It’s always fun at this time of year, no matter your age or where you may be living. Everyone seems to love the Halloween Season, and this current DaveCromwellWrites music review features two releases focused on this universal theme. However, never far from this websites realm are bands that focus on gazey, propulsive indie rock, released via trusted labels. The binding element between them all is a motivation to create attention-worthy recordings.
Rhythmic fuzzy-gaze rockers Phantom Wave are back with a new full-length album “Echoes Unknown.” Still boasting the creative forces of Ian Carpenter (guitar/vocals), Rachel Fischer (drums) and Yanek Che (bass), songwriting is credited to everyone, with Ian providing all lyrics. Contributing to the overall sound design was engineer Ryan Dieringer and Ringo Deathstarr’s audio master Elliott Frazier on mixing. With Shore Dive Records releasing it on their well-respected, like-minded label, a full track-by-track review follows below.
A squall of feedback and noise create the entry point for rhythmically propulsive opening (and title) track “Echoes Unknown.” While guitars create a solid wash as backdrop, thundering drums and bass guitar deliver all the forward motion. Vocals come layered on top with minimal (if any) enhancing studio effects. This clean vocal reading stitches together poetic thoughts of things being “damaged and zoned . . . fever stoned” and “follow down to the bones.” The chorus keeps things simple stating these “echoes” are “for you,” adding more emphatic vocal phrasing and fuller background sonic force. A second verse keeps the poetry flowing, with matching couplets “say now split the sorrow - what wishes can we borrow” and “here comes another remedy - all the skies, you and me.” It’s vague, yet somehow universally understandable. A midpoint section adds a layer of percussion accents to the churning back-and-forth two chord break. The tracks final moments combine metaphysical lyrics – “all in all unknown – echoes on, unknown” with one more layer of higher register guitar textures.
Follow-up cut “Splashed” comes on quicker with forceful drumming powering along bass and guitar sounding like early-era Cure. In fact, the unadorned vocals seem right out of that time period as well. Lyrically playing off a water theme (“hazy fog . . . don’t you capsize”) it’s the emotionally charged heavy-noize-gazer chorus that compares “getting splashed” with “breaking free.” One could picture themselves relaxed on a beach where “swollen skies are here, blankets aglow - somewhere else is burning, got nowhere to go.” Additionally the lyric “take it away, the crash and wonder” references leaning IN to it, rather than removing it. Reaching it’s explosive sonic peak and definitive final word “Free,” comes a quiet 30 second ambient fadeout.
Third entry “Hologrammer” features higher-register “icy” guitar textures and four chord progression locked together by bass and drums. Vocals are delivered in breathy whisper on lines “exquisite you, along the streets - tell me now, beauty replete.” Eloquence of expression continues through loosely connected lyrical thoughts where “all the tones – they begin – praise the saints – don’t give in.” When the chorus is reached, sharp turn accents add punch to essential phrase “burn on hologrammer.” Bass guitar plays a central role out front during an extended instrumental midsection.
A slower, more measured bass guitar and drums groove provides the pacing for next cut “Woozy.” Guitars are angel-stroked chime-y, floating in from the clouds. The chorus hits hard (like one always hopes) with the lines “now what you got? Drifting forever. Now what you got? (and this is clever) “forever endeavor.” Only reading the lyrics would reveal that, as listening to it sounds like “forever and ever.” This writer and eternal student of word craft appreciates the subtlety. Perhaps this attempt to achieve or gain begins with “solace,” “trails” and “desires” to “want everything good.”
Check it out:
Reaching the albums midway point, “Breakaway” plays with tempo shifts that pivot from standard progressions to more angular rhythms and leveled-up speeds. It’s a technique you sometimes hear in the songs of album mixmaster Elliot Frazier’s own band Ringo Deathstarr. While the chorus implores you to “breakaway – what do you say,” deeper clues emerge via lines “open the old maps and all the spinning tops - back to sonic beach, paradise in reach.”
Deeper album cuts exhibit subtle variations on what has already come before. “Collider” blends a Cure-like gothic rock progression with gazey guitars and lyrical views from “the atmosphere.” In contrast, “down here” (on earth) “we all know how it goes.” Open note arpeggio guitar plinking gives seventh entry “Wanton” it’s unique sonic quality. While that singular title adjective has a few definitions, a lyrical reference to “endless pleasing” gives a clue into which one it is.
This one comes with an official video:
A deep bass guitar groove drives the deceptively titled eighth track “High Halcyon.” While essential title word and subsequent lyrics reference blissful, carefree moments of peace, instrumental accompaniment resides closer to traditional noisy gaze. Penultimate cut “Memory Swerver” hearkens back to the “new wave” era (somewhat) with it’s defined chord progression, clarion-chime guitars and emo-angst vocal delivery. Along with the now-expected harsher instrumental elements is a final twenty seconds of Sonic Youth-like ambient fadeout. Final track “Sirens” leans all the way in on breathy, urgent vocals. With a pace and sonic texture close to fellow local gazer band Dead Leaf Echo, clever lyrics emerge, like “seasons cresting into shape – playing all the Sunday tapes.” While the drums on the entire album elicit a live-in-the-studio feel, it’s even more pronounced here. Bass guitar continues to pop and rumble throughout, under the glorious wash of soaring ethereal guitars.
Check out this entire albums multilayered distorted dreamscape here:
Previous Phantom Wave features on this Site can be found Here and Here.
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The DCW universe has been keeping up with The Suncharms since first being made aware of them six years ago. A significant amount of reviews on their musical output have graced these digital pages since then. Along with prominent full track-by-track album reviews, both single releases and compilation contributions have also been included. Now arriving just in time for the “spooky season” are two tracks serving as the first taste from their coming album “Darkening Sky.” A careful listen to these new songs commence below.
