Longtime favorites and brand new-to-this-site artists are the featured music reviews here in the latest DCW. Advance singles come in anticipation of a new full length album by an accomplished still-in-their-prime creator. Furthermore, a single release is reviewed from a similarly positioned lyrical composer. Two other first timers here receive thorough analysis via a complete full length recording and alternative video single release. All of this new output provide the perfect soundtrack for your relaxed summertime listening.
There’s more that a little bit of history with musician Frankie Rose here at DaveCromwellWrites. In additional to all the live shows attended through her various alliances in multiple bands (as well as solo shows), an extensive album review of her 2017 masterpiece “Cage Tropical” was a particular highlight. Now the news of her latest record “Hila” being set for full release in the coming days is something to look forward to. Two advance singles have been released from it so far, providing early opportunity to dig into it’s sonic details.
Immediately blown away by the sound of first single “Cant Be Wrong,” the sheer brilliance of it’s studio production and creativity in vocal layering is transcendent. That it was all self-produced in a home studio (with collaboration from Jesus and Mary Chain drummer Justin Welch) is even more impressive. Opening with an instantly catchy higher-end synth keyboard melody, the syncopated bass synth against it brings to mind the 80’s new wave funk of a band like The Human League. Stabbing keyboard chords on top only add to that feeling.
Frankie’s vocals commence and you are instantly taken away to a magical place of wonder and nostalgia. That you can barely make out the words being sung doesn’t matter all all. It’s all about feeling and it’s gorgeously romantic. Exceptional production values have the end of vocal lines swirling upward, blending seamlessly with the overall sonic wash. Rising to a pinnacle, the hook becomes her “I love the way you are” and “tell me” and “cant be wrong” vocals immersed in the swirl of keyboards and magic.
The track comes with an equally impressionistic black and white video depicting the artist walking on the beach, morphing in creative ways. Check it out here:
A second single and video for the song “Manifest” has now been released. Moving Tarot cards opens the video as Frankie sits within a circle of candles. The mood is dark with a heavy percussive groove that conjures thoughts of The Sisters Of Mercy’s gothic dance tracks. Vocals are multiplied and chorused for maximum chilling effect. Soon images of atomic bombs, people running in the street, burning buildings and airplanes descending all serve as stark reminders of the ticking doomsday clock we all live under. Frankie appears singing behind water sprayed plexiglass, then four panel quadriptych, as the tarot cards continue to turn. Her voice soars on primary vocal lines, while a higher level of responding voices add an element of urgency to it all.
In addition to familiar artists who’ve been reviewed on this site more than once, previously unheard musicians often find their way on here as well. Such is the case with French creator Thierry Haliniak and his project My Raining Stars. Having connected earlier this year via Social Media, a notification of his recently released new album piqued curiosity. Titled “Toy Club,” the collection is a collaboration with longtime friend Didier Frahier (E-grand), whom he has known for over 35 years. The process involved Thierry sending stripped-down demos of songs he wrote to Didier to shape and arrange the overall sound while preserving the original vocal melodies and song structures.
What came out of that are nine indie dreampop tracks that draw from late 80’s and early 90’s Creation Records, C86 and Sarah Records influences. To put further emphasis on that, the album was mastered by Ride lead vocalist Mark Gardener. The title "Toy Club" pays tribute to the small club in Lyon, France where the two friends first met and discovered the British indie music that had a profound influence on them. Released on Shelflife Records in the US, and Too Good To Be True in the UK and Rest of the World, a careful listen and detailed review of this music follows below.
Opening track “Wherever” kicks things off with chiming indie-jangle guitar chords that instantly grab your attention. It’s primary 4 chord progression soon commences, fully formed with drums and bass. While verses are melodic and lyrically sincere, the chorus hits hard with the title word embedded in catchy hook lyrics “wherever you are, I do my best, I don’t on tight and try to live as good as I can.” Tasty electric guitar leads follow over those slashing guitar/bass/drum rhythms.
