As the calendar rolled-over to a new year, the desire to make 2026the best one yet is still a fresh possibility. Pointing towards all that are four unconventional new musical releases given the DaveCromwellWrites deep-dive review. Each entry here challenge the listener to go on a journey with them through sonic labyrinths. The overall emphasis is on creative use of ambient, ethereal, dream-pop and drone.
The always busy Tom Lugo does not let much time pass before releasing new music. Running his own label Patetico Recordings out of a home base in Pennsylvania, a variety of collaborative and solo projects arrive frequently. The latest is a seven-track EP “The Edge Of Everything” from his Panophonic moniker. Having tragically lost the recordings fully polished, finalized tracks, the artist was fortunate to still have carefully preserved rough mix bounces (the pre-production) to work with. Impressed with what has been salvaged here, a full track-by-track analysis commences below.
EP opener “Oblivion” commences with rapid-strummed gazey guitar, soon met by a steady snare drum beat and deep-tone bass guitar rhythms. Tom’s voice floats in, creating one more sonic element to the structure. While overall feel is a more forceful dream-gaze, the vocal cadence leans closer to Mick Jones’ delivery in The Clash. At midpoint a tasty percussion lead breakdown adds an unexpected melodic rise. “Cosmic Intent” rises out of an ambient halo, nudged along by layered electronic beats. The pace is leisurely, wrapped in a glowing sheen. Clocking in at over five minutes, the records longest song provides plenty of space for contemplating the universe.
Syncopated guitar figures, melodic descending bass and complimentary drum beat are the forces powering along third cut “Starless Skies.” Tom sings with passion, as his quick-strummed guitar aura lifts everything up into the stratosphere.
“Near Horizon” comes on at a measured, more deliberate pace. Washes from the void flood the soundscape, as tandem note guitar and bass lines create melody. Cymbals accentuate the beats under this echo-laden guitar and voice presentation.
“Lasting Echoes” drives along at a quicker pace, with a throbbing bass guitar progression as it’s engine. Tom alternates fully sung-out lines with whispered near spoken word ones. Guitars ebb-and-flow over fragmented time drum beats.
A shearing, horror-movie squall kicks off penultimate track “So Out Of Reach.” Rubbery bass and churning guitar chords set the tone for Tom’s melodic vocal delivery. That soft delivery runs opposite of the musical chaos churning all around.
Reaching the EP’s final entry, “Starlight In Your Eyes” encompasses all the uplift and romanticism this dream-gaze genre is defined by. There’s a distinct Slowdive feel to it all, and that’s a good thing. The perfect ending to an overall rewarding listening experience.
Check out this glorious recording, including how to acquire it here:
Find out more about Tom's entire music catalog and his independent music label Patetico Recordings here.
Two previous DCW features on Tom’s music (among many) can be found here and here
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It was exactly three years ago this month when multi-instrumentalist Matt Catling’s experimental music project Under The Sun received a detailed review here at this site. That three track EP “Ocean Breeze” was an impressive display of ambient instrumental explorations. The artist is now back with a soon-to-be released full length album “Slow Motion Water” on world class Shore Dive Records. With two singles already released, a deep-dive analysis of latest work commences below.
Opening track “Drone F#” picks up where the previous record left off, with it’s gradual moving, meditative instrumental-only offering. A measured back-and-forth between two distinct tones set the initial pace, before a third element of three rising chimes enter in. Other sonic textures soon enter the mix, including steady, sharp singular intonation and percussive strike. Three quarters in, shredding guitar noise joins the fray along with lower register textures adding depth to the overall sonics.
The albums first single “Precious” follows, building off a shimmering flow and distant clack percussion. Under that haze comes vocals buried in true MBV “Loveless” fashion, where being “confident in your heart” leads to happiness and “feeling so beautiful – like you’re in love.” Matt delivers these lines with William Reid-like tonal register on his more psychedelic entries.
Another more recent single release is the albums third cut “Dream.” What sounds like icy keyboard strikes leads the listener into another lyrically driven composition. Much clearer in the mix, the near-spoken-word story serves as a travelogue of sorts. Name-checking NYC, LA, Turkey, and an Indian Parade, the dream to live and dance in these locales is expressed. A strong percussive undercurrent is enhanced by buzzing guitars and a positive wish for society overall.
Fourth cut “Summer” combines a back-and-forth rhythm laces with bell chimes and more ghostly vocals. A rising hissing texture weaves its way into the mix, along with harsher sonic washes that push everything further, before drifting away into fadeout. Fifth entry “The Outrun” emerges out of percussive beats and less-distorted, more defined singular notes. The heavier FX’s come on ethereal vocals that float in and out of view. It’s an effective combination of rhythmic clarity and celestial voices. Layered guitars accentuate the overall composition with (first) noise and then softer ambient outro.
Gentle strumming and deep thump beats introduce sixth track “Slight.” Twangy guitar notes emerge along with now-familiar ghostly voices. An undertow of swells rise up throughout, mixing unintelligible vocals within this wafting soundscape. A brief pause at the midway point resets everything momentarily, before it starts up in full once again. The albums seventh entry “A Midnight Oddessy” also served as the b-side to first single “Precious.” Opening with chiming guitar-string-strokes and industrial percussion, softer elements emerge as the song progresses. Coming with a complete lyrical story where one is “walking along feeling lost,” the liner notes indicate it’s dedicated to recently deceased film-maker David Lynch. Sonic waves of full-on gazey guitars lift everything further, on out to its conclusion.