Featured cut “Monster to Me (Halloween Version)” comes along at this appropriate time of year. An ambient wash rises up quickly, soon followed by the primary easy shuffle groove. It’s essential melody is delivered by a buzzy guitar riff, with secondary guitar chords, on-point bass and a relaxed percussion backbeat. Vocalist Marcus Palmer gets right to it with the opening lines “you became a monster to me,
I had a fear of going home - one look from you could turn me to stone.” With those chilling thoughts laid out, the tracks gorgeous hook emerges out of a power chord and rim-clack drumming. “It wasn’t always like this” the singer presents, as the most unexpected but perfect-for-it muted trumpet joins in adding pathos to the moment. Where “a teenage love affair – the stars seemed to shine – so bright.” That brightness began to fade when a “dark soul” took over, building “a temple to yourself.” This compact 2 minute, 30 second song closes out stating “this is no – Torture Garden – Vault of Horror - House that Dripped Blood - Friday Night Double Bill.”
Previous DCW features on this artist can be found on this site here, here, here and here.
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Long-time favorites of this site Big Stir Records are always working on new ideas for the music and artists they represent. The Burbank, California based label have been releasing select singles during the month of October off of their Halloween themed album “Chilling, Thrilling Hooks And Haunted Harmonies: The Big Stir Records Halloween Grimoire.” Laid out as a continuous program containing audio tales and sound effects in-between the songs, the vinyl LP version includes a gatefold jacket that folds out into a playable board game. The compilation was curated and produced by
Michael Simmons, Rex Broome and Christina Bulbenko.
Spinning the wheel of choice to select a noteworthy track to review, the needle falls on The Armoires entry “Full-On Witch Mode.” Coming complete with it’s own official music video, elements of magic and witchcraft are woven in with the bands performance. The track comes to life via a mysterious bass guitar driven groove, supported by steady percussion, slashing guitars and deep toned violin. Lead vocals sing about being “connected to the things that move beneath the surface.” Images of candles, powders and potions appears as those practicing these ancient arts devote serious attention to their craft. There’s humor woven in as well, with the verbal spelling of “hell” as “H E double hockey sticks.” As the track continues to build with intensity, a pivotal vocal line states “and when the world wont align with what we want to see . . . we go full on witch mode.” The whole video is shot beautifully, frequently bathed in a purple hue, with dark shrouded close ups of each band members faces.
As the opening third of this year moves into its next phase wrapped in a springtime hue, recent singles become the inspiration for a quality listen and subsequent review analysis. Along with this site’s frequent penchant for dreamgaze audio coupled with ethereal vocals, intriguing videos that add insight to the song’s story will receive descriptive notice as well. With three new artists garnering initial attention for their inspiring work here, an old favorite returns with a welcome new release.
New discoveries continue to find their way onto the DaveCromwellWrites soundscape. An artists personal motivation has a lot to do with that, as is the case of currently active Glasswing Butterfly. Primarily the solo project of Tunisian musician Hsin Trabelsi, who is an accomplished bassist with other musical projects, recently released a single and video for his song “Faded Dreamscape.” A focused review of both elements follow below.
Coming out of the gate in full flight motion, the track quickly powers along a rising chord progression, throbbing bass and sharp cymbal/snare drum percussive beats. Chiming guitar melody lines enter the mix, adding musical hooks to the proceedings. Quick moving images of trees passing by (from cameras shot in rear view mirrors), city street images overlaid along with an intriguing gray cat all make appearances. As skateboarders and shoreline images come into view, vocals commence with classic dreamgaze stylings. “I wish I stayed young-to feel the highs under the stars-days rushed away,” presented in an elongated cadence. The mood is reflective and nostalgic, in search of recapturing a feeling you once experienced. Campers, flotation tubes, game screens, flowers and starry skies all make an appearance against the backdrop of this shearing, hyper-drive audio force.
A dual direction pair of guitar melodies add both a rising and descending hook while images of escalators, camera film and moving clouds continue this surreal sonic exposure. As the track continues to buzz along its pleasurable impulses, vocals imploring “take me again to what felt good” runs parallel with views of mysterious locals and the ever present camera. A bright light in the sky and it’s reflection in the water below suggests almost religious or spiritual elements in this story. While a lone figure spinning inside a spiral staircase cuts to pathways walked in other (equally) exotic locales. The music never falters, continuing it’s relentless forward motion of low rumble bass, soothing vocals and clanging percussion until the final roll to conclusion.
Check out this amazing track and video here:
Follow Glasswing Butterfly on Social Mediahere and here.
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Another new band making their presence felt here at DCW are the Britpop-inspired grungegazers Square Wave. Their recently released single “Too Far” has the trio emphasizing their skills in an impressive way. Self-proclaimed influences of Nirvana’s “Nevermind,” Primal Scream’s “Screamadelica” and MBV’s “Loveless” can never steer you wrong. Other name-checked 90’s-through-present-times icons like The Smashing Pumpkins and Ride complete the need to take a serious listen and attempt to unravel it’s creative elements.
Fuzzy bass guitar kicks off the proceedings. marking out a deep wobble groove till a snare drum shot hits as both vocals and buzz guitar commence simultaneously. Singing out the title line in an elongated cadence (“tooooo toooooo faaaarrr”) the three instruments lock together with precision, laying out a rumbling rise and fall progression. The lyrics are sharp and biting against churning rhythms “I see the freedom in your eyes, as you cross the divide – are you an angel in disguise, or just a trick” while a snaking singular guitar line runs parallel alongside.