Follow-up cut “Kind Of Light” features a chunky guitar rhythm in the style of The Rolling Stones ‘Under My Thumb.” Lyrically focusing on love that starts out well but eventually turns bad, the double-time chorus states “you do not need me to bring this new kind of light in your life.” Ethereal background vocals on the second chorus pass through and songs end-out add a dreamy quality to it all. Third entry “Silent Girl” builds out of an easy groove shuffle, powered by drummer Casper Iskov (who also plays all the bass guitar on this album). It’s heart-tugging and emotional when Thierry sings “I can’t believe I won’t see you again” and “nobody knows how much I miss you.” Brilliant lead guitar work bridge all the passages together seamlessly.
“In His Heart” is a poppy whimsical number recalling how friends helped “to fight the lack of confidence that was inside him.” An instantly likeable, catchy melody where “comfort” in “difficult times” are remembered and “engraved in his heart.” Midpoint track “Fine” emphasizes rich keyboards, jangly strummed guitars and that ever-present rock-solid bass & drums rhythm section. Thematically wrestling with the wonder of youth and how that diminishes over time, “you would give everything to feel that way again.” However, you come to “realize everything has changed and nothing feels the same” because of so many “regrets.”
The subject of sudden loss is explored on the track “It Will Take Me A While.” Embedded in a jangly guitar driven, heartfelt song are the emotions dealing with having “to accept your absence.” While one can only “wonder if you can seem me from beyond,” all that is left to do is “honour your memory.” “Priceless” bursts forward as a hard charging rocker. Understanding that “freedom is priceless, and I know that time files,” the desire to “stop wasting my time” becomes paramount. The overall relentless driving progression gives this one a more punk-pop feel.
Penultimate track “As Far Back” is bass guitar heavy and groove oriented, with it’s descending chord progression and sinewy guitar figures. A thank you song to “Dad” for his sacrifices and dedication to his children’s happiness. Final song “Till The Time Comes To Leave” uses acoustic guitars to lead the way through this power ballad. A variety of audio textures accompany the story telling, none-the-least being some brilliant electric guitar melodies. A particularly enchanting higher-register background voice joins in on a chorus that goes “we will dance all night she said, we will dance till the morning light.” With that voice joining in on subsequent passages, the title line comes into focus when “it’s time to say goodbye.”
Listen to this wonderful album (with info on how to acquire it) here:
Follow My Raining Stars on their Social Mediahere and here.
Another new-to-this-site entry that arrived through the frequently accessed channel of promotional pr-to-the-press is Australian pop star daine. Announcing a debut album “In Endless Awe & Agony” due November 6th via Pack Records, an advance single for “Love Love (Love Love)” presents as good of an entry into the music and visual appeal one could possibly hope for. With this artists stated desire to fulfill their unique, authentic self, a closer inspection of this particular joyful song and video commences below.
As the video displays quick-cuts of the artist dancing around in various locales, it’s hard not to be immediately drawn in to the youthful beauty and energy on display. Buzzing synths and a 4-on-the-floor pulse beat establish the sonic groundwork for appealing vocals over top. A percolating percussion enters the mix as the lyrical question is asked “it is worth all that you give?” Vocals are doubled on an instantly catchy chorus that goes “lay low, then wonder where your friends go again // maybe you could stay close and give yourself another whirl.”
With many songs, that might have already been enough of a “hook” to satisfy, however daine takes it to another level with the swirlingly euphoric refrain “love, love, love, love - your heart is second to none” and “I’m living in the echo of us.” It’s full-blown dance music for sure, but sonic references to The Psychedelic Furs “The Ghost In You” come to mind, with it’s similar “love, love, love” refrain in that classic 80’s new-wave song. Short, melodic keyboard licks and deep booming drums further emphasize the rich audio quality of this studio recording.
The purring verses continue with lines “it takes it out of me, to always wear that mask” with a louder overlay of the word “stop!” seemingly as a form of internal motivation. Combined with this video imagery displaying energetic (and super-cute) dancing, is an aural quality that dips into the Charli XCX realm. Layering voices with a higher register delivery on a bridge that states “it’s hard to be yourself, even though no one’s around” ultimately demanding friends to “get out of bed and come see me.” The glitch-pop textures bubbling on the very end becomes a cherry on top of this intoxicating sundae.
