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.
Trusted recording artists who've established themselves here in the DaveCromwellWrites universe over the last year or two serve as the main focus for this current Music Feature. As one releases an instant-classic full-length follow-up to their previous brilliant album, another dazzles with a single as a bridge between their long-players. All of the above receive the no-stone-unturned deep-dive review this site is known for.
It's been two years since the last DaveCromwellWrites track-by-track review feature on The Suncharms. Back then a thorough and detailed review was given on their magnificent “Distant Lights” album. Now they're back with a brand new full-length recording “Things Lost,” once again released on the fantastic Sunday Records label. The full Cromwell focus is now turned towards the essential sonic pleasures this release has to offer.
The first thing heard as the album begins is a light crackle, as if a vinyl LP is being played. Cymbals quickly enter and then the lush, hooky guitar melody of opening track “3.45” push everything into motion. Lead vocalist Marcus Palmer wastes no time planting his multi-layered, sandpaper vocals down in classic Jim and William JAMC style. A subtle xylophone (or marimba) counter melody emerges as “records start spinning” and “my heart is breaking.” There's a gorgeous, snaking guitar solo weaving it's way through the center of the track, up against that romantic chord progression. A harmonica enters the fray in the latter half as well, on this song that appears to be about a recurring dream. “It always end the same – at 3.45”
The not-nearly-as-dark-as the title might suggest follow-up track “Satanic Rites” has more in common with Merseybeat than any kind of “devil rock.” In fact the title references British horror film “The Satanic Rites of Dracula” which apparently in this long-distance-love-lost song is the “only thing left behind” from their initial relationship. The guitar chords and vocals on this chorus combines power, beauty and melancholy.
On to album title track “Things Lost” pairs classic jangle guitar with smooth, low-key Reid-style vocals for maximum effect. A rumination on times past, “taking me back to my younger self” evolves into “boxes of light (that) have disappeared.” Wonderful interplay between an undulating bass guitar, light touch drumming and dominant hook guitars all contribute to a perfect listening experience. Special mention for the keyboards added at the end. Fourth entry “Whitby” combines a romantic night in that North Yorkshire, England seaside town with more Dracula references. “Looking out at the abbey from Bram Stoker's room” and “no fresh blood on the scene” would suggest as much. Along with mentions of “an everlasting night” and “no reflection in the mirror” make this simultaneous “northern soul” homage an instant classic.
“Daylight is Here” pivots off a reverberated “Be My Baby” drum into and easy-groove guitar line. With verses delivered in that now familiar Marcus style, the songwriting brilliance of having a guitar melody running simultaneously in-tandem with vocals is always a delight. A song about staying “to hear the bands last song” and missing your train is a truly relatable commuter choice. A lovely twangy guitar solo provides an audio link between night before reverie and this early morning comedown. “Red Wine Kisses” powers along a 4 chord progression that melds bright chiming guitars with snaking bass progression and slap-crash drums. A lovely female vocal harmony pairs with Marcus on the wistful chorus that goes “Red wine kisses – I'm sure gonna miss you – even though it never began.” The appropriately placed guitar solo is once again, exquisite.
“Dark Sails” rides over a bold and buzzy anthemic lead-guitar figure with acoustic guitars strumming underneath. Quaint lyrics about getting “a postcard yesterday – strange in this digital age,” are delivered with classic 90's MaryChain/Chapterhouse aplomb. An angelic female voice returns to harmonically enhance the title-line chorus. Additionally, subtle keyboard elements appear as backing on subsequent verses and again at the songs conclusion. “Demonic Eyes” joins a plaintive guitar-melody hook with tambourine rattle percussion. An introspective look at oneself via train ride through nostalgia that includes actors circa 1964. “Do you explore?” is the essential question. It's answered earlier on, with “people so intimate – I'm eager to explore.”
A shimmering guitar approximates the audio equivalent of what song title “Torrential Rain” might sound like. Straightforward hard charging bass guitar and drums lock down a solid rock rhythm. Lyrically referencing an “overgrown cemetery,” “angels with moss faces” and “broken tombs,” leads to a search for “something to make me feel alive.” The final minute instrumental end-out is truly magnificent and soooo MaryChainy. Final cut “Last Tram” emerges out of distant clangs before laying down a bouncy, merseybeat groove. A rising counterpoint bassline adds an unanticipated additional melody to the progression. Further unexpected elements develops in the form of an intimate spoken word end-out. “I'm always chasing the girl with the Autumn coat,” he states - “and the last tram that never arrives.”
