “Oh, Oh-A” vocal resolution at the end of each line delivered. “If I felt your touch – I might break apart” she initially concludes. Reading the artists statement that this song deals with something “you've already lost” and “our tendency to romanticize the past,” play out with the lyrics “old dreams light up my screen.” The suggestion that these “in tattered dreams” may be more “destructive” that we initially realized are summed in the the final repeated vocal hook “since you went away.”
“Future Perfect (Bad Decision)” taps into the dreamlike state and relaxed ambient pastel groove that initially caught the attention of this reviewer on their previous releases. Even though the rhythm is clearly defined with strong percussion, there's something about those vague and heavily reverberated vocals that instantly satisfy. Perhaps it's the dream pop and “gazey” music of initial practitioners like The Jesus and Mary Chain (and later on The Raveonettes) that has forged a connection with this sound. Something about the shifting voices that are just out of reach (like in a dream) find an emotional touchstone. The melody is romantic and builds slowly, creating the sensation that some kind of angelic experience is just over the horizon.
“SEA TACT / Whispering Waves” opens with a pulsating drone that continues while aggressive drumming thunders up from underneath in the mix. A variety of sound patterns begin to appear, some melodic and others adding to the hustling chaos. The halfway point introduces an elongated background vocal counterpoint to this otherwise hyperspeed sensation. Those vocals evolve into a more semi-coherent chanting phrase that sounds like “you don't say it's alright.”
There's a distinctive (once again) Jesus and Mary Chain feel on the slow, rambling two-chord appeal of “Recursive Excursions.” Choosing an undistorted guitar tone (like much of JAMC's 2nd studio album “Darklands”) sawing easily between chords, rattling tambourine and backing synth pads join in. Vocal delivery comes on soft and casually harmonized “we're not disappointed – just look where we've been.” Continuing in the aforementioned Reid brothers style, harsher electric guitar chords commence. From this point on, the actual Velvet Underground inspired source is more clearly revealed.
Another focus track “Two Point Zero” takes the quicker paced dance-floor electronica of earlier offerings and combines that with the preceding JAMC style vocals. A deep twang tone serves as a sonic balance point within shifting cacophony. With all that intentional aural chaos, a vocal hook “I don't want anyone but you” is purely evident. Plucking synths are pared with just enough percussion to generate the necessary forward motion. A timeless 80's through 90's feel abounds throughout, as if everything Depeche Mode, Howard Jones and other synth-pop pioneers of that ilk were put in a blender and poured out into this song.
Reaching deeper tracks, “LV MCHNS” combines buzzing brass synths, mechanized rhythms and icy female vocals that taps into the realm inhabited by bands like Ladytron. “Spacebar Blues” comes off as a less calculated studio jam, based around Kip's guitar and voice working out this “blues” progression idea over a ticking drum beat. Additional sound layers added on give it a fuller off-kilter appeal. Final entry “Gimme Tension” returns with full force everything that makes Cloudland Canyon so engaging. Swirling synths – check; forward charging percussion – check; anthemic dreamgaze vocals layered and distorted beyond recognition – double-check! Like most everything on this entire album – it's music to fall in love with someone - in an alternate AI universe.
Acquire this album at their label Medical Records HERE
Every now and then you get a message from a contact on Social Media that you haven't really interacted with. Such is the case with an Italian musician who puts out recordings under the name I'm The Villain. His latest release is a personal tribute cover of the song “Nutshell” by Alice in Chains.
Starting the track off with an acoustic guitar and 808 drum machine, an introspective, homespun feeling is the initial vibe. Getting right to the vocals, you can hear passion within his lyrical delivery. He's got Layne Staley's vocal inflections down, as he retells about “misprinted lies,” “the path of time,” and how “I fight this battle all alone.” Soon a series of slinky, echoed telecaster guitar riffs enter the mix adding depth and texture overall. Reaching the second verse and the desolate lines “my gift of self is raped” adds on to the guitar layering creating a near metal-slide feel amid the echo. While the acoustic strums throughout, those wirey guitar figures weave around with determined anguish. Building to an emotional sonic peak, the percussion, guitars and synths come together in a cacophony of sound. A single high-pitched guitar figure continues to rise, leading out the the ultimate conclusion of the strumming acoustic.
A recent release from our friends over at Shoredive Records find label boss Nicolas Pierre Wardell (a/k/a Nico Beatastic) reissuing his 2015BEATASTIC EP number 2 in newly remastered form. As the record was originally the second in a series of four, it's title goes by the numerically accurate 02 2002 02020 2 (Remastered). A careful listen inspires ideas, thoughts and words below.