Modulating pulsing provide counter-melody for the shimmering guitars on eighth cut “Shining Smile.” Voices float in on gossamer wings, only to disappear into the void shortly thereafter. Ninth and second to last track “Soft Focus” combines upfront guitar strumming, wind rushes and steady beats with a return to William Reid-style vocals. A warbly sonic element emerges on top for additional texture. The tenth and final entry “Never Forget” builds around a clean, FX-free beat, clarion chimes, distant vaporous vocals and intensity levels that ebb and flow with the tide.
With a few tracks already releases, the full album is expected at the end of this month.
In 2025Andres Alfonso Lugo Cruz released two separate pieces of work under his solo Los Dientes Hundidos en la Garganta project, that received full reviews here at this site. This ever creative musician is now back with a new five track recording “TRANSFIGURACIONES.” Once again playing everything on these recordings (drums, guitars, synths, noises, bass, and everything else) some significant samples also appear. The artist has put a lot of intellectual thought into these pieces, noting the difference between traditional music’s emphasis on time, while textural drone compositions explore space. The intention is less about entertainment, but rather explorations into our doors of perception.
As if to drive home the intellectual inspiration for these works, it’s opening piece comes with what has to be the longest song title ever for any piece. “Them, they will attain immortality as they will be able to being anyone back to life by exactly assembling atoms to match the same structure that a body possessed before its death” is the paragraph long single sentence title. What we initially hear is slow and ominous, with a subtle mechanized undercurrent. The movement is deliberate as it carefully reveals itself in a delicate progression and form.
Follow-up entry passage “Dialogues” draws inspiration from cybernetics visionary writer Stanislaw Lem. Over 60 years ago this sci-fi writer predicted the internet and our current evolution of synthetic minds created by humans. Andres musical explorations here build around a steady drum beat, indecipherable voices and deep sonic washes. Despite the infinity loop feel in the repeated sequences, illusive flowing changes keep the listener engaged.
Third cut “Intellectronics” delves further into this artists fascination with capturing that audio “state of waiting and suspension.” A rough-scratch underlying pulse provides a hint of solid matter to grab on to, while that infinite reserve dissipating all around converge simultaneously. It’s a transcendental feeling “where any point may connect to any other.”
At ten minutes in length, the albums longest track “Lost Illusions” opens (and closes) with a backdrop of rain and distant thunder amid ambient overtones. This audio journey into the void exemplifies how creative fluid music is free from linear design constraints. Based on the concept of a rhizome philosophy there is no distinct tonal center or primary melody, allowing for a continual reconfiguration. Like an impressionistic painting, it opens one up to a meditative state of mind that provides both refuge and space to ponder the cosmos.
Final piece “Theoretical Reasons” builds around a spoken word sample mixed within spacious wind rushes and agitated percussion. There’s an urgency embedded inside this composition that separates it somewhat from all the tracks previously heard here. An interesting way to bring this fascinating album to conclusion.
Listen to and find out how to acquire this music here:
It’s always a pleasure to discover new music from an email sent directly by a band or their label. Such is the case with the Italian recording imprint I Dischi del Minollo, and the news of progressive instrumental artists Northway latest EP “Impulse, Surrender!” Working in a genre they self-confess is influenced by artists like Mogwai and Godspeed You! Black Emperor, this Italian 4-piece have crafted an impeccable recording of delightfully nuanced material. With both compositions coming in at seven to seven-and-a-half minutes in length, there’s much to explore and experience.
First entry “Impulse” sets the tone with a steady bass drum “heartbeat” while open string guitar chords ring out like a clarion bell. Behind that comes chugging rhythm and bass guitar that halts for a split second, before launching into the progression in full. A fluid lead guitar melody line steps out in dominant form, while the rest of the band surge forward with precise rhythmic counterpart. A shimmering guitar undercurrent gives a subtle gazey feel, and exemplifies how a dual guitar powered band can be working on separate levels simultaneously. Two minutes in and a switch is thrown, as hard-edged distorted power chords suddenly command the arena. While that burst of rhythmic power unfolds, a distinct lead guitar melody rides over top.
The mood shifts once more, and a dreamy Pink Floyd-like slow-groove dreamscape unfolds. Descending keyboard lines and guitar melodies criss-cross each other with a gentle touch. One more movement takes hold, and it’s atonal guitar textures have a Sonic Youth quality to them. That morphs into further distortions where the now current guitar tone is slightly off-kilter and warbly. The final passage is clear, clean and spacious, allowing for emphasis on bass guitar, drums and singular lead guitar notes.
The second track on this EP “Surrender” begins with stark piano notes over top of long-held synth pads. The melody is vibrant and tugs on the heart with it’s emotional feeling. Guitars soon enter in, creating a melodic counterpoint to the sentimental piano notes. At two minutes a sonic shift occurs and all goes quiet except for a military-style snare drum pattern. A single tone guitar figure starts on top of that, followed by another guitar weaving filigree textures around it. That continues to build into a fuller movement where uplifting shimmer is held together by the firmness of bass guitar. With everything progressing forward, elements of dreamy distortion emerges underneath, along with pitch-bend guitar figures. A final movement of percussion-accented power chords, dominant guitar figures and keyboard twinkles lead to it’s conclusion.