Listen to and find out how to acquire this dreamy recording here:
Back in February of this year, the DCW audio-scope did a thorough listen and breakdown analysis of talented and multi-skilled artist Julian Shah-Tayler's full length album “Elysium.” With both that album and this particular deep-dive review receiving critical raves from the most discerning listeners, the hope for a follow-up combination was anticipated. We have now arrived at that point with a new single from the artist having recently been released. A full investigation into this new song and video for “Fall Apart” follows below.
As the video opens with morphing imagery of stylized boy and girl animation (credited to Kaiber AI), synthetic keyboard tones reminiscent of the classic AHA track “Take On Me” poke out an instantly catchy melody. Briskly paced percussion also conjures up an 80's feel, complete double-clap accents on the turnarounds. “You can watch my life fall apart - in broken hearts - before your very eyes” Julian sings in his familiar Bowie-esque style. A song of heartbreak, there's no bitterness here as the singer instead shows how much they still care, focusing on his lost lover's “beautiful eyes.”
An enticing synth-bassline stands out in the open sonic spaces as a second series of lyrics evoke images of “skin on skin” and “violence suffered all in silence.” The emotional churn continues where an attempt to “show you paradise” deteriorates into “ split our needs in two” ultimately leading to a dramatic audio peak on the final word of “a reality I just can’t face.” Classical strings (via synths) accent the lyrics on subsequent passages, along with fluttering percussion rising up underneath it all. A cascading buzzing drive to conclusion that includes real or synthetic guitars brings everything home.
Check out this amazing track here:
Connect with Julian Shah-Tayler/The Singularity via his Social Media here.
Compelling new releases kick-off the Fall/AutumnDaveCromwellWrites music review feature. Long-time indie-legend dreampop recording artists share space here with newer experimental ambient creators, and post-gaze, power-pop psych-rockers. Deep dives are the order of the day, with an attentive ear for sonic details still the primary focus. Audio, photos and video continue to provide the inspiration for this careful analysis.
We American's who haven't been afforded the luxury of traveling abroad and traversing the globe occasionally are unsure of exactly where certain country's are. Take Estonia for example – where exactly is that? Trusty internet searches are the charm these days and one can see it is one of those former Soviet Union locales that borders the Baltic Sea and Gulf of Finland – now considered Northern Europe. The reason for this particular curiosity is a relatively new release from Estonian dream pop band Pia Fraus. Having heard about them for years, it was eye-opening to discover they've been at it (off and on) for 26 years! Their latest album 'Evening Colours' is out now on digital, with a vinyl release set for September 28th. The Cromwell focus on these artists work is long overdue.
Opening cut “French Exit” comes on with an instantly romantic feel (which will extend through all the songs). The guitar riff hook is of the descend-then-rise, start-stop variety, with drums providing a counter motion throughout. An advance promo promise of “shimmering layered male-female vocals” makes an immediate entrance, bringing to mind what Sune and Sharin did so well with The Raveonettes. Chorus hits and the dreamgaze feel goes into overdrive, with full ambient washes and melodic guitar figures.
Follow-up track “Fog on the Hills” is quicker, breezier – giving off a more gentle, wistful vibe. That is until the chorus hits and then it's full-on gazer-romance, tugging at that music-to-fall-in-love-with-someone feeling. Frequent use of minor chords shows depth and sophistication in the songwriting. The drumming is once again, fantastic – as are the synths and voices. Album title track “Evening Colours” continue the sugar-coated voices and add subtle pitch-bended guitars to compliment that Raveonettes-style twang. Soaring strings lift everything onto a cloud of angels. There are higher vocal notes hit here, and the bass guitar makes its presence felt in positive groove-oriented ways.
“Sunny Afternoon” combines slashing guitars, synth highs and sophisticated phrasing that incorporates major, minor, 7ths (4ths?) voicings in their easy breezy sentiment. For those who can imagine a joyous day of wind in your hair and warmth on your face. “Who's the Envelope-Man?” relies heavily on orchestral synth washes, as those familiar sheering tandem female vocals push everything forward. Angular pauses within the song structure creates space for cleaner guitar lines. Drums, bass and piano skillful lock to each distinct rhythmic change.