Intuitive use of brief, less-intense plateau instrumental breaks keep everything from devolving into one single level of sound. The sharp rhythms and snaking buzz-guitar lines continue as vocals state “there’s the bug inside my brain, and he’s driving me insane – wish I could tell him to stop – but I don’t speak bug!” (Clever). All throughout are powerful instrumental elements occurring simultaneously, like quick percussive bursts on cymbals, those aforementioned slither-buzz guitar lines and the ever present lockdown bass. Two minutes in to this densely layers, very compact 2:52 in length track the chorus hook is revisited once more with dynamic punch, ultimately leading out to its explosive conclusion.
Another impressive new-to-this-site musical collective are the Filipino dream pop duo based in Dubai called WYWY. Having recently released their latest album "Whispers of Existence," the band states how it came about through six years of hard work and dedication. As one might expect over that length of time, it reflects a variety of experiences had along the way. One element of their impeccable sound is the employment of Slowdive’s Simon Scott for the album’s mastering process. A detailed breakdown on one particular creative audio track and associated video follows below.
Recently released video for their track “Disconnected” pairs minimalist audio dream-like ambiance with stark black and white imagery. Deep thump percussion is matched by sleigh-bell chimes amid a slow-moving David Lynchian atmosphere. Cars moving along city streets slowly reveal a bridge where the vocalist begins her tale. “It’s not easy” she begins in an ethereal, reverberated style that recalls Julie Cruise and her contributions to those essential Twin Peaks moments. There’s also an extended quality to her vocals, where end of lines sung have an emotional vibrato effect. Those pleasing vocal stylings were prominent with legendary singers like Harriet Wheeler of The Sundays and bands like LoveSpiralsDownwards on the indie Project label.
A mysterious video technique portrays her counterpart figure with an unrecognizable, distorted face. As if a constant moving “scratch out” of their facial features follow them throughout. They ultimately move on to where she is driving a car and her obscured passenger sits in the back. Her voice is quite beautiful in the most soothing and enchanting way. Midway through she sings “I am broken” leading to the title line “I feel disconnected,” as the pair moves on to a beach “I’m disconnected” she sings in the most angelic way. However, one must consider if the “disconnected” individual is actually the one with all that static covering their face. Moments later a break in the music gives way to the actual sound of computer modem having difficulty – well – connecting. Her voice now joins in with this electronic chaos – before the facially obscured person embraces her. The musical end out is lush and glorious, bringing to mind another beautifully retro band Cults.
Check out this wonderful video and song right here:
Speaking of the aforementioned band Cults, a somewhat younger version of the writer composing this review feature (13 years, in fact) made sure to catch their live show at the 2011 SXSW Festival in Austin Texas. Their breakthrough music at that time captured the perfect balance of timeless retro with technological proficiency. Developing an instant affinity for their sound and overall look (capably fronted by adorable vocalist Madeline Follin) a determined effort to catch as many of their shows at that time was accomplished. In addition to the above-mentioned SXSW show, additional appearances a few weeks later were caught at The Mercury Lounge in NYC, three months later at The House of Vans in Brooklyn, as well as a memorable casual face-to-face chat with Madeline at the bar in-between other artists appearances (she wasn’t even performing – just hanging out) at this show. Fast forward to the present, and the exciting news that Cults are back with a brand new single “Crybaby.” DaveCromwellWrites now digs down into this track in an attempt to detail all the wonders it has to offer.
With instruments commencing in full motion, cathedral chime bells, rhythmic bongo-toned percussion and deep twang guitar lay out a rising progression. Madeline begins her vocals with the lines “bad company – is every day the same routine?” Sung now with a more mature quality to her voice, the diction is still clear and alluring. Fellow band cohort Brian Oblivion underscores each vocal line with mysterious instrumental emphasis. Heavy phased-out drums thunder the next moments, with a forceful ascending guitar stroke behind the vocal line “I’m slowly losing sympathy.” The chorus hits perfectly one minute in on an off-kilter double-clang guitar chord and FX’d drum roll. “Crybaby” she sings out in full now as shaker tambourine highlights the moment. Her voice is harmonized on the title word with a trailing of synthesized extension.
Photo by Shervin Lainez
The second verse and chorus follow a similar pattern with subtle instrumental features like rat-a-tat snare drum touches. Forward rhythmic motion comes to a brief slowdown on the bridge section that implores one to “dry your eyes, baby – turn off the scream.” A buzzing low-tones synth pulses hard underneath as glocken-chimes trade off with single-note guitar tones. The final run through of this mesmerizing chorus features wobbly synth undercurrents, an emphatic shadow vocal reply after each primary “Crybaby” line and appealing snare drum rolls. Essential subtext vocal line “so caught up in your misery” points to the bands insight on how the song is a call out to both sides of codependency.
Check out this intoxicating song here:
The band has announced a U.S. Headline Summer Tour, play Lollapalooza in August and will support Vampire Weekend this Fall.
Previous Features and Videos on this band, exclusive to this site follow below.
Cults - Bumper - live @ Mercury Lounge, March 31, 2011
A duet between Cults vocalists Madeline Follin and Brian Oblivion - which they announce from stage as "a song you can dance to" (and Madeline dances through every one) - the back-and-forth vocals are appealing on many levels.
Cults - Most Wanted - live @ House of Vans Party - June 30, 2011
The loveliness of Cults is apparent for all to see. I am quite the fan of their retro (yet modern) sound.