Check out these two incredible instrumental pieces (including how to acquire the EP) here:
Four captivating new and recent musical releases are the focus here for this summertime DaveCromwellWrites. Extensive deep analysis is given to all aspects of songwriting, sound design and (where necessary) lyrical storytelling. The styles covered this time around include indie rock, nugaze. postpunk, ambient, dream pop, drone, ethereal and minimalism-experimental. Creating new works inspired by the pioneers in those genres that came before them, thoughts flow here from what is now being heard.
It was little over a year ago when this site became aware of an exciting new band based in Nashville, Tennessee named Hushhh. Following the release of their debut EP "Summer Medication," the group dropped a video for their track “In My Head” which garnered a detailed review here. Now they’re back with a brand new five track EP “Poison Glass,” surpassing expectations in every way. A focused DCW review is now given to this explosive new recording.
Opening the EP with the run-on-sentence titled “Youwon'trememberme,” a tone is immediately set via hyper-precision composition and recording. Speed-strummed guitars and locked-tight bass and drums support clear vocals riding over top. The spirit of early aughts power pop is imbued (think Simple Plan, Third Eye Blind, Good Charlotte) throughout both musical rhythms and lyrical theme. “Down in the pits, I could not see, I hid low and lived in misery” is how the chorus goes. Concluding with “I’d hate to have to leave - You won’t remember me.” It’s tough emo-boy angst set against harder edged sonics with near prog-rock like riff breaks.
Title track and single “Poison Glass” bursts forward via syncopated drums and power riff guitars. There’s an industrial buzz and sharp angularity on the chord phrasing that bears similarity to a band like Helmet. Vocals are different though, emphasizing smoother tonality and an elongated diction. Ruminating on the “waste” of carrying around sadness and “hate,” the distinct rhythmic change to a slower pace accentuates the inability to “find a key out of this dream.” At midpoint one more change occurs that suggests a revelation underscoring the prior request to “wait for me (that I hope to) crack these feelings that blind what I see.” The final minute is an ambient plateau that further implies resolution.
Third entry “A Passion For Sadness” starts out more sparsely with subdued tempos. Chime accents are place on key lyrical line ending words “take,” “stay” and “break.” An emotional build continues until just after a minute in, when a big dynamic music and vocal wash takes over. “Put me back together like you always do” is the plea. While this soft to frenzied style does tap the self-professed Smashing Pumpkins style, the vocals come closer to the alternative metal style of the Deftones.
Penultimate track “Stone Path” combines angular hard-edged rhythms with busy chord changes and punctuated lyrics. Pausing before the last word of lines is an effective composition technique. “I let myself - - - drown; Waves of - - - doubt; More lost than - - - found; I let myself - - - down.” Extended instrumental segments showcase cohesive skill among the traditional two guitar, bass and drums lineup. While the big hook “We lose all hope when gravity comes down” is what you’ll ultimately sing along with, the actual caution comes the title line included “Don’t step off the stone path, where heartache is found.”
The EP’s closing song (and single) “Tainted” begins with solo voice backed by simple guitar strums on the opening lines. Bass and drums slide in for the second round through, before full sheering buzz guitars soar in for emotional punch. The sparse instrumental and introspective vocal cycle returns, before lyrics “I’m going down the drain with you” trigger another gazey guitar burst. Despite the self-effacing song title, there’s hope in essential lines “Heaven’s a leap – Heaven’s a dream.” The songs final minute serves up an uplifting instrumental passage as a fitting end for this impressive release.
Listen to this high quality EP and find out how to acquire it here:
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Never one to let too much time pass between releases, Patetico Recordings label boss Tom Lugo is back with a new track “Loyalty & Blame” via his Heliocentric Overdrive project. A truly collaborative endeavor, Tom’s guitar and vocals are joined by Ian Falcon on bass and Lem Pidlaoan on drums. Recorded at his Studio in Havertown, PA, Tom produced, mixed, and mastered everything at
Laboratorio Soniko Studio in Middletown, PA. DCW now commences with a careful listen and serves up inspired thoughts on this tracks essential contributions.
Rising up out of a shimmering ambient wash, drums and bass soon lead in a majestic chord progression. Moving at a slower, more deliberate pace, the overall vibe would not be out of place on one of The Cure’s more cinematic albums (like “Disintegration”). Tom’s obscured, buried-in-the-mix vocals however, moves everything closer to My Bloody Valentine’s genre. One minute in and the first lift off is achieved via powerful layers of guitars, quicker change chords and slithering bass. Continuing the emotional rise, a plateau is reached where the instruments suddenly stop and only ambiance remains momentarily. Soon drums and bass lead it back to the songs fuller structure, with verse and chorus sections revisited with even more purpose. A powerful musical segment follows with bass guitar and drums providing sharp accents within the sonic swirl. One more fade (as if ending) before everything kicks in once again for a triumphant final minute coda.
Check out this grandiose track here:
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It was a mere four months ago when Sueño con Belugas band leader and 3 Robots Records indie label boss Héctor Caolo Alvarez introduced the first two tracks from latest record “Ataque con rayos electrónicos” (“Attack with electronic rays”). At that time those two songs “Velocidad” and "Mil Recuerdos" were given a focused DCW review. Now the dreamers of white whales are back with more cuts from this evolving recording. Once more into the fray, a deep listen sparks descriptive thoughts on what is being heard.
New entry “Love Evolves” opens the record with drone and melodic guitar figures overlaid on top. A driving bass emerges underneath, creating a counter-rhythm to the continuing guitar notes, before the full band joins in on this primary progression. Rising keyboard notes and wah-wah guitar enters the mix before powerful vocals commence from María (Malow) López. Two minutes in and a sharp turnaround finds the tempo shifting quicker as Hector joins in on vocals for tandem harmonies. A minute later, another tight turn accent bridge ushers in one more passionate Malow vocal segment. Precise instrumental breaks create momentary space before launching into a two minute vocal chorus and bold driving conclusion.
