Features: Frankie Rose-Cage Tropical, Tempers, Psychic Selves, Birds, gods, Autodrone

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.

Social Media Awareness

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Frankie Rose heads out on a Big Tour beginning in September with scheduled dates running all the way through November.

You can order her album here.

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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.

Find out more about Tempers here

Previous live show attended March 2016

First meeting - April 2013

First Dave Cromwell written feature on Tempers - on The Deli Magazine

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Having last covered the musical output of Brooklyn dream-psych collective Psychic Selves a 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.

Psychic Selves play live at The Knitting Factory on August 22nd as part of their cassingle release show

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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.

“Everything All At Once” is now available through Greenway Records and through most listening formats.

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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.

Listen Here

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.

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Features: Tall Juan, Sketchy, Joseph Sant, Lost In Society, RANN, Public Memory, Syvia, Britanys, The Teen Age, gods, Writer

A number of Dave Cromwell written features have appeared on The Deli Magazine since the beginning of this year.  In an effort to shine additional light on these artists and their music (along with the descriptive insights written about them), they now are re-featured here.

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Far Rockaway, Queens resident Tall Juan wears his Ramones influences well on the most recent EP “Why Not.” Moving from his home in Buenos Aires, Argentina to NYC and the borough that gave birth to the original punk rockers shows an admirable level of devotion.

Though Joey Ramone may be the obvious initial point of reference, there are elements of Richard Hell’s vocal inflections sprinkled throughout the songs. In keeping with that era’s initial punk ethos, all songs are approximately a minute and a half in length. Opening track “Why Not” may reflect Johnny’s quick chord change progressions, but are delivered instead on an acoustic guitar. “It’s True” (streaming below) channels the buoyant rhythm of “Sheena Is A Punk Rocker” with lyrical content closer to “The KKK Took My Baby Away.” Third track “I Don’t Know What To Do” clocks in at barely over a minutes and leans a bit closer to Hell’s Voidoids than the boys from Queens. Final track is a cover of the Dee Dee penned “Chinese Rock” that playfully interprets its lyrics.

Original Tall Juan Feature on The Deli Magazine by Dave Cromwell can be found here.

Two solo sets are scheduled in Brooklyn before flying to Europe for more shows there.  He is appearing May 26th @ Sunnyvale and May 27th @ C'mon Everybody.

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Punk rock isn’t the first genre that comes to mind when you think of deeper lyrical content. That particular sound is usually about reaction and feel, most often rage or at the very least, discontent. A quick perusal of Brooklyn based Sketchy’s song titles, however show clever minds at work.

Opening track “The Thinkiest Guy In Thinktown,” off of their debut full length album “I Wanted This To Go Different,” hits like prime era Replacements only with growly emo vocals. Classic dual guitars pair Johnny Ramone hyper-speed strummed chords and hook heavy single note riffs. “Whiskey Nostalgia” thunders along like a college frat theme song where all the pledges have been given amped up electric guitars after listening to hours of The Clash. “I Wrote A Suicide Note” is a quick minute and a half burst, sharing kinship with LA punk pioneers Social Distortion’s seminal debut album “Mommy’s Little Monster.” The cleverly titled “Someone Else’s Hook” succinctly references rock music’s overall recycled nature, wrapping it in a sound style reminiscent of early Weezer.

Sketchy on The Deli Magazine by Dave Cromwell

and on DaveCromwellWrites Facebook Page

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The ever expanding universe that is Brooklyn’s dreampop scene seemingly knows no bounds. While numerous bands explore that style’s noisier side, the recently released debut EP “Sea White Salt” from Joseph Sant takes a more introspective approach. Although a prominent drum track initially propels featured single cut “Nor’easter” along, the emergence of soft surf-rock guitar lines and whisper-sung vocals establish an unmistakable ambient mindset.

Textured guitar melodies appear within the tracks instrumental second minute, creating the sonic equivalent of swelling wind and ocean. A denser, layered crescendo explodes just after the 2:00 minute mark, and you get the sense that the storm has now peaked. The feeling is poetic without actually being able to pinpoint any clearly defined storyline. In fact, only at the very end when the instruments go quiet can you make out the lyric “all that I hated and struck at – lost its hold over me.”



While readily acknowledging Beach Fossils and Wild Nothing as initial developers of this sound, emerging bands like Lazyeyes and now Joseph Sant continue its forward progression.

Joseph Sant on The Deli Magazine by Dave Cromwell

and on DaveCromwellWrites Facebook Page

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While New York City stands as punk rock’s authentic birthplace, neighboring New Jersey has also contributed to that genre’s gritty sound. The Garden State may be known for established acts like Springsteen and Bon Jovi, but power-punkers Lost In Society find muse in early era punk and 90’s grunge.