“Regret Everything” comes on quicker in pace, adding flute-y synths for instrumental expansion. Driving bass and drums propel the tandem female voices along against a bed of synth ambience. “Confidential Information” adds a level of pitch-bended “gaze” guitar to the now anticipated SwingleSingers style vocals and rapid-fire drums. Chunky, chiming guitar chords and a bit of organ emerges into the mix as well. The curiously titled “Another Artichoke” introduces a subtle new dimension by adding occasional horn sounds to the mix. Clearly discernable lyrics state “please hold my hand at least for one more year – I'm so tired and the end is near – you know you're better than nobody else . . . don't let me go that's all I ask of you.”
“Cloud Winterland” veers back into the gazey warble guitar world, with placid open spaces intermittently staged for dramatic emphasis. “We Melt” picks the pace up once again, with unexpected and refreshing sharp turns and quick breaks. The central chorus and lush and bathed in a dream-gazey wall of euphoria. “Lost in Nights” closes out the album with it's most romantic and soulful groove. Subtle pitch-bended guitars share space with more traditional strings. Those alluring female vocals strike the perfect balance between nostalgia and longing.
Much respect to guitarist Rein Fuks for writing and arranging 99% of this masterpiece.
EP opener “52Hz / Agua Atómica” emerges quietly, floating on gentle guitar strumming with overlying noodling effects. A singular synth introduces the next movement about two and a half minutes in. A minute late a full drum beat kicks in, along with distant vocals over top of a ominous, crawling progression. Heavier guitars begin slashing their way momentarily into the mix, before the percussion drops out and female vocals become more prominent. The groove kicks in once more, with a throbbing bass leading the way over drum crack and layered male-female vocal tandems. Soaring vocals drive this mysterious over nine minute epic to it's conclusion.
Follow up track “Caracol” combines nature field recordings with Spanish language spoken word. Distant ambience is blended with the sounds of birds tweetering along with a rising level of otherworldly synthesis. A bass pulse emerges gently, before fading out with this relatively brief reverie. As mentioned above, third entry “Normal” receives a full detailed review HERE.
Fourth cut “Fantasma” starts quietly, with soft acoustic guitar that is soon met by additional laid back half-spoken, half-sung Spanish vocals. Ambience begin to build up underneath with loops and delays creating a magical dream world. “Gris” returns to more traditional rock stylings, with guitar, bass and drums pumping out the rhythms and progression for maximum effect. The chorus hits quickly, with elevated lead female vocals driving it all along. Male voices take their turn briefly on a line or two, before the blended voices mesh with soaring guitars on lofty passages. Extended instrumental segments emphasize the melody progression, driven by that ever present bass guitar, drums and chiming guitar hooks.
Epic final entry (the EP's longest at 9:45 in length) “Detrás del Volcán / Memoria Cósmica” builds up from a quiet hum, as female vocals slowly begin to shed light on the proceedings. Drums enter quietly, along with additional layers of vocals and shimmering guitars. The midway, separation point moves bass guitar out front in the mix, as everything transitions to an ambient world where beluga whales swim free through the cosmos. A final third movement emerges with pulsing percussion, shearing guitar textures and a clarinet move forward for the final fade out.
Listen to this dreamy recording here:
Follow the band and label releasing this record here:
Finding their way into the DCW mailbox is the Seattle based guitar-centric band Guest Directors. They've just released their first full-length album “Interference Patterns” that features nine songs drawing from the bands entire lifespan. Building up to the complete album drop, the band has given some of the tracks video treatments. Most of the audio was recorded in a beautiful old church in Anacortes, WA. Released by Topsy Records in conjunction with Snappy Little Numbers Quality Audio Recordings. Available on Bandcamp, a few choice indie stores, and streaming everywhere.
The more recent (second) video put out for deeper track “Nico” kicks off with straightforward four-on-the-floor drum thump that's soon met by chiming guitars. Chords shift quickly while a melodic guitar line rings along over top. Female vocals emerge with a doubling effect, that gives it all a timeless vibe of 60's era rock. As the video shows appealing patterns of vintage psychedelic floating projections, subtle human images are briefly embedded in as well. A gorgeous, instantly hooky chorus is then revealed, with full-band enhancement and lovely multi-tracked vocals. As the second verse moves forward, a noticeable change in the drum pattern shifts to more two-hand, tandem strokes on the toms. The bass guitar also becomes prominent, with the open spaces allowed for that instruments melodic movements. A burst of guitar soloing emerges at the mid-point, reinforcing that 60's psychedelic-rock vibe. One more softer verse cycle through with busier drums and bass, before a final glorious chorus and sparkler enhanced end-out.