Despite being sandwiched between wild bands that encourage complete audience mayhem - Cults won the crowd over with their sweet, soulful sound. Here is "Most Wanted"
Cults - You Know What I Mean - live @ Mercury Lounge, March 31, 2011
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Cults - Go Outside - live @ Mercury Lounge, March 31, 2011
Cults performed one of their most recognized songs - "Go Outside" live at The Mercury Lounge. Mixing Motown, 60's girl group and flat-out Diana Ross with The Supremes stylings (all embedded in guitar-and-glockenspiel enhanced layers and tasteful usage of samples) - it's retro with a modern feel.
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Here is that same song at Day Party @ Emo's - SXSW - Austin, Texas, March 18, 2011. Start the third day of SXSW with a must see show (cause that album is so incredible). Cults did not disappoint.
A quick look at the sights and sounds and a minute clip of “Go Outside” (because we all did).
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Cults - Rave On - live @ House of Vans - June 30, 2011
The relatively mild weather here in New York this current month of February has been a welcome respite. Presently spared from backbreaking snow shoveling and near sub zero temperatures allows more time for music listening and writing reviews. Back with brand new music is a long-time friend of this site and frankly at this point a UK Legend. Another returning collective has also released stunning new material in that most-beloved hazy-gazey genre. New to the site finds the recent work of an LA-based artist also receiving the now world-famous DCW detailed analysis.
Back in 2019 this site did an extensive historical recap and review of English recording artist Sophie Ellis Bextor on the release of her orchestral “greatest hits” album “The Song Diaries.” That album and this review both did well and all was sailing along smoothly. Sophie even managed to work in a trip to Japan in early 2020, before as she says “the world tilted.” Pinned down in our homes as we waited out this crisis, Sophie kept us entertained with her Friday “Kitchen Disco” internet shows. We were welcomed into her home for these half-hour concerts. Looking back from our perspective in 2023, those shows were a delightful silver lining, allowing a view into her home life and a temporary reprieve from not being able attend shows.
When things began to open up again, Sophie started taking her “Kitchen Disco” shows on the road, much to the delight of live entertainment starved concert goers. In that time she also published a self-penned autobiography and cook book with her husband Richard Jones (which also pivoted off the “Kitchen Disco” theme, as in “Recipes From”). In addition to renewed print and tv appearances, Sophie continued her successful ongoing “Spinning Plates” podcast series, as well as spots as a DJ on BBC Radio. Now there is news of her next full-studio album “Hana” being set for release at the beginning of June this year. With this being her 7th album of entirely new material, an advance single “Breaking The Circle” has just been released and receives a detailed review below.
Deep, low-tone strings introduce the track before a cymbal swirl leads into the piano-driven progression. Sophie's vocals commence right away with her asking “do you want to know what I think?” Well – yes – indeed we do. “Do you want to hear what's in my head?” follows as a lively drum pattern thumps along in tandem with those hammering piano chords. “It's too early to go to bed” she continues. “Do you want to hear a secret? I think there may be a day when the sun doesn't rise!” Oh, my. She's posted how “it’s a song all about those philosophical conversations you have at 3am when anything feels possible,” and that may have contributed to its creation. However, one feeling here (along with the universal meaning of “breaking a circle” - ending some kind of cycle) is a reference to the current fears of a full-on nuclear war, where “the sun doesn't rise” because it's been the end of us all.
However, the mood switches to a change progression where she states how “I can see a new horizon in your eyes.” That pivots into the big chorus “here we go into the light of the great unknown” ultimately “soaring up into the twilight zone” to the resolution of “breaking the circle.” Moving forward there is a “crashing through” an “edge of destiny” calling out to “come with me and we can chase what the end might be.” Resolving with “and when the morning comes – will everything feel the same?” Late night existential musings indeed. The hard-edged piano rhythm and matched percussion continue to established a driving musical propulsion.
“Can you sit a little closer” she continues to ask. “There's a magic in the night time air,” with an uplifting rise in her vocals on that final word. Repeating the “night time air” again for good measure, the bridge-to-chorus cycles around once more, this time with an alternating background vocal line running parallel against. Additional vocal overlays include a celestial “here we go” and “come with me.” Other subtle sonic chances seem to have the hammered-piano motif morphing into a more synthetic keyboard sound. Sophie adds further vocal lines like “don't want to live like days gone bye” and “it's time to rip it up and let it die.” A quick-stop, dramatic pause momentarily punctuates – before the final Big Chorus takes the track out to its conclusion – ending on a final question - “and when the morning comes, will everything feel the same?”
Another musical collective having a bit of history here in the DCW metaverse are the Sydney, Australia new school fuzzpop and lofi gazer 5 piece band Trillion. After prior reviews of their EP's and singles here on this site, the group has now released their debut full-length album “So Soon Now.” Having previously waxed on about their “modulating glazed and gazey guitars,” “impressionist murk,” “blissful reverie,” “buoyant bass,” “billowy guitars,” - not to mention the “warbling” and “shearing” (oh, and there must be “shearing”), a head-first dive into these new tracks follow below.
Opening (and title) track “So Soon Now” wastes no time getting off the ground as it kicks in full-throttle from the opening note. It's aggressive stomp emphasizes the bands trademark 3 guitar approach over the deeper low-end of bass and punchy drums. Male-female tandem vocals echo the Mbv/Slowdive/Blonde-Redhead fractured cadence in both diction and mix placement. There's a touch of “romantic” feel with the swooning chords that also touches on what Ringo Deathstarr does so well. Follow-up cut “Lo-Fi Days” progresses at a more measured pace, with a delightfully muted clarion-bell guitar stroke standing out as an every-4-beat delineator. As the chorus explodes with guitars and voices all crashing together in a singular sonic meld, its impressive how the drums stay clearly defined within that fray. A momentary pause at the 3 minute mark serves as buffer, before the push to conclusion (which includes an enchanting :25 second ambient guitar coda).