Another new entry “Flying high” is an easy flow groove instrumental that builds intensity via traditional guitar, bass and drums. Subtle layers are added on with each pass through the progression, and the overall feel is sunny and optimistic. Along with Hector’s obvious guitar work throughout, special mention goes to Gardy Pérez for his additional contributions on guitars and delays. Third new track (and fifth overall) “Portal” is a heavenly ambient piece that is solely built around atmospherics. In true Brian Eno fashion, the overall form is merely suggested, while still containing dense layers of sound. The album that comes closest to mind as a point of reference in the brilliant 1983 release “Apollo: Atmospheres and Soundtracks.”
Check out all of these song currently available on this album here (including how to acquire it)
At the top of this year, experimental ambient artist Andres Alfonso Lugo returned to this site for a deep dive review of his Los Dientes Hundidos en la Garganta project. Those eight total compositions dubbed “DRONINGUITARFEEDBACKS” was fully covered here track-by-track. The musician is now back with a new lengthy piece “Posthuman Multiverse.” Although a fully instrumental work, the title suggests ruminations on theoretical and philosophical perspectives. With ears “wide open,” DCW digs in to the nuances of this sprawling ten minute audio formation.
A swirling hiss introduces the composition, as if rising out of an alternate dimension. Additional textures flutter in (and then out) of focus adding elements of movement within this overall shapeless form. With everything created out of (only) guitars, bass and loops, the sensation is not unlike Lou Reed’s controversial “Metal Machine Music,” although no where near as harsh. A minute in and the ambient wash pulls back, allowing a more structured, calming guitar figure as primary focus. The sensation now is calming, as if meditative. One could imagine floating slowly on a river, staring at clouds and losing all sense of time.
Andrés provides liner notes that speak of an “existence and identity” that is “no longer confined to a single reality.” These audio waves of sonic serenity here provide an expressive soundtrack to this conceptual theory. After five minutes in, lower tones begin to emerge underneath, adding harmonic structure to the floating sensation on top. As subtle elements gently cascade into focus, the vibe is very much Eno, Budd and Lanois (see the 1984 classic collaboration between those three “The Pearl” as reference). Approaching the final minute, a distinctive whooshing textures boldly enters the mix, joining an ever expanding guitar tones and voicing cacophony, as sound equivalent to “multiple planes of existence.”
Another full circle around the sun and a new year commences full of hope and promise for the days ahead. With that comes new recorded music from both trusted and previously unheard sources. Equal emphasis on both noisy experimental rock and more traditional singer-songwriter contributions occupy this early 2025 DaveCromwellWrites Feature. Plunge forward into these audio creations and the words inspired by them.
The motivating force of Philadelphia-based Patetico Recordings chief Tom Lugo offers a nearly endless stream of new music discovery. Having reviewed numerous releases of that labels various collaborations, prior full-length album by “From the ashes” Stellarscope stands out as a highlight. That pairing of Tom and drummer Bob Forman are now back with a new EP “All That Remains.” Written and performed entirely by the pair, Tom produced, mixed and mastered everything at their two studios in Middletown and Havertown, PA. The Cromwell force now digs into each track in search of it’s sonic core.
Opening track “As I Lay Dying” is introduced by a harsh buzzing riff that sounds like a swarm of bees. It’s urgent pace is soon shattered by a lumbering drum pattern that commences at seemingly half speed. It’s a deep, hammering pulse that creates a solid foundation for the “bees” swirling above. As drum fills intro an even deeper, slithering bass guitar line, Tom’s ethereal vocals begin and further amplify the mood. One minute in and a driving chorus is reached, combining walls of sheering guitars, voices and an overall sense of urgency. As the next verse progresses, those live-in-the-studio drums are a welcome change from much of the carefully digitize percussion heard lately. The bass guitar riffing is fast and furious, creating a subtle bouncing movement throughout. The pace quickens halfway through with a rising progression before reaching it’s crescendo and intro-mirroring fadeout.
Follow up cut “All There Is” builds off of multi-layered, downward stroked distorted guitar chords in that revered MBV style. Rough and tumble snare-roll heavy drumming also taps into the Colm Ó Cíosóig bag of rhythm for a pleasantly noisy trip in to the void. Tom’s sneering vocals sound as if delivered through a tin can, but that’s ok (in fact – perfect). Soaring musical passages glide through the middle as drums bash away to 747 jet engine guitars. Third entry “Some Other Day” keeps the buzzing guitar out front, with some unexpected chord selections in its progression. With the drumming still on the busier side, new elements such as clacking stick sounds enter the fray. Vocals are somewhat more intelligible, with references to “voices in my head” and the songs title line clear enough. Warbling effect runs parallel through some of this, adding a subtle, unsettling element. Halfway through, things align a bit more as a traditional guitar melody emerges over top of downward driving chords. Quick cut stop-start rhythms feature in the final verse, while the sludge takes over to its conclusion.
Next track “Devour all” captures Kevin Shields pitch-bend guitar chord churn on it’s opening flurry before low booming drums rumble in underneath. A sheering swarm of quick-strum rising guitars soon give way to single note melody lines as Tom’s vocals appear in a whispered, floating style. The chorus is big and bold, resembling the heavier output of a band like The Sisters Of Mercy. Headphone listening makes you aware of how well produced this wall of sound actually is. The separation of instruments is fully on display making for the perfect balance of controlled chaos.