Check out this great track and imagery here:
The album's opening cut “From This Distance” was first to be given a video treatment, kicking the whole record off with appropriate style. As the drummer counts everyone in, visions of lofty mountain ranges are superimposed against colorized images of the band playing their respective instruments. It's a slithery-gaze groove that employs expectedly sheering guitars and an out-front rubbery bass pattern. Opening male lead vocals are soon met with female counterpart harmonies. It's a harder, heavier version of the “gaze” genre, with down-pounding strokes via those essential rock instruments – guitars, bass and drums.
Groove into this badass video and song here:
Follow up track “Perfect Picture” quickens the pace with a more frenetic approach, and the lyrical hook line “trapped inside your head.” Stimulating forceful sonic breaks keep the listener engaged, avoiding any level of predictability. “Raise a Glass” ambles along with an easy groove vibe. Female vocals stand out front in this near-ballad offering. The minor key driven hook “but you fall apart, and the cold winds blow” and again “when the sun shines through your window” suggests any “glass raising” isn't necessarily celebratory. A heavy guitar mid-section adds crunch to the overall proceedings.
“Blackout Dream Blues” lumbers along with doom-laden underpinnings as impassioned female vocals lay out a tale where you “drown, drown, drown.” Tasty guitar figures are never far from any of this bands songs, and this one is no exception. “Skinless” emerges out of twisted guitar phrasing, one entering from the right, followed by the second on the left side of the mix. Heavy bass guitar and drums drive a thundering rhythm down the middle. Those female voices deliver the lyrics in higher register, with an elevated level of passion.
Alternative, electronic, dreamgaze, power pop and progressive jazz all share space here for this month of September. The artists chosen for review are not random, but selected via thoughtful consideration. Familiarity with the quality of their work and a willingness to take interest is what is being written about them is weighted heavier than other factors (like mass popularity or aggressively financed PR campaigns). Chances are taken on new stuff as well, but are ultimately held to the previously stated criteria.
Turning attention to one of Shoredive Records recent releases finds this site focusing on the recording project Xeresa. Simply titled “IV” (as in album number 4), the fully named Nicolas Pierre Wardell (previously only known as Label boss Nico Beatastic) serves as the bands primary catalyst. Painstakingly recorded between 2019 and 2022, each song features guest vocalists, some who have full releases on the parent label. Each track was built in the more common now than ever way of sending instrumental basic tracks to each respective artist for their creative additions (predominantly vocals).
Opening cut “Wish” pairs Wardell's basic track composition with first collaborator Daydream Deathray on vocals and guitars. Emerging out of synth tones and light percussive pulsing, classic-gaze pitch-bended guitars propel a fragmented time-signature chord progression forward. As the ticking percussion gets busier, melodic guitar figures enter the mix as an alternate foil against the initial tone. Ghostly voices commence over top as ticking, pulsing movements churn underneath. Dramatic breaks emphasize quick-burst-clatter stops, against those dual guitar melodies. This cycle morphs and evolves with dream-like qualities with a reverential nod towards the vague beauty of MBV's “Loveless.”
Deep buzzing bass-synth notes introduce “Untouched,” a co-write collab with vocalist Dorothea Tachler. “They say – don't touch – don't touch each other” are the first lines from this bewitching female voice ascending over synthetic hiss-clacks and open note guitar figures. As the rhythm continues to develop and fill out, further exhortations of “don't shake my hand – don't hug me” play against an increasingly busier backdrop. Additional developments present vocal lines delivered with quicker urgency, cleverly built on top of that initial basic synth-pulse intro. Guitars, higher-register synths and electronic drumming all share sonic space with this lovely harmonized voice that ultimately shifts the narrative to (post-pandemic) human contact again. Dorothea also delivers a cool guitar solo and optimistic vocal end-out over a rising synth backdrop.
Abrasive guitar textures usher in “Bye Bye,” a pairing with vocalist Hiacynta Szulc. A loping drum pattern lays out central movement against those modulating guitars, while yet-another appealing female singer straddles the edges of Liz Fraser/Cocteau charm with her delivery. The title-line chorus pivots away from harsher tones, emphasizing romantic overture, and contrasts well against the rougher guitar undercurrent on verses. A lengthy final minute coda merges vocal mantra (“I'm not as strong”) with hybrid melodic and drone guitar textures.