Third entry “Atomic Sunshine” makes inventive use of echo and delay on the opening drum beats. That is soon met by a wall of dream-gaze guitars as a snaking bassline provides counter-melody underneath. Strong tandem vocals with the females voice mixed slightly in front sing out lyrics that can actually be heard. Extended passages of softer, easier-going sentiment connect with more dynamic bursts. The album's first video single release “Cherry Blossom” is a hard-driving, forward charging affair that is self-described as “a song about the judgement that comes with living life to the fullest.” An instant affinity was felt with this track as it's title is the same name as one of our beloved cats. Although we initially named her “Sakura” it was quickly translated to Cherry Blossom (and then just Cherry), symbolizing the ephemeral nature of life.
Check out this amazing song and video here:
Fifth track “Kusanagi” (also Japanese mythology referencing a sword that represents the virtue of valor) features classic gazey pitch-bended, down-stroke guitars, double-time drumbeat and brightly stated vocals. Strategic open passages of only drums and a single guitar give reprieve as well as setting up the explosive guitars and alternate chord advancement that follow. The single title word chorus matches seamlessly with it's associated progression. “Falling Down” clocks in at a mere 2:09 making it the shortest entry on the album. The shapeless razor-burn guitar churn and submerged vocals elicits recall of something Brian Eno said when hearing a particular MBV track – calling it “the vaguest song he ever heard.” That description would apply to this cut as well. Recently released second video single “Take It Slow” brings back the bass and drums rhythm support, anchoring everything under scorching guitars and subtle melody lines. Vocals float in and out with a multi-layered chanting cadence, and chord structures following clearly defined patterns. There's a bit more emphasis on the lower-end sonic hue cycle, as guitars pitch downward in a more blended form with the bass.
Check out this metaphysical video here:
“Close Your Eyes” comes on with that heart-tugging, gazey-haze that a band like the aforementioned Ringo Deathstarr frequently dabbles in. Vocals are appropriately submerged for maximum dreaminess, as those starry-eyed guitar chords churn away. Crafted melody lines emerge over the turbulent textures, exhibiting the power of a three guitar assault. “The Silent Sea” pivots off a backward-leaning guitar chord down-stroke before moving into four-on-the-floor structure. Pitch-bended off-kilter (or as they self-describe “offset”) guitars push the pace forward, while a singular unblended voice provide lyrics. A Sonic Youth-style breakdown emerges in an unexpected (but welcome) midpoint sequence. Final track “Sometimes it's Alright” is a symphonic tour-de-force of ambient experimentation. Beatless, shapeless and relying solely on texture, it is actually quite soothing in it's measured rise and equally gradual fadeout.
Check out this amazing album here:
Follow Trillion on all their Socials:
spotify.com/trillion
trillion1.bandcamp.com
facebook.com/trillionsydney
youtube.com/@trillionsydney6897
instagram.com/trillionsydney
twitter.com/trillionband
A Previous Feature Review of Trillion (which includes links to all the others on this site) can be found Here.
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The circular way an album or artist finds their way toward a review here on this site is a curious and fascinating one. In the case of accomplished recording musician Julian Shah-Tayler, the most-likely spotting of a recent Night Crickets write-up inspired contact regarding their own recent work. As it turns out, Julian has been making music in one form or another (both in bands and solo) for a substantial amount of time now. In fact, he's written over 300 songs, which is impressive by any measure. A full-length album of original songs titled “Elysium” was released a few months ago, which now receives a deep-dive review below.
Taking note of the vintage glamour cover image photo tribute (slyly recreating Roxy Music's 1973 “For Your Pleasure” which featured model Amanda Lear), we're already off to a great start. Opening cut “End Of The Line” combines electronics with funk-style bass guitar and deep-vocal stylings, immediately delivering on the Bowie/Prince hybrid influence promised in the liner notes. Catchy keyboard hooks after each chorus line and in-between verses serve up pleasing synth textures. A Robert Fripp-esque guitar solo and deconstructing end-out emphasize its unexpected conclusion. Second track “The Devil Knows” boasts the musical assistance from famous and accomplished friends in the guise of David J on bass and Mark Gemini Thwaite (henceforth referred to as MGT) on guitars. Having written about the famous David's latest output with new band Night Crickets just last month, it was 3 years ago when coverage of MGT's guitar mastery in Peter Murphy's live band first appeared here on this site. Both musicians add cachet to this intimate (yet danceable) lyrically driven song.
Romance and sensuality are the driving forces on the dreamy lovesong “Melt.” With vocalizing morphing between the aforementioned deeper-toned Peter Murphy and David Bowie's mid-range tenor, impressive lines like “I have to make you love me tonight” (as opposed to the more de rigueur “I have to make love to you”) stand out. “Secret” pulls together throbbing synth-bass, chunky soul rhythm guitar and hand-clap percussion on verses displaying a free spirit. The chorus is lively and upbeat, with horns behind extended words for singalong emphasis. A tasty, wirey guitar solo adds a dose of rock and roll to this pop confection. “Evolution” comes on full electronica with it's bright synth melody line and pulsating machine-driven rhythms. While still maintaining rhythmic continuity, the chorus moves into a smoother aural state, utilizing multiple-voiced harmonies for dreamy effect. Irregular guitar textures emerge as the song progresses, adding counterpoint to the dominant synth-melody line.