Epic opening track “Butterflies” clocks in a nearly 10 minutes in length. As one might expect, there's a lot going on in that timeframe. Buzzy brass synths kick it all with quick rhythm, panning back and forth the sound field. Other synths begin to wade in, creating a more drone-like effect. As Kraftwerk-ian percussion clips and hisses, a distinct bass guitar pattern emerges creating movement underneath. Gazey guitars begin strumming busily and the thump and crack of drumlike percussion enters the fray. At the 3:20 mark a momentary halt and held ambience serves to set up oncoming vocals. Delivered in elongated diction, it's more like a mantra, before something approximating a chorus emerges. That's followed by some hard-edged (and ear pleasing) bass guitar riffing. Halfway in and the drums, drone and vocals run through that melodic chorus once more. At six minutes the track breaks down to a synth only segment that reprises the songs intro. Backward looping over top always gives this reviewer a Jimi Hendrix-in-the-studio sensation (since that's where it was first heard) or perhaps even Beatles “White Album” vibe. Vocals float in and out with “ohhh ohhhh ahhhh” placement showing keen awareness of what a studio recording can accomplish. Pushing forward into the final 2 minutes, all the previous sonic elements return in full force for the grand finale.
Following cut “The Ebb And Flow” comes on with high-pitched synth pulses, before solid drumming and vocals join in with a full progression. Fast strummed “gazer” chords are positioned over top of it all, along with harmonized melodic vocals. A shearing guitar and drums instrumental breakdown adds powerful juncture to the final vocal conclusion.
“Perfect Moment Perfect” emerges out of an ambient mist, before high-hat and snare percussion enter in. Vocals come on initially softer and introspective – as single line guitar figures weave around. As the synth pads rise and fall back, percussion stands out in front of the mix – as muted voices sing about taking a “moment” and “make it perfect.” More guitar lines step forward in a dominant way, as the song moves to it's conclusion.
After an ominous deep-buzzy synth intro, “Try Harder” quickly shifts gears as it bounces along bright strumming guitar and a solid drum pattern. Vocals come on in a softer, undistorted way, providing contrast to the bold rhythmic undercurrent. A Cure-like bass guitar and drum break provides thunderous reprieve before vocals return with the song's repeated title-line. “Stop Crossing Oceans” takes that bass guitar driven, matched with higher note six string guitar pairing and rolls it out in classic (once again) The Cure-style slow-build progression. Distinct forceful drumming joins in and the lyrical story commences. The dynamic chorus leans into gazey guitars (not really Robert Smith's thing) moving everything over to a more modern dreampop vibe. The song “ends” (then it doesn't) as a two minute coda floats everything away with textured guitar finesse.
The previously unreleased “Winter Bliss” emerges out of rising muted percussion before full-blown gazey guitar shear over top. The track then alternates between quiet verse passages of intimate nature (repeating the word “birthday”) and the shearing guitar enhanced chorus that goes “embrace me with a kiss – feeling the winter bliss.” Final cut “The Ebb And Flow (Country Version)” replaces the original's “fast strummed gazer chords” with down-home pedal-steel variations. Bass guitar and drums fall into an easy slow groove as the vocals are given an appropriately fresh reading as well. Country banjo pickin' can be heard within the mix, behind fiddles and those haunting pedal-steel strains.
Listen to and find out the multiple ways to acquire this album here:
Previous recent features covering Shoredive Records on this site can be found Here and Here.
One of the more satisfying aspects of discovering new and upcoming artists these days (besides being able to hear their great music) is seeing them acknowledging the artists that came before them - those who have been an inspiration for them to make music at all.
The Good Natured are just such a band, unashamedly ticking off their influences (Siouxsie & The Banshees, The Cure, Aha, David Sylvian/Japan, Depeche Mode, Kate Bush - just to name a few) in interviews.
Having started out as the brainchild of the youthful and gifted songwriter/vocalist Sarah McIntosh, TGN act now as a fully formed band, with brother Hamish and long-time good friend George filling out the musical duties on bass and drums respectively.
As they work their way through another well-managed US tour - hitting prime cities New York, San Franciso and Los Angeles - Sarah and the band have been both gracious and accomodating to those seeking them out for interviews and show reviews.
I consider myself fortuante to be among those having been granted this kind of access.
Read the interview I conduced in the band's US record label's offices (Virgin / EMI / Astralwerks) - presented below:
Introducing the the band, there is frontperson Sarah, who writes sings and plays multiple instruments; Hamish plays bass and George plays the drums.
Q: Sarah, you have a new guitar I hear.
S: Yes. A fender Stratocaster electric. I’d always played acoustic guitar before, but decided to add an electric this time.
Q: Is this your first time in New York?
S: No, we played CMJ Festival in 2010.
Q: George, I understand that you are a fan of heavy metal music. Which bands in particular?
G: All the classic ones. Metallica, Slayer, Machinehead – even Slipknot for a while. When you are an angry teenager, this music is great to vent your frustrations with.
Q: How did the band transform from what was essentially a solo project of Sarah’s to the full group of today?