A dramatic single pounding drum thump leads the way into final cut “Consumed.” With alternating cymbal crashes for emphasis, center melody guitar-churn flows forward, as fluid bass throbs throughout it all. Vocals are softer and near buried at some points, while harmony-doubled in other places. There’s an almost orchestral feel to the rising guitars, soaring above the heavier clatter below. While momentary quieter plateaus set up subsequent verses, a full force sonic assault “consumes” the tracks final minute.
Check out this blistering new EP here:
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Mutual friends and associated bands are the frequent pathway to discovering new music groups. Such is the case with New York City based female rockers Killdeer. Having grown up in musical families that stamped early influences on them, these four women write, record and perform live music combining punk, pop, and alternative into an appealing garage-rock sound. With three EP’s already under their belt, the band has now released a new single “Generic Break Up Song.” The DCW audio-scope turns it’s focus on sorting out this songs contribution to the rock music canon of anti-love songs.
Descending guitar note phrasing opens the track with alternating textures, before climbing back up the scale to start the downward spiral again. Cymbals woosh and bass guitar enters space before everything momentarily comes to a halt. That’s when the drums kick in and a chugging rock n’ roll progression takes off fully. The motion reverses to an upward rhythm, then another split-second halt before vocals commence with playful solo voice and harmony coated follow ups. As the song title implies, this isn’t a new story, but one of time honored tradition. “Seemed so fine” starts thing off solo before “boy I must have been blind” comes layered in harmonies, as trouble is revealed as “a storm rolled in – grabbed a bottle of gin – where’d our love go?”
You can’t help but chuckle at the cheeky lyrics “you walked away – saiiiiid you’d stay” (in full harmony) “now I’m broken wing – busted feather – thought we were forever!” One can’t help recalling the similar romantic angst referenced in Cameron Crowe’s feature directorial debut “Say Anything” and the still hilarious song “Joe Lies.”
However, Killdeer brings the guitar crunch, and drum pounding gets heavy on lines (thought we were) “forever together!” Quick-turn drum breaks and single cymbal accents are impressively built into the songs structure as are those multi-voiced harmonies. An anticipated fuzzy guitar solo hits just after the midpoint, accompanied by a driving melody-echoing bass pattern. The band is now in full charge forward mode, with slashing guitar chords, fluid bass and pummeling drums. One more pass through the “master of deception” and “you’re nothing but trouble” lyrical put-down, because “its plain to see, you were never meant for me.”
Friend to this site Phil Wilson has had a number of his brilliant The Raft albums reviewed here with much deserved accolades. His ability to compose, produce and perform songs with such a beautiful quality has always been impressive. Much of that production also included the lush placement of dreamy female vocalist who’s contributions lifted the track to ethereal heights. Now Phil is back with a more stripped down project called Indigo Twinn that is a duo partnership with vocalist Claire O’Neill. The four song EP “Someone Else” (titled after it’s lead off track) features Ms O’Neill as equal contributor with songwriting and featured vocalist on all four cuts.
The record opens with the aforementioned O'Neill/Wilson dual penned title track “Someone Else.” Gentle three-quarter time guitar chords lead the way with a lovely jangle. Claire’s clear, straight-forward vocals commence with a gentle sincerity and we’re on our way. The first chord change soon hits as the lyrics implore you to “come down and wash by the water,” and to “wipe the tears from your eyes – and cry.” Comparisons to the legendary band The Sundays once again come to mind (having made mention of that in some of The Raft’s earlier work). Claire take the emotion further with hook lines “cry like a baby – wish you were someone else.” After a minute and half, drums and bass join in giving everything a fuller band feel. The production is impeccable as is everything else leading to the songs emotional denouement.
Follow up cut “Supergirl” is the first of two solo written songs from Ms O’Neill here. Against a four chord acoustic guitar progression, lyrics question “why does it always seem to be that you’re on my right side, but not on my good side?” The bridge change comes on bolder with the lines “but you get wiser, when I get nicer” ultimately leading to “I’ll be eager to be your supergirl.” Fuller instruments once again enter the mix, with special mention to J Pedro on bass (+ entire EP production) and Paul Keelan on drums, playing brilliantly throughout. Along with Phil’s nuanced guitar work, there’s a strings sound of sorts adding one more dreamy sonic element.
The second solo penned track by Claire “Come Away” reduces the chord structure by half, with only two needed for it’s impact. Phil layers melodic electric guitar tones over top, while vocals implore you to “leave all your monsters” and “come away with me.” Vocals are doubled at key junctures, with harmonies placed for emphasis. “So let’s review the situation” begins a dramatic midsection that comes with well-placed “Ahh Ahh” backing vocals. It all builds to an emotional peak of voices and instrumental sections, until the final coda floats away on a cloud.
Final entry serves up the Phil written, sentimental and heart-tugging “Sarah.” With deeper bass notes marking out a counter-melody pattern against jangly finger-picked guitar, Claire delivers the vocals with equal aplomb. “Look behind our heel walking, didn’t mean that much to me back then” is how the innocent lines begin. The single word title is given it’s gravitas by repeating it with differing vocal emphasis and varying background enhancements. The story captures an innocence of place and time through everyday living, where the simplest things can become magical from a looking-back point of view.