Opening with the howl of a wolf, “Lupine” builds around plucking bass notes and repeated audio sample. Morphing into a chugging guitar-bass+drums rocker, an analogy of human desire as an animal hunger is fully explored through the lyrics. “All Good Soldiers” continues that simpler guitar-bass-drums blueprint further by stripping it down to the basics. Vocals are delivered with an uncanny similarity to Bowie in both tone and phrasing. A substantial instrumental section allows for buzzing guitar forays, leading into a gentle bass guitar and softer percussive accompaniment. “Head Up High” benefits from a solid drum track and richly textured keys (via Sam West and Nathan van Hala, respectively) along with its beautiful melody and finely crafted lyrics. One of the best produced tracks on the album, the positive message presented makes it an instant favorite.
“Kintsugi” featured another guest drummer, as Chris J Olivas (Berlin) lays down a raucous pattern underneath new wave guitars. Lyrical references to Japanese precious metals repair techniques serve as a metaphor for the emotional turmoil of the heart. “Earthquakes” combines ambient synths, a bold, rubbery, bouncing bass-line and heartfelt vocals that encapsulate the best 80's new wave singers. In this instance, Cy Curnin of The Fixx comes to mind. Additional lyrical points are given for working the thematic imagery of “shifting tectonic plates” in as an allegory for (once again) emotional devotion. “Bet Your Life” is an acoustic guitar driven composition that layers in elements of buzzing ambience, busily descending bass-lines and metallic percussion. It's extended coda rewards the listener with an enveloping instrumental dreamscape. Resolving all the themes laid out in the previous songs is final cut “Darkling U.” Syncopated electronic keyboards and percussion are met with an angular bass pattern, creating an otherworldly, futurist dance track. Elements of industrial emerge in the harsher tones and aggressive forward pace. While the songtitle reapportions something the aforementioned Prince would do (change “darling” to “darkling”), it feels more Nine Inch Nails in the synths and execution. Kudos once again to Nathan van Hala for the clarity of mix and to all involved in its brilliant production overall.
Check out this eclectic album here:
Connect with Julian Shah-Tayler/The Singularity via his Social Media here.
Returning artists and brand new discoveries (via trusted label and direct contact sources) furnish the motivation for this early springtime edition of Cromwell music review writing. Dynamic releases from creators mastering multiple genres via technology, performance and devotion share space here with more traditional classic rock formats. The common thread running through it all is a high-level of skill and imagination embedded in all the songs.
Equal measures of industrial electronics, heavy rock, seductive vocals, black-clad fashion glamour and spirituality are woven together in the music of Turbo Goth. As popularity continues to grow in both their native Philippines and adopted home of NYC, the duo of Paolo Peralta and Sarah Gaugler have released a brand new album “Awakened Imagination.” Fresh from a return appearance at SXSW, the self-described “high gloss rock duo” now receive a detailed DCW review.
Lead off track “Ready For Something New” sets the albums initial vibe with a dreamy, trip-hop feel. Distant, muffled voices and ambient textures are the first things you hear, before Sarah's smooth, precisely-placed-in-the-mix vocals deliver the title line (and more) in cascading, dream-like manner. Shuffling electronic percussion undulates underneath subsequent vocals stating “let me know when you're on your way.” There is a distinct soulful emotion running through this as Sarah cooos “I wanna watch the stars with you.” As percussion expands to busier ticketty movements, the primary change hook exhorts how “it seems like we both like the same things – the same dreams.” The overall attention to detail exhibits an uncanny precision, with layered vocal asides and interludes meticulously placed. “Hold on to the sparkles in the air” becomes one more rumination within this magical mystery groove.
The following cut “Endless Blessings” begins with Sarah's voice up-close and in-your-ear (with subtle electronic processing) singing the line “youuuuuu – are devine – all good things take time.” Powerful drums soon start a heavy-metal thump, followed by Paolo's equally hard-rock guitar riffs. It's a quality down-and-dirty groove, with syncopated pacing between those drums and guitars. Synth keyboards make their way into the mix, soon followed by Sarah's softer-edged vocals. There's lots of space for the voice on top, as the Led Zepplin dinosaur groove thunders forward. “I'm not who I was before” Sarah declares, before launching into a riff-and-vocal tandem sequence that is as hypnotic as it is heavy. Bass guitar and piano-like keyboard lines emerge in a change section that lyrically implores you to “come into the light with me” and to “set your heart right now on fire.” The leaden groove returns, this time with extended rising guitar textures and opening sentiment “all good things take time.” Launching once more into the rhythmic vocal tandem sequence containing the song title leads everything out to it's ultimate conclusion.
Gentle ocean breezes can be felt in the ska-dub rhythms of third entry “New Realms.” Deep synth-bass is complimented by softer-chunking reggae-style guitars. Subtle background whistles, snare-drum-roll punctuation and distant horn accents all contribute to this on-holiday, Jamaican vacation sensation. Powerful guitar riffs and thundering drums return for the hard metal rocker “Diamond Spirit.” The guitar lines are as intelligent as they are forceful, creating strong figures out of a changing chord progression. Sarah begins her vocals in a high falsetto creating an otherworldly impression, with following lines bathed in a processed sheen. “Take it right now – make it right now,” becomes the smooth alternating vocal hook against those heavy-metal abstracts. Speaking of “spirit” (as the title suggest) you can feel the essence of classic drop-D down-tuned guitar pioneers like Black Sabbath and their “stoner rock” descendants.
Bass and drums electronic hip hop percussion powers along fifth track “Adventures Beyond.” Sarah's angelic vocals plead “Still – I want to be still with you.” Establishing location while “getting ready for a long drive” is presented with delicate levels of autotuned FX, creating an appropriate dreamspace. Singing about how they're “leaving” and “done with all deceiving” confirms the overall the spiritual theme. The sequence is repeated while backward-looped guitars color ambient spaces inbetween. Double-time lyrics stating “everything is possible with you by my side – I'm ready for a long ride” serves as an equal metaphor for both taking an actual trip now, and a full life ahead together.