S: I started writing songs about four or five years ago. When I got a few gigs, I didn’t really want to do them on my own, so I asked my brother Hamish if he could play bass with me. I then went to University and met George. From then as a three piece we jelled pretty well and became a band. Everyone brings something different to the table. A new element that makes its more interesting.
Q: When will the new record be released?
S: Our first single will be in April and the album should be out in September.
Q: Explain how “Video Voyeur” fits in with all of this.
S: That track is on the album, and we basically wanted to put it out there because he hadn’t had anything out for a while and wanted to let people know we were working on the record. It’s intended to be a taster and to get people excited.
Q: Were you surprised or excited by the success of your song “Wolves?”
S: I suppose both. That was the first song I wrote with Patrick Berger, who has produced most of the album. That was really the start of finding our sound. I think it takes a while to decide what you really like and narrow it down. When I met Patrick that’s when it came together. From then it seems to have progressed.
Q: It’s been reported that you had ‘the best time ever’ at the SXSW festival in Austin last year.
S: Yeah, we did. It was so good. It was amazing to be able to get up and do a gig – then have some food – and do another gig.
Q: What spaces did you play?
S: We played Emos and The Convention Center. We did loads, actually – at least 8 or 9 spaces.
Q: Do you think you will be playing there again this year?
Whole band: Yes, we think so. Fingers crossed.
Q: Sarah, talk about your tendency to sometimes do a walkabout out into the audience during your live performances.
S: If the stage is low enough, I’ll step off in the audience and have a little dance. It’s fun. It’s cool because people don’t expect it.
Q: BBC Radio’s Huw Stephens has been noted as an early supporter of your music.
S: The first song I wrote for The Good Natured, when I just started – I was determined to get it heard so I literally sent it to everywhere. I sent it to Radio 1 and he played it. I thought that was amazing and I felt that I wanted to really keep doing this. It definitely inspired me to keep going. It’s nice when people recognize what you are doing.
Q: There’s talk that you started out playing on your grandmother’s old keyboard. Do you still have it?
S: Yes. Some of the keys are broken now that it’s a bit old, but I love it - it’s amazing. She was going to throw it out, but I took it home instead and started writing on it.
Q: Do you come from a musical family? S: Our parents don’t actually play music, but they listened to a lot of music. Q: Like what, for instance?
S: Stuff from the 80’s like Blondie and Tears For Fears, Siouxsie & The Banshees – which definitely inspired us.
Q: I’ve heard you’ve been inspired by the lyrics of David Sylvian with his original band – Japan.
S: Yes, I think the album “Tin Drum” by Japan is really great.
Q: What is the songwriting process like for you? Especially when working with producer. Do they help you fashion how the song will ultimately sound?
S: Yes, definitely. With Patrick – he’s been a real big inspiration and has helped my ideas come to life. You definitely have to get on with the producer you’re working with and have a really good with them. I think production is really important to the songs.
Q: How did you write “Wolves?”
S: On an acoustic guitar. It started out quite driving. As we went along we’d add different bits – we’d add a drum beat and other sounds and just build it.
Q: Video Voyeur has benefitted from a number of interesting remixes, some quite techo/dance oriented.
S: It’s always really nice for us to hear how people interpret it and make their own thing of it. Every remix is so different and that’s really inspiring.
* * * * * * * *
The impression I'm left with Sarah is one of a young person who is professionally experienced well beyond her actual years. There is an utterly charming aspect to her combined gentle almost shyness, yet its obvious how confident and determined she is. Mix that with a prolific songwriting ability and its easy to see why so many noteworthy music industry professionals are eager to work with her.
On to the live show experience then - and what an experience it is. Heading over to Glasslands in Brooklyn on the 17th of January, The Good Natured took to the stage at 11:00 pm. The first thing you notice about Sarah and the band is their keen sense of style. Knowing full well that the "rock show experience" is as much a visual as sound presentation, their look is a cut above most club show acts. Sarah has impeccably combined the best of Siouxsie Sioux and Robert Smith, with her own glam/gam elements that bring to mind the leggy appeal of Britsh artist Sophie Ellis Bextor.
Adding to that the genius move of going out into the audience to sing directly to the crowd - not once but twice during this show - for the songs "Be My Animal" second song in - and then and later on again during "Dancefloor"
getting down with the fans
up close and personal
you really can't get much closer than this
well, everyone loved it
taking to electronic percussion for one song
Bassist brother Hamish plays a five string version of the instrument because, as he says "there's a a lower note that has to be gotten to"
A tight and entertaining set that leaves the audience wanting for more.
Signed posters for anyone who wanted one after the show. (Of course I wanted one).
As I have been known to do from time to time - take a picture with the band.
The pleasure was all mine!
Special thanks to Andy Von Pip and his great music site The Von Pip Musical Express - for his tireless efforts in making me aware of this band!
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.