There is a fair amount of history here at this website with the artist John Dorian, who has now released his latest single release “Love I Remember.” First meeting back in 2017, a number of live shows attended and reviews written over the following few years covered his band at that time HerMajesty. Always impressed with the level of creativity and musicianship, the announcement of this new solo release from John is a welcome one indeed. A careful inspection of the songs origins, inspiration and most importantly how it sounds follows in the detailed review below.
Continuing to Collaborate with high-level musicians, John co-wrote this new track with multi-instrumentalist Julian Harris. He then engaged with The Church alumni Marty Willson-Piper to arrange, provide original production and perform electric guitars on it. The final production came from Michael Beinhorn who also oversaw the final mix done by engineer Anthony Gallo at Virtue and Vice Studios in Brooklyn.
The three and a half minute track opens with John’s voice mostly solo (with only subtle guitar enhancement underneath) repeating essential lines “Love, Love remembers your name.” Full band kicks in right after with co-writer Julian on bass, acoustic guitar and keyboards, Marty providing lead guitars and longtime drummer Konrad laying down a rock solid beat. The vibe is swirling 80’s alternative pop with jangle guitars and big melodic keyboards. John lyrically elaborates that “love takes your hand to the end of the road,” and that “there is grace, in her flesh, in your soul.”
John’s familiar slightly-raspy mid-range vocals are poignantly expressive, periodically enhanced by additional collaborator Sirintip Phasuk (Tippan) who arranged and performed backup vocals. Lyrically inspired by Austrian poet Rainer Maria Rilke’s First Duino Elegy, John explores human limitations and romantic traps with lines “On this road you’ll find choice, regret, and forgive, so give, give to the one in your soul.” Reaching a crescendo in the song with the declaration “she’ll wave her arms and break our fall” opens up space for an ambient interlude of background voices echoing the songs theme. The tracks end out is lush with bass guitar becoming more noticeable in the mix and John’s final recitation of the title line.
Check out this creatively crafted piece of music here:
Making a triumphant return with her latest album "Cage Tropical,"Frankie Rose delivers a veritable treasure trove of sonic amalgamation.
Drawing from classic 80's "new wave" rock sources (as well as the sci-fi movies of that era), the album presents 10 perfectly executed songs that still manage to sound fresh, avoiding the trapping of a mere nostalgia trip. What you get instead are abundantly layered vocals and revealing autobiographical lyrics with enough auditory easter-eggs for those who enjoy pinpointing potential references.
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Opening track "Love In Rockets" describes Frankie's ultimately disappointing time spent attempting a residential move from New York to Los Angeles. While poetic lyrical lines describe her "resting my head like a wilting flower," others stating how she's "done 500 degrees in my ivory tower" imply that at least some of the fault may not be all on the city alone. The hook centers around a vocal chant ("ah-we-oh, ah-we-oh") stylizing the initial word to lyrics "a wheel of of wasting my time here." Strong percussion dominates with an emphasis on rolling toms coupled with synthesizer enhancements capture the golden age of 80's "new wave" textures.
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"Dyson Sphere" is an interesting song on a number of levels. For those who don't know already (or are curious) the title refers to a hypothetical mega-structure that completely encompasses a star and captures most or all of its power output. It should be noted that this is a theoretical concept and currently far beyond humanity's engineering capacity. Instrumentally, the track is driven along by a Simon Gallup-of-the-Cure sounding bassline (A Forrest being as good a reference point as any). Frankie's voice on verses are processed with a sandpaper-smooth quality that morphs into a catchy "ah ah oh oh" bridge. The chorus is a big bold hook that declares "Days long - when you live without the sun - Days long - and we knew this day would come. Under skies of grey - never light (phonetically delivered as "La-Ah-Ah-ight") my way." Melodic guitar licks, keyboard pads and meticulously dropped-in percussion all contribute to an extraordinary listening experience.