It's back to hard rock with the measured, purposeful stomp and classic electric guitar sound on “Flow Like Water.” Sarah's voice is soft and high-resister sweet as she gently emotes over hard-edged guitar riffs and walloping drums. The hook fully grabs you with title line chorus (a play on Bruce Lee's “be like water?”) studio enhanced to a supernatural polished sheen. Some tasty guitar figures break out at the songs midpoint, riffing boldly against crunchy Keith Richards/Izzy Stradlin chords underneath. A lovely cascading vocal section immediately follows that, positioning dreamy ethereal vocals against guitar and drum punctuation.
Previously released (but further remixed again?) single “Quarantine Dreams” places emphasis on Sarah's sweetly-sung, straightforward vocals with minimal effects and sparse, twinkling background accompaniment. “Spun on your love, don't wanna wake up from these quarantine dreams – nothing's what it seems” comes on like a lullaby. Trip-hop percussion and deep-bounce-bass soon sets a sensual groove for the combined romantic and mystical declaration, “Bae, you know you're pretty amazing, your supernatural vibe is kinda hard to describe. Our constellations align, but I'm only semi-divine.” Vocal FX and echo-line layering become more prominent with the dreamy segment that goes “baby I'm trippin' but I'll be saving my love for you.” The hypnotic qualities are apparent, with the soft, seductive vocals more clearly asking “how many days do we have to wait? Gotta pull me out of this hazy phase.” Vibrant dreamlike segments feature enhanced angelic reverberation on line snippets like “my all, I want to give to you.” Emphasis is also placed on the magical lyrical segment “Galaxies are waiting – no more hesitating - we'll be star gazing under the dark, dark sky.”
Listen to this gorgeous track here:
Last years previously released single “Crystal Eyes” also makes it's way onto this album. Simply speaking the title out loud could easily have you pronouncing it as “Crystallize,” which turns out to be just that after listening in full. Clocking in at a no-excess only one-minute-and-a-half, the song gets right to the point with Sarah's softly appealing vocals kicking in right away. “If you're waiting for a sign – it ain't that hard to find” she states, as pulsing keyboards and hip-hop percussion create a positive bubbling backbeat. Soon “it ain't that hard to find” becomes a repeated echo line, while delicate vocals continue with the lyrics “within you is Divine – quit wasting your time.” The vocal cadence quickens with the lyrics “falling out of control? Getting all mixed up in the fear? Let me take you back to all that's now and here.” Subtle effects and harmonizing are added to each successive line, as slight sonic change occurs with lyrics “hold on to – uninterrupted cosmic – vibration.” Further segments state “you already know: where you will take yourself” - as the backing track momentarily drops out to add emphasis on that last line. “I'm ready to go – if you want to take me too.” Another cadence shift happens with the vocals and lines “and we won't forget what's real – we'll know to turn our sights onto the light.” Vocal overlays commence “with good vibration” now alternating over “onto the light.”
Check it out:
An adorable near-childlike sincerity can be felt in the babydoll vocals and lullaby dreamhop instrumental accompaniment on “Come Along With Me.” Tapping into the same qualities that a band like Kero Kero Bonito frequently explores, “never be afraid of falling, listen to your heart when it's calling” is merely one of numerous positive statements. A level up occurs with the lines “now – take my hand – we have all the time in the world – come along with me.”
Give a listen:
“Tell me how you feel” is how Sarah opens final song “Real Chill.” “Heart of gold – no one told you so – in the end it's what you give not what you get” are additional intro lines that ultimately serve repeated hooks. A keyboard marimba sound provides rhythmic undercurrent for the wave of cascading vocals that follow. Additional buzzing synth-horns emerge as both support and solo, sounding a bit like the one on Pink Floyd's “Welcome To The Machine,” as well as on numerous electronic funk tracks.
Previous Turbo Goth features can be found on this site here, here and here.
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The always busy Brighton, England based Shore Dive Records returns again this month, promoting their 111th release featuring Stockholm, Sweden's We.ThePigs. The band released this full-length album at the end of last year, highlighting a lovely collection of female vocal dreampop, harsh Sonic Youth-like guitar noise and even a JAMC “tribute” as well. It all adds up to is an incredible collection of tracks, which now receives the notorious DCW deep-dive review.
Opening cut and featured single “Anyway” charges right out of the gate with a ringing clarion call guitar riff that initially descends, before reversing course towards an upward melody. The full band jumps in right away with hard hitting drumming and active bass-guitar counter-melodies. Blended female fronted vocals come on with elongated phrasing, while those driving guitar riffs continue on relentlessly underneath. A solid snare-drum press roll signals the turn into a chorus that's equal parts gazey vocal wash and harsh guitar noise. With everything momentarily dropping out, the singular guitar riff ever-so-briefly stands alone, before a slightly less-chaotic accompaniment supports the following verses. One more ramp up to full-on noise, leads vocals (and repeated single word title) to a satisfying conclusion.
Listen to this marvelous song here:
Follow-up track “Truth Or Dare” also begins with an open note guitar figure, before the band charges in underneath with syncopated snare drum shots, power chords and rumbling bass. Heavily reverberated female vocals soar over the mix with ethereal appeal. There's a lovely change section that perfectly encapsulates why dreampop music is so adored (and endures year after year). Not content to simply be sweet, a noisy pitch-bend guitar solo adds a touch of roughness to it all. Third song “Drift To Sleep” changes course with more gentle instrumentation, allowing a softer space for the sweet female vocals. Like one of Cocteau Twins more vocally audible ballads, lyrics referencing “nighttime shadows on my wall, creeping further as time goes ” and “watch the shadows grow” emphasize the songs lullaby nature.