Single “I Want To Know” successfully touches those two bases in a concise two plus minutes. While the intro’s mid-tempo drum rolls and emphatic guitar chords suggest a classic power trio, subsequent tempo shift to a much quicker pace establishes truer intentions. Verses come fast and hard and tell the story of working class people barely getting by “check by check” and “sinking down to a hopeless debt.” With the chorus initially (and conveniently) namechecking the song title, the next lines echo the best of Nirvana in cadence tandem with lyrics “when you take what you get and you don’t look back, do you feel no regret, do you really keep check?” Their full length record "Modern Illusions" (produced by Pete Steinkopf, guitarist of The Bouncing Souls) was released earlier this year, and is well worth a listen.

The band is currently on a sizable west coast tour, so catch them at one of those shows if you can.

Lost In Society on The Deli Magazine by Dave Cromwell

and on DaveCromwellWrites Facebook Page

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Dueling left and right stereo channel guitar bursts introduce RANN’s live-in-studio video recording of “Falling,” the latest track off their debut album “Yellogun.” The polyrhythmic structure is soon filled out with precisely placed synth, sharp drums and driving bass figures that allow for dramatic spaces between those notes.

“How does it feel?” introduces the essential vocal hook, with the songs title embedded in the answer line “right before you start falling.” When the arena sized chorus ultimately emerges, a catchy rising melody hook punctuates each passage through. The overall feel is reminiscent of ELO’s psych-pop Beatles influenced hits. Directed, edited, and shot by Ryan Ela of Midnight Treehouse Productions, the video makes use of high quality black and white imagery in showcasing the bands impressive live performance.

The band blitzed through a winter-through-spring tour including featured performances at SXSW in Austin, Texas before hitting significant shows in Los Angeles and New York.

RANN on The Deli Magazine by Dave Cromwell

and on DaveCromwellWrites Facebook Page

RANN will be playing live during The Northside Festival at The Deli Magazine Show

Get a Badge to the Northside Fest here

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Having previously admired Robert Toher’s work in the dark synth-percussive band ERAAS, his latest project Public Memory recently released a new album and live shows in support. “Wuthering Drum” was released March 18 on Felte Records with significant tour dates surrounding its arrival.

Standout track “Zig Zag” projects an ominous buzzing undercurrent with fluidly pulsing percussion that although mechanical and electronic, gives off the sense outdoor tribal communication. Vocals further enhance this mysterious sensibility, with alien landscape processing and frequent tandem synth lines. Its overall feel is hypnotic, possibly ritualistic, leading to an ultimate unsettling vibe. The soundtrack to a film sequence where the protagonist puts on a fright mask, douses his victim with psilocybin and proceeds to blow their mind. Initial lead single, "Lunar," and the follow-up, "Ringleader" can also be heard at the links attached to each.

Upcoming Performances - Spring / Summer 2016 - 05.27 Brooklyn, NY @ Rough Trade East - 06.09 Brooklyn, NY @ Trans Pecos - 06.11 Brooklyn, NY @ Palisades (Northside Festival) - 07.23 Philadelphia, PA @ MOCA - 07.30 Brooklyn, NY @ St. Vitus

Public Memory on The Deli Magazine by Dave Cromwell

and on DaveCromwellWrites Facebook Page

Public Memory will also be appearing at The Northside Fest

Individual Tickets can be gotten Here

or a Badge to all the shows can be gotten Here


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From the opening double-stick flam pattern drum figure, heroic guitar notes and vintage sine wave synth pads, Brooklyn’s Syvia lay claim to a classic alterna-pop sound on “Anxious Animal,” the lead track off their recently released 5 song EP “Silent Violence.”

A repeated vocal hook “you will never be enough, you will not amount to much,” suggests singer Ruth Mirky may be speaking of more internal doubts than anything outwardly accusatory. Though some have stated Yeah Yeah Yeahs as a stylistic equivalent (and overall vocal tone and recording techniques do bear this out) the song structure leans closer to early 1980’s “new wave” monster hit “I Melt With You” by one-hit-wonders Modern English.

However the pacing of this track is more deliberate and laden with harsher guitar layers pointing towards early aughts Swedish indie rock band The Sounds, pioneer new wave acts Blondie and Missing Persons as sonic counterparts. In addition to the EP release, the band played dates in Norway, Sweden and Finland as part of The Brooklyn Sound Tour.

Syvia on The Deli Magazine by Dave Cromwell

and on DaveCromwellWrites Facebook Page

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Hip two guitar rock with underground panache is always welcome in NYC. Bushwick-based rockers The Britanys present a quirky mix of those attributes via current single “Basketholder” Securing producer Gordon Raphael for this track, a similar sonic clarity can be traced to his work with The Strokes nearly 16 years ago.