It was exciting news to hear that frequent contributor to this site Andres Alfonso Lugo
was back with a new 8 track album “DRONINGUITARFEEDBACKS,” under his Los Dientes Hundidos en la Garganta name (the teeth sunk in the throat). Recorded at his Where are we going studio lab in Baltimore, MD, Andrés plays all the guitars, drums, programmed drums (with a little help from his AI friends), percussion, loops, and everything else. It is an experimental tour-de-force that garners an essential track-by-track reaction below.
The 54 second opening snippet sounds like a field recording of an outdoor jam percussionists often entertain themselves with. That launches into the 5 minute “Cosmicomics” which emphasizes motorik drumming and unnatural sounding wind-wooshing seemingly pumped down echo-heavy tunnels. Expanding track lengths, the 9 minute “Trantor Yuba” takes the initial drum-circle conga-fueled percussive elements and lays the groundwork for extended guitar drone over top. The patterns are consistent, yet move organically in subtle changing directions. A distant siren emerges as the piece slowly fades out.
Snare drum makes a prominent appearance on the six and a half minute dream-gazey meditation “Onoe Matsusuke.” Low end textures (sounding like cello’s) share space with higher-pitched ambient explorations. Moody floating movements are held together by way of the simple drum beat that fades in and out of focus. Pushing the sonic lengths further, an over 10 minute “Kebra Nagast” goes full-on slow, introspective dreamscape, emphasizing the twilight moments that exist somewhere between heaven and earth. A single drum thump appears at intervals throughout its continuous shimmering audio field.
Bandcamp featured track “Bene Gesserit” (the albums longest entry at over 11 minutes) emerges with full-throttle force. While the droning elements hover above everything, mad-crazy jazz-style drumming thunders, rolls and ride cymbals with frenetic energy. Droning elements slowly change patterns, marking out a recurring melody (of sorts). The combination of longer held ambient textures with the hold-on-for-your-life roller-coaster ride drumming creates a uniquely fascinating soundscape.
“Bezdomni” features an electronic hand-clapping like percussion, ominous long-held ambient backdrop and wailing voices that sound like what you might hear in a jungle. A subtle melodic movement emerges, adding another element to lock on to, between those recurring vocal outbursts. Final entry “Omni Poetics” leans into a rapid paced single snare drum shot, long held center drone and horror-style voices placed wide in the left and right channels (heard on headphones). It’s a fitting way to end this hallucinogenic album.
August seems to always come with a slight twinge of melancholy that we've now entered the third and final real month of summer. Oh, sure there can be some balmy beach days in early September, but for the most part this time of year is when you want to make good on summer-fun plans. Along with this pursuit of one more perfect beach day comes a new batch of music releases from various corners of the globe. While hometown New York City counts for half of what's reviewed here, there are still two others hailing from continents ranging over the most extreme northern and southern locales.
There is a distinctive quality to the rock and roll that rises out of New York City. From 50's era “doo wop” through the late 70's punk rock and beyond, the feel and vibe of building front stoops, electric guitars, subway cars and crowded bars all permeate it's sound. Blues-rockers New York Junk evoke all of that and more on their latest record “Dreaming,” which is out now on Tarbeach Records. Recorded at Golden HIVE Studio in Prague, Czech Republic at the end of 2019, it was mixed and mastered in February 2020.
Primary vocalist, guitarist and songwriter Joe Sztabnik's history traces back to those mid-1970's punk rock days, emphasizing it's poetic and literary side (sometimes overlooked when referencing “punk.”) Bassist, backing vocalist and songwriter Cynthia Ross shares a similar historical timeline as a founding member of The 'B” Girls. That band toured with The Clash, The Ramones, The Dead Boys and Blondie, and Cynthia also provided back-up vocals on Stiv Bators' “Disconnected” and Blondie’s “Auto American.” Similarly, drummer Gary Barnett's roots trace back to legendary NYC clubs like CBGB's, playing significant shows there in the mid-70's.
Lead off track “Gutter Angels” developed through a collaboration between Joe and poetPuma Perl, who's lyrical writing serves as the inspiration for this gritty tome. Chugging along like a mid-70's east village classic, Joe's raspy vocals spit out the lyrics in Lou Reed/Jim Carroll hybrid fashion. “Angels on the subway train - Angels in the rain. Wings of fury in the street - Halos melting in the heat. Gutter Angels up in heaven - Looking down upon us all. Bless the homeless, Bless the dope fiends, Bless the sidewalks where they fall.”
The Jim Carroll “people who died” vibe intensifies as people who are no longer with us (angels up in heaven) get name-checked with this verse: “Danny’s nickname was “Guerrilla, Linda’s was 'The Stick,'
Tito climbed through windows, Minerva made him pay. Lenny popped the car trunks - All on Christmas Day.” It's a powerful opening track leaving no doubt about what this record is all about.
“She Don't Care” comes on like a long lost Johnny Thunders and the Heartbreakers rocker. Based around a tandem guitar and bass riff melody line, Joe sings out lyrics combining serious and somewhat humorous appeal. “Hey little girl – what'cha tryin' to do? With your dirty red hair. You little 2-bit whooore. Hey little girl – oh you're drivin' me wild. Cause you talk too much – with your 2-bit smile.” Chugging guitar chords lead into the head-bopping chorus “Everybody calls me up to say – you're insane. Everybody tries to tell me- you're deranged. Tell me tell me what do you want when you – feel the pain. The way you scream and shout so loud you know you – drive me insane.” Quick Thunder-esque licks snake between each section, punctuating the cool.