A few seconds of extended feedback introduces “Closer,” while a pattern of abstract drumming provides start-stop movement. A heavy two-chord, bass-driven movement enters the fray, before ghostly vocals float over top with purpose. There's a bit of a Raveonettes feel to this one, with dreamy gossamer vocals over a clearly defined rhythm. The chorus does nothing to dispel this perception, as classic dreampop vocal stylings are then followed by distinct melodic guitar hooks. Next cut “Sounds” leans on more traditional MBV-style slightly-pitch-bend strummed guitar chords, before full band entry with forward-momentum urgency. Entrancing female vocals waft in declaring “I had a dream last night” going on to describe the “sounds” and how “I was spinning round and round.” The Raveonettes vibe is even stronger here with sheering wall-of-noise guitars surrounding a precise melody inside.
Gentle unaffected guitar strumming momentarily leads off “Sharks,” before the full band enters the mix. The soft female lead vocals emphasizes held, extended notes at the end of each phrase. There's more of a Harriet Wheeler/Sundays feel to this one. The guitars are much noisier and “gazey” here, however. “Goodbye” taps into the spirit and early vibe of The Jesus and Mary Chain's wonderful Psychocandy tracks “The Living End,” “Never Understand” and “My Little Underground.” This is pretty much the highest compliment you can give, as the JAMC were (and still are) the greatest band ever.
A steady bass guitar rhythm leads into the gentle vocals on “Curtains.” The mood is driving, with a touch of melancholy, once again tapping into the allure a band like The Sunday's did so well. “What was your dream? I think you told me. Cherry blossom in the air,” highlights the tenderly ambiguous poetry being stated. The final minute bursts in an explosive elevation of combined instruments and voices. Snare drum rolls kick off the bluntly named “Fuck Your Songs.” Charging forward with mad abandon, things quiet down just enough for reverberated vocals to spin it's tale. “I just wanna – feel something” develops as the primary vocal hook, along with the title line itself as the track closes out. Intricate rising (then descending) guitar riffs add another level of quality to the overall proceedings.
Flanged effects are utilized on strummed guitar chords opening the placid “Carry.” With no drum beat, the vocal and soundwash ambience emphases a more formless shape, similar to My Bloody Valentine's “To Here Knows When.” Melodic guitar figures, dominant driving bass, pulse-pounding drums and Swedish language vocals are the hallmarks of “Vi Skriiker.” Like most “gaze” music, it's not really necessary to understand what is being sung to experience the power and beauty expressed.
Final track “Patterns” is a lullaby (of sorts) featuring open note arpeggiated guitar chords and the unexpected lyrics “you feel just like shit, but you go on anyway.” It's the “pattern of your life” even though sometimes “you smell so nice.” Two minutes in and the full MBV downstroke and cymbal bash assault kicks in for dramatic effect. With that head-smack in the books, the lullaby returns, but does anyone really think that's the end of noise? The final minute doubles down on the Shieldsian assault as vocals reiterate how this is all “the pattern of your life.”
Hearing from other bands out there who've read DCW Reviews is never a bad thing. In fact, it's probably the most common way things find their way onto this site these days. Enticed to check out the music of already established indie rockers Star Collector proved to be a prudent endeavor. Working in the classic 4 piece, two guitar, bass and drums formation, an impressive level of vocal harmonies lift them above rudimentary “garage band” status. A further analysis of their music follows below.
Their latest video single “Green Eyes” from current (and 5th overall) album “Game Day” exhibits a classic pairing of spirited imagery and hooky pop song. Opening with the sound (and visual) of tape recorder in motion, quick cut shots featuring steady drum beat, chugging guitar chords and speedy studio set-up are enhanced by reverse-image hue. With the opening vocals and subsequent seamless harmonizing (where it appears each band member contributes to) that seminal power pop band Big Star once again comes to mind, with elements of Buffalo Springfield as well.
Lyrically describing a “young child with dreams” who has an “imaginary friend” and how “we didn't get it” ultimately leads to a big The Who-style guitar-slash/drumroll-thrash bridge realization “now I got it!” That transition brings on an uplifting harmonized chorus stating “'cause it was there in your green eyes.” Subsequent verses reference how “the oil douse the flames” (with brief firey imagery over prominent bass guitar) and “smoky warm embrace” (bearded “wiseman” with pipe) on over to a board game called “29.”
That chiming, harmony-hooked chorus rises again, concluding with the mystical sentiment “and for all the stars that shine – there's one that passes through to our green eyes.” Like all great rock/power pop songs, a smoking hot lead guitar solo breaks out appropriately, embellished by proper rhythmic undertow from the rest of the band. A sense of go-for-it determination is felt in lyrics like “the moments out of reach – we try to grab it!" There's even a coyote making it's way into the mix (both in song and video) to the power of “all the stars that shine” - from – and through “our green eyes.”
Finally, the beloved genre known as "shoegaze" has been going strong since is arrived in the late 80's, early 90's. While many of us were instantly drawn to it because it was different (in an intriguing way), anyone who had ever had the misfortune of having to work in a factory alongside large grinding machines couldn't help making sonic comparisons. Even smaller household appliances or having to hear construction going on next door triggered points of reference. While much of this "gaze" or "noize" music seemed to incorporate the abrasive sounds of malfunctioning table saws or circular saws hooked up to flanger pedals, actual evidence of this was only speculation.
Fortunately, the fan community has taken things into their own hands to highlight what we have suspected all along. The below videos provide actual proof of what we instinctively knew.
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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