Built over a steady motorik drum beat and teutonic bass pulse, "Trouble" features enhanced layered vocals covering both the smooth midrange and higher end harmony stating "sometimes I want to walk, I want to walk, I want to run - away." In addition to her keen sense of melody, Frankie has always been able to create vocal qualities that rises above nearly all of her contemporaries. The chorus here is merely one more example of that, with it's combined descending ("trouble follows you") and rising ("you can't run no matter where you") dual harmony lines.
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Emerging via four curiously angular organ-like chords, "Art Bell" serves as a tribute to the cult figure who provided hours of entertaining theories about extra-terrestrial life on late night radio. With it's big chorus stating "we'll never have to say goodbye" cascading down amidst huge guitar licks, synth bursts and thundering drums, the wonder of what might actually be "out there" goes on.
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Clocking in as the albums longest track at five and a half minutes, "Dancing Down The Hall" uses that extra space on an ambient, trippy, jazzy-percussive intro. After a minute and a half, bass guitar textures enters the mix as Frankie sings "we don't have to go together, we don't have to stay forever. In the end we fall together - dancing down the hall together." While those sentiments furnish catchy rhymes and song title, lyrics "letting it go again - and you see another day" convey the songs primary hook and emotional core. Icy chiming bell synth tones usher in rolling toms, bringing to mind the best sound qualities of 80's instrumental "new age" music like Sanford Ponder and Patrick O'Hearn.
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Title track and album centerpiece "Cage Tropical" demonstrates more than any other track on this album how a band like The Cure has influenced successive musical generations. While that band may be better known for their gothic doom and gloom contributions, they've also produced a fair share of bouncy, upbeat melodies. This song falls distinctly into that latter category, with it's perky intro melody and similar sonic textures. However the author laments a "special kind of hell on a sunny day" (with stark piano chords underneath) - "cafe tropical, make it go away." The lushest of hooks emerges as uplifting, cascading vocal melodies declare "on and on - you're on your own again." Impeccable production weaves in 80's hand clap (hand clack) percussion and subtle touch synth buzzes that immediately brought to mind Duran Duran's 1985 one-off project Arcadia and the coincidentally appropriately titled "So Red The Rose."
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It's mostly keyboard ambiance and no guitars or any of the more typical rock instruments on the synthy "Game To Play." However, once again the central focus is a strong, catchy sing-along chorus which is the title line.
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Another song to receive an interpretive video release is deeper cut "Red Museum." An existential realization statement proclaims that "everything you know is a lie, and everything you have will die." Regardless of those sobering thoughts, Ms Rose can't seem to help conveying it through elevating choruses with rich counter-melodies and vocal augmentation.
Immediate reactions, noted
Riding a wave of pitch-bended keyboard pads and succinct piano notes “Epic Slack” is a moody instrumental interlude for moments of calm introspection.
Album closer “Decontrol” could have been positioned much higher in the track order as its one of the best on the entire record. Once again tapping the appealing synth and bass guitar sounds of classic 80’s era British rock (a distinction necessary to make so as to avoid lumping in with American 80’s hair metal rock – also an influential sound source of that decade, but having nothing to do with this album) bright retro sine waves support chorused vocals. “And though I’m sinking fast, you run from me – one momentary glance, could set me free” are the lyrics to another glorious bridge. However, it’s the chorus (once again) that is most impressive. While singing the lines “De-Con-Trol – you’re not losing sleep,” the cadence and meter is punctuated by a clipped breathy vocal technique and pentatonic keyboard scale.
On Saturday, August 12th Frankie played her release show for this album at Baby's All Right in Brooklyn. The set included four songs from her new album along with a number of her best tunes from previous records.
Festive post-show backstage banter made the whole experience that much sweeter.
Performing on the same evening just prior to Frankie, were the alluring duo Tempers.
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Having had opportunities to catch them live at various stages of their musical progression, front-woman Jasmine Golestaneh never fails to impress with her casually magnetic presence.
The duo work well as a tandem (reminding of the similarly synchronous Raveonettes) with guitarist / electronics generator Eddie Cooper driving the instruments.
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Earlier this year they released their "Fundamental Fantasy" EP which included four new songs and an extended remix.