It's delta bayou 12 bar blues for the record's choice cut “Walk My Dog.” Well, “delta bayou” that's been run through an early 1960's Rolling Stones filter. “If you wanna, you can walk my dog – come on baby – put a leash on me. But if you want my love – girl you better run!” There's also a touch of The Cramps swagger-n-raunch with it's slithering bass-guitar driven rhythm, and lines like “if you wanna you can ride in my car, and if you wanna you can be my star.” 60's Fender guitar tone and steady shimmering ride cymbal emphasize the blues licks in-between verses.
“Don't Cry For Me” keeps that 60's Stones (by way of Chuck Berry) vibe going with double-time drive, self-descriptive lyrics and conversational vocal style. “Workin' real hard in that midday sun. I'm never slackin' off just to get my job done,” Joe sings with early Jagger feel. While “the boss man is sitting there, sippin his iced tea,” the workers know “you better hurry up if you want to leave at 3.” Over a bold rising bassline the chorus hook “don't cry for me baby” (with filligree guitar licks in-between) punches out on “until I'm gone.” The spirit of Berry's “You Can't Catch Me” and “Memphis, Tennessee” live on inside these grooves.
Cynthia's audible “2-3-4” count-in and immediate heavy pounding tom-toms out front of a dirty low-down propulsive guitar rhythm introduces the Ave B side opening track “Scared.” Serving up graphic lyrics with impassioned vocals, Joe sings: “This is the way, which way the wind blows – learn something nobody else knows. I (ah I ah I) want your mind. When you hear the wind blow, yeah you know which way to go – when the guns are pointed at you. Blood all over my clothes, blood all over the floor. I'm fucked up – I don't care – I'm scared. Why wouldn't I worry? Of what I see in my tv set. Hey watch out, it's jumpin' out – it's trying to catch me.” Those levels of paranoia are understandable with everything that's going on (especially these days). However, the only way out of this state of mind is choosing to (as Joe sings) “let my heart and soul be free.”
Bright, angular guitar licks pierce the air, leading in to a sweet shuffle groove on deeper track “Passion.” Rolling out this lyrical tale emphasizing relationship challenges (both at home and on the road), the vocals exhibit a world-weary sincerity. “Well I've got the passion, but I ain't got the bucks, to fill my heart with another shot of your love. Hallways filled with your makeup on the walls. You got all the junk, so I guess I better crawl.” With all that going on (including “dirty hotel rooms”and “posters on the floor”) what holds it all together is the turn-around line “cause your love keeps me on the run.”
Title track “Dreaming” closes out the EP in grand style with a ballad penned by Joe back in 2008 (as detailed inside the record sleeve). Relying on basic guitar chords and a laid-back rhythm section, primary emphasis is placed on personal lyrics and raw vocals. “I'm dreaming of you – why you went away. The roads all turned blue – since you left me here. I'm all alone.” There's a folk-song quality in how the progression holds steady for a time while each new line is delivered. Ultimately there is a shift downward with an unanticipated chord change on the words “oh baby.” With the final words delivered (“as my world fades away”) a series of euphonious toned guitar lines begin, adding further musical emotion to the candid lyrics that precede it.
Carrion is an Industrial Rock band from the northern forest lands of Norway, coming together in 2014. Founded and fronted by the bands only constant member Adrian Kjøsnes (working under the moniker Hide Beliya`al) with additional contributions from musicians Dave Diamond and Sam Dusk. A new single has now been released titled "The Blood Ov Saints," which is the first new material since last years full-length album “Iconoclasm.”
Created on modular synths (no digital numerical presets here) one is immediately drawn into foreboding low register tones that introduce “The Blood Ov Saints.” Industrial music has always derived an element of it's defining qualities by recreating the sensation of being inside a factory surrounded by humming machinery. Even more mainstream rock artists like Pink Floyd (It's factory segment on the “Animals” album) or Iggy Pop and David Bowie's collaboration on “The Idiot” (the track “Mass Production” in particular) served to capture the hypnotic drone of mechanized assembly. Those impressions are here as well, along with other details like a slow chain-rattle percussion alternating with a deeper tone thump. It all serves to set up a dramatic lyrical reading that the artist describes as a “dark, alternative path to salvation.” To that end, there's thoughtful poetry in lines that state: “So cast the first stone, and watch their heavens fall - Into the maelstrom - Hear the trumpets call.” As the track progresses, audio textures of what sounds like high-pressure air driven manufacturing devices add to this dystopian imagery. More forceful tom-tom drumming emerges underneath significant moments with the ultimate lyrical declaration: “We'll wash away our pain – with the blood of the saints.”
Also included with the release is an acoustic version of “The Light,”which first appeared on 2019's “Iconoclasm” album. Here the track benefits from the spacial qualities open air strummed guitar chords provide. With a disquieting synth pulse running underneath, more poetic imagery emerges via the lyrics “holding on to the umbilical noose, I'll make my way back up.” The vocals are delivered in rough whispery style that evokes the work of a similarly like-minded artist like Mortiis. It all leads to the pivotal vocal refrain “give me your hand – I'll give you my heart – on my knees to feel your light.” An unexpected extended-note guitar solo (of sorts) arrives in the 3rd minute (of this 4 minute rendition) echoing the melody line and bringing the track to it's conclusion.