Rising swells and bird-like warbles (reminiscent of Yes's “Close To The Edge” intro) usher in the Omega Vague partnership “Burn.” The swirling void gets stretched out further, now moving deeper into The Orb's “A Huge Ever Growing Pulsating Brain” point of reference. Voices ultimately emerge, with understandable lyrics “soon it all it ends the same – through it all we can't refrain – setting fires to the flames – just let it go to pieces.” What started out as a potential ambient music soundscape, ultimately evolves into lyric-heavy storytelling. “All you ever need is someone to be on your side.”
Plunky open note guitar chords and buzzing synths serve as introductory basis for “Fall Into Unknown” featuring Phil Wilson (aka The Raft) on vocals. “All I can do is wait for you,” Phil coos - “wait to lose control” over a bed of quick-pulse electronic percussion. Subtle changes oscillate through those beats, generating forward motion under Phil's soothing vocal style. A dramatic halting just past the midpoint emphasizes synthetic strings approximating full orchestra. Vocals resume with climbing stair-step cadence and gentle passionate payoff, ultimately fading out with a final :15 seconds of tubular bells-like tones.
It's not too long before shearing guitar distortion returns, this time providing the fade-in on “Ghost In Your Mind” (Ft Ural Mountains). Rat-a-tat drumming soon joins the fray as the fuzzy wall of sound pushes forward. It all suddenly drops back as the surprising romantic vocal style of the mysteriously named Ural Mountains commences. A pleasant mix of clean guitar chords and mixed-bag percussion provide undercurrent for a vocal style similar to the band Crowded House. When the wall-of-fuzz guitars return, both vocal cadence and rhythmic propulsion become more active. A quieter plateau is eventually reached, featuring spacious guitar chords, rumbling undertow, synth strings and further vocal recitations.
Gentle chiming guitar chords open "Where Could It Have Been" (Ft Aura Zorba). A syncopated electronic drum pattern soon joins the mix providing counter-rhythm. With ethereal vocals commencing, a pliant guitar figure bounces between those lines. Deeper bass synth enters in after the initial cycle, conjuring a rising step melody. Along with the title line, other fragmentary thoughts emerge like “what's on your mind?” The final minute presents a descending coda of instruments, “ooooh's” and spoken word.
The albums only solo-penned cut “Slavic Stars” is a tour-de-force of low buzzing synths, gentle guitar strums, electronic percussion and higher-register synth-melodies. With clearly defined chord changes and structured segments, this is no rambling instrumental soundscape. Vocals appear a third of the way in, adding to an overall wistful feeling. Bright clarion guitar notes are carefully slotted in open spaces for one more level of audio delight. “Where the sun you gaze at meets the water” becomes a thematic mantra in subtle changing forms (“where the sun meets the land meets the water”) of psychedelia.
A 1-2-3 time signature establishes the basic cycle for “Could Have Done Better Than That,” Ft Jackie Kasbohm on vocals. Alternating lyrical segments place emphasis on contrasting singing styles and associated rhythm cadences. Jackie's repeated title line follows that primary descending thirds pattern, while the second voice moves in contrast to it. A quieter centerpiece lays down one more counterpoint, before the circuit begins again with blended voices going forward.
Odd timbre spiky synths herald in the album's final offering “Retrospection,” which features the artist Glassmanet on vocals, strings, extra guitars, keyboards and programming. Bright drumming and a clearly defined melody soon joins the mix, setting the stage for the gossamer vocals that follow. The voices are soon amplified with layered harmonies, enhancing the listening experience. That primary melody line is meted out via a deep-hued synthetic horn texture. There's a violin quality to segments of the synthetic instrumentals along with open air wind-instrument tones supporting downy vocals. It all floats to a glorious conclusion of Cocteau-level beauty and wonder.
UK Power Pop Rockers It's Karma It's Cool recently released the first of what is to be 6 singles over the next few months. Initial track “A Gentle Reminder” comes accompanied by an in-studio style video performance, providing visual imagery of the band performing. Along with James Styring on vocals, Martyn Bewick (Guitars / Recording / Production / Mixing), Danny Krash (Drums) and Mikey Barraclough (Bass) is the inclusion of noteworthy multi-instrumentalist Peter Holsapple (of The dB's, R.E.M., Hootie and the Blowfish fame) on keyboards.
The song opens with a gently reverberated acappella reading of introductory lyrics “We outgrow the ghost, and get gone - With our slogans and cold ones - Turn the stereo pop on.” The band then kicks in full throttle with thematic title lines “Here's a gentle - Here's a general Reminder for you. Don't you look up with vertigo, if so, the sky comes fallin.' Along with the basic guitar, bass and drums plugging away, you can clearly hear the Peter Holsapple keyboard additions adding a richness in those open spaces between. As the band bounces along with crisp precision, there are elements of Feargal Sharkey's well-known vibrato in Jim's vocal style. A cleverly turned reference to XTC also pops up in the lines “Drive into the city and the radio was makin' plans for Nigel.”