There’s a slow-burn tension building on featured track “Tail Is In My Mouth” that deceptively masks chugging guitars and dance floor ready drum beats. Even the repeated “just for a moment” phrase feels like a holding pattern, floating above the overall rhythm. The bittersweet feelings of desire and the projections we place on others (to fuel our own illusions) comes together in a wonderful chorus that goes [Ahhh –Ahhh-Ahhh] “Oh and how I miss” [Ahhh–Ahhh-Ahhh] “who I wanted to you to be” “Oh and how I miss [Ahhh–Ahhh-Ahhh] what will never be” - “I thought you didn’t care” leading to the curious title line, all enveloped in an aurally spacious, melancholy longing.
Having last covered the musical output of Brooklyn dream-psych collective Psychic Selvesa few months back, the word was that new music would soon be on its way. The Pep G led collective has now delivered on that promise with a new cassette single (affectionately referred to as a cassingle) released on Time Castle Records.
Featured single "Rosemary" (which has been given the full video treatment here) emerges via a steady bass drum thump and ringing single note guitar progression. That quickly changes as vocals begin and the rhythm shifts to bass guitar and high-hat cymbals. It all eventually leads up to the catchy vocal hook that goes “I’m trying for you – you tell me – to sit myself down” - “time is wasting for you – you tell me – to sit myself down.” Numerous funky interludes create the necessary space between emotional high-points. There’s even a mini psych-out jam at the 2:35 mark for good measure.
Speaking of live shows and record releases, melodic psychedelic pop rockers BIRDS will be celebrating the release of their latest album "Everything All At Once" at this very same show.
Emerging from a two-chord progression similar to Iggy and The Stooges “Search and Destroy,” the albums’ lead single “Get Away” adds bass counter-melody and rising background vocals, positioning the track closer to a pop song. “I’ve been awake all morning, watching the light pour in. I keep away from stealing – I do my own healing,” describe the self-reflective lyrics.
Catchy melodies unfold via speedy guitar lines woven in and around emphatic vocals. “I get away so easy” becomes the ultimate key line towards the end of a power-packed two and a half minute song.
Catching up on Asbury Park legends gods most recent output inspired this snapshot analysis of their of their epic proggy psych-out track “Wash.”
Another gem floating out on their Soundcloud is the creatively inspired track "Couch Ride."
With syncopated accent drum beats leading things off, a number of quick shifts in song structure make this track an unpredictable delight. Brief call-back guitar melodies and 60’s sounding organ becomes the focus while vocals perfectly mimic the spirit of the classic 1965 No. 1 hit “Hang On Sloopy.” That’s followed by a plateau of quieter moments where vocals are sung as if in a dream. It all builds back towards the initial clattering groove, making way for a tasty guitar solo and jam-out. The briefest interlude of calm serves only to set up the next furious drums, bass and guitar solo rave-up. Ending on the softer angelic sequence seems only fitting for this equal parts heavy and light composition.
While we wait to hear about upcoming gods live show appearances, parent band The Parlor Mob (including a number of the same members) are headlining the Saturday September 23rd portion of Asbury Parks Indian Summer Fest. More info about all that (including how to get tickets) can be found here.
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Having spent a two year period recording, mixing and finally mastering 10 fully realized tracks (while performing much of the material out at live shows) gothic rockers Autodrone released their album “This Sea Is Killing Me” at the end of 2016. That long journey produced a number of engaging results touching on a range exploring psych, darkwave, drone and dreampop.
Opening track “49:51” is an edgy just over 2 minute ambient instrumental that leads into more structured follow-up track “Corvus.” Making full use of classic buzzing synths and shimmering tremolo guitar chords, the stage is set for dreamy ethereal vocals. Even with the full band effect in motion via a solid drum track, the vocals remain angelic and unintelligible like the best of The Cocteau Twins.
Epic closing track “Thunderbolt” mysteriously unfolds through synth pulses, cymbal rushes and passionate reverberated vocals. The band will be playing The Safari Room At El Cortez next on August 29th, and Pianos after that on September 6th.
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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