After 10 years with the influential NYC noise-rockers A Place To Bury Strangers, bassist Dion Lunadon announced he would be leaving to pursue a solo career. Truth be told, Dion had already begun his solo recordings while still with that group, releasing singles in 2016 and 2017, before putting out an 11-track full length record in '17 (fully reviewed on DaveCromwellWrites here). Now in these changing times and current social crisis issues, Dion is back with a new track “When Will I Hold You Again.” Released as a duet with vocalist Kate Clover, the track is dedicated to everyone whose been separated from loved ones as a result of this current worldwide pandemic.
With Dion playing all the stringed instruments (guitar and bass) along with drummer @griffin_kisner, the track thunders open on a crisp percussion figure, throbbing bass line and melodic guitar riffs. Duet vocalist Kate Clover and Dion share a sense of urgency on opening lines “TV television New York shut down. I’ll hold you closer again. All alone I’m in the dark.” A palpable level of intensity can be felt in the aggressive guitar riffs slashing in and around each vocal passage. Kate's vocals move up in the mix on the Covid influenced lines “Freezing cold I feel the sweat. Filled with fear as I disinfect. I can’t see the enemy I can’t see it come.” As the track careens forward with increasing ferocity, each vocalist repeats the title line in alternating call-and-response style. It all culminates with a final 30 seconds throttle like The Stooges “Fun House” era mayhem.
The track is now available at Dion's bandcamp where you can name your price.
All donations will be split evenly between City Harvest (who help feed New Yorkers in need of food) and CampaignZERO. Dion will match all donations up to $1,000.
Previous DaveCromwellWrites Features on Dion can be found HERE and HERE.
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Returning to the DaveCromwellWrites universe are Sydney Australia's gazey, dreampop and psych-rock collective Trillion. Their previous six song EP “When I Wake” received an extensive track-by-track review this past November here (which immediately garnered “Best Of” placement in the following month's year-end accolades). The band is now back with their recently released current 5 track EP “Move To You,” and a debut video for the single “Soft.” Recording their individual parts separately as one might suspect during these harrowing times, the end result shows a determined creativity in spite of those challenges.
Opening track (and single) “Soft” (along with it's accompanying video) immediately explodes off it's quick drum cue-in. No longer content to envelope all with 3 guitar layers (as was their previous incarnation) we now have four (4!) guitarists doing their very best to fill in every inch of the sonic spectrum. It certainly makes for a powerful buzzing wall of down-stroke strummed mayhem, while somehow allowing the throbbing bass guitar and whip-crack drumming to penetrate and be heard. With images of sparklers overlaid on top, close-ups of each instrument is afforded their feature moment throughout the video. Male and female vocals are blended together as a melodic force withing this Spector-sonic wall of sound. Hard pummeling percussion emerges as intensity levels rise, with voices, and guitars inserting melodies inside the overall structure. The video is a total trip that occasionally breaks up into digital cube blocks looking like previous decades media (VHS tape?) and other elements, like floating amoebae. Kudos to the bassist for wearing an adorable cat-themed t-shirt stating that “The End is Meow.”
The EP's second track “Out of Your Mind” initially emerges at a more measured pace, with guitar shimmer rising up as if out of the mist. Soon enough a dominant bass-line and solid drum pattern begins, accompanied by wah-wah guitar textures. A series of intricate guitar melodies weave in and around each other before a solo female vocal begins. Those voices come at the track from different angles, blending in seamlessly with the instruments melodic forays. There's a hypnotic element to the rhythms and things get quiet in places, allowing for dramatic focus via those layered voices. As the track progresses it blows up into a full-on psych-rock tableau,before falling back into that hypnotic groove.
Third cut “Don't Be Sorry” develops out of a tom-tom driven drum pattern and distant swirling guitar embellishments. As the full progression establishes itself with sheering guitar chords and buoyant bass-line over top, male vocals appear in a contrasting effects-free manner. The 4 guitar formation allows for plenty of background wash while one plays a distinctive hooky melody line, paired against the bass guitars low-end harmony. Vocals return with previously established clean delivery, while another guitar melody snakes its way over that. The title line ultimately materializes with female voice enhancement and billowy guitars.
Rising up out of swelling atmospherics and faded in drum pattern, “It's All I Need” serves as the first of the final two longest tracks [6:01 each] on the EP. Returning to that buzzing-bee-wall-of-sound, the multiplied tandem guitars would surely evoke a nod of approval from Rhys Chatham. With an ever-steady bass guitar once again holding its structural center, the drums are free to explore a variety of accents off of the primary beat. Male vocals with ethereal female harmony evoke that 90's-era MBV/JAMC/Slowdive style. Sonorous guitar riffs abound in-between vocalizing, impressing how an “orchestra” of guitars can produce an appealingly controlled noise. The final minute injects an intensifying step-up before pulling back to a dreamy spacious conclusion.
Final entry “When it Comes to You” appears to begin mid-progression, as if fading the mix in as the recording rolled. There is a decidedly different element to the guitar sound, as slightly off-kilter “warbling” tones appear. Shearing, pitch-bended guitar chords soon make their way up front while the ever-present driving bass and percussion lock it all down. A distinctive guitar melody surfaces over top of combined “shear,” “warble” and rhythm-section. More paired boy-girl “Halstead/Goswell” vocals arrive, blending in seamlessly with (and sometimes submerging under) the roiling instrumentation. Momentary quieter plateau's serve to set up another round of explosive turbulence. It's all adds up to a brilliant composition of dreamy-gaze bliss, and a fitting closer for this excellent EP.
Trillion's tunes and more can be found using the link tree below:
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.