Reaching the high-point peak catchy chorus that goes “We all find our feet, when we run - And our shoes have come undone - Spark-out the circuit breaker,” finds the Holsapple touch churning organ tones and rhythms to delightful effect. The chorus continues with those opening acappella lines now fully embedded where they clearly belong. Multiple camera angles keep the video fresh and unpredictable, with shots of tapping feet and some really amusing “rawk” faces from drummer Danny. Also kudos to bassist Mikey for best overall hide-in-my-long-hair moves. Two minutes in drops everything out to a single guitar figure before launching into a full-on ride with rolling keyboards, distant-effect vocals and more distinct rising guitar melodies.
Check out this perfect slice of powerful pop music right here:
It's a rare occurrence when an instrumental jazz album inspired by the Sumerian mythology of ancient Mesopotamia turns up here for review. However, that is exactly what you get with pianist & composer Connie Han's latest release “Secrets of Inanna.” Drawing inspiration from the 1900-1600 BC poem The Descent of Inanna, Han crafts 12 sophisticated piano driven compositions based on this detailed metaphor of femininity, grace, and poise. To that point she's also mastered the art of stunningly gorgeous imagery. Being young, pretty and physically sculpted is a great starting point for all that. What follows here is a detailed track-by-track review of the entire album.
Opening track “Prima Materia” instantly establishes the modern jazz trio concept with graceful affluence. Lightly reverberated electric piano serves as initial melodic source, accompanied by an expected high level of bass and drums. A flute tone provides additional melody, with quick-burst piano lines woven inbetween. As a point of sonic reference, the overall sound design is akin to Angela (Theme From 'Taxi') by Bob James. The extended piano flights on this over 5 minute piece are next-level sophistication, however.
“Ereshkigal of the Underworld” comes on quicker with an angular time-signature, driving deeper into the finesse of jazz trio interplay. The drums and bass are allowed to expand their repertoire under the free flowing piano improvisation. “Gilgamesh and the Celestial Bull” continues with a similar tonal quality, while incorporating that “hammering” technique inside the piano melody. An impressive left-hand lower-note rhythm creates counterpoint for the high-flying right-hand forays across the keys. A sense of similarity with the master Chick Corea comes to mind.
“Morning Star” employs brushes on drums and a sensual saxophone melody, leaving the bandleader to support with block chords at first. Midway in the sax drops out for an extended piano solo, before returning to close it out. “Vesica Piscis” continues with the tenor sax as slower moving melody over active piano figures. The mood is melancholy and subdued, going without bass and drums that place emphasis on melodic instruments only. “Young Moon” returns to the Fender Rhodes electric as primary keyboard tool, with Ms. Han exploring melodic possibilities against attentive and accent-laden drumming. A bass guitar driven interlude provides space for that essential instrument.
“Ninshubur’s Lament” is a half-minute tone poem on drums, with toms receiving up-front focus before closing out with a perfect snare press-roll. That leads into the buoyant seven minute piano and sax driven “Wind Rose Goddess.” With a sense of joy embedded in it's rhythms and overall vibe, ample room is given for extended piano improvisation, with equal emphasis on saxophone phrasing. “The Gallû Pursuit” revisits Corea's Return To Forever hyperdrive style, with fluid piano lines driving both melody and rhythm. The bass and drums hustle to keep up with a frantic pace that encourages the listener to hang on to this wild ride.
Check out this wonderful composition here:
“Dumuzi of Uruk” doubles down on the Wayne Shorter-style saxophone, with shifting rhythms underneath. Momentary space highlights piano movements, before lurching back in to the full band drive. A walking bassline sets a pillar in which flowing piano lines can improv off of. A quieter presence initiates the nearly eight minute (and album's longest track) “Desert Air.” Brushes are once again employed on the drums and the extended time allows for a number of sub-movements within the overall framework. Space is once again provided for stand-up bass improv against that soft brush drumming. What remains consistent however, is the tinkling of keys on multiple flights of fancy that frequently pay homage to the inspirational influence of Kenny Kirkland. Final track “Enki’s Gift” is a relatively quick study with emphasis on flutes, bass, rim-clack drumming and (as one might suspect) quick-fingered piano.
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.
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