Defined riffs morph from tandem structured second guitar chord progressions to chugging counter polyrhythms. Vocals are delivered in feel that appear to echo Lou Reed’s street lingo sensibility with Julian Casablancas’ early sonic effects. While lyrics lack cohesive storytelling and are seemingly unrelated ideas strung together, perhaps that’s the intended point. “Well I’ll be your basketholder – if you’ll be my girl” speaks to something more universally relatable than a simple literal statement. Incorporated within the three minute length are a number of catchy hooks that establish urgency through staccato drum patterns and double-time emphasis. The lyric “but I can’t take it much longer, this running around the city all day” leads up to the tracks ultimate structural peak, where music and words come together with emotional force.

The Britanys on The Deli Magazine by Dave Cromwell

and on DaveCromwellWrites Facebook Page

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With the release of their latest EP “Bad Seed” on PaperCup Music earlier this year, Brooklyn’s The Teen Age celebrated that momentous occasion with two consecutive shows at premier Williamsburg venue Rough Trade.

Although the band explains that the 4 song EP was written as an “ode to growing older,” the single “Backwards” feels emotionally rooted in the now. Under the capable production eye of Jason Finkel at Converse Rubber Tracks studios, the band makes the most out of select intro feedback, immediately catchy guitar riffs and a joyously propulsive rhythm.

While the verses may bring to mind early days of The Strokes, the chorus serves to elevate the track into an instant classic. Pairing a guitar line melody in tandem with the vocal hook “I don’t want to live without you – I just keep on falling backwards” feels closer to the heart-tugging surf of Beach Fossils.

Two noteworthy live shows during The Northside Festival are scheduled, with the first at Muchmore's on Friday June 10th.  While the event is an early afternoon through rest-of-the-night affair, The Teen Age are set to play at 10 pm.

On Saturday, June 11 they'll be playing the PaperCup Music and Indie Shuffle Official Northside Showcase at Our Wicked Lady.

Looking further down the road, the band will take part in the Out In The Streets Festival, with a show on Sunday July 17.

The Teen Age on The Deli Magazine by Dave Cromwell

and on DaveCromwellWrites Facebook Page

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Asbury Park’s fertile music scene has had a long history of influence on the NY metro area and beyond. A recent offshoot of The Parlor Mob – a band I initially wrote about for the Deli here emerges as gods with their latest EP “Endless Stunner.” Leadoff track “New Future” builds off a forward driving snare and bass drum beat with tambourine-jingle enhancements, as guitar chord structures playfully invert The Beatles “Ticket To Ride.” Vocals begin as the drums drop out, creating a harmony-induced dreamlike sequence before the beat kicks back in. Lyrics “I have been waiting it seems until eternity brings me the light” underscores an accent punctuated chorus and riff heavy guitars.

“Creatures” rises out of an electronic bass pulse center, allowing space and sonic textures to float around it. With individual percussive elements emphasized through heightened studio effects, an overall sinister feel in rhythm emerges. One could imagine this as film score music behind a pivotal travel-to scene. The pure pop single “Puttin’ Me On” seems as if molded from prime era “Electric Warrior” T-Rex combined with joyous groove of 70’s psych-pop bands like Mungo Jerry. Bolan-esque vibrato infused verses are followed by the handclap punctuated hook “B-B-Baby, don’t you know you drive me crazy, you do!” As catchy a pop rocker you’re likely to hear, the best elements lock together bass, lead and rhythm guitars.

Clocking in under two-minutes, “dream, dream, dream” moves things further back in time with its mid-60’s British blues feel. The vibe is early Yardbirds, Eric Burden’s Animals and the Van Morrison fronted Them. Title track “Endless Stunner” serves as the EP’s big time rave up grand finale. Epic guitar hooks share sonic space with raucous vocal screams, abruptly staggered drums and dreamlike plateaus, bringing together the best of hard rock and prog.

All of the tracks from this record can be heard here on their Soundcloud Page

The band is featured in The Deli Magazine Artist Of The Month Poll, where you can cast a vote for them.

gods on The Deli Magazine by Dave Cromwell

and on DaveCromwellWrites Facebook Page

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Former Deli Album Of the Month and CMJ Indie Stage alum WRITER recently returned with their follow up full length album “Principle Web.” Out on Small Plates Records, the ten track long player can be acquired in either digital or the once again popular vinyl format.

The single “Neighborly” presents a hypnotic drum beat straight outta Creedence Clearwater Revivals 1968 hit “Suzie Q,” as buzzy, distorted guitar and bass hover on a singular note before moving into a three chord progression. Chanted vocals come delivered with a mantra-like “I love – all of you.” A full minute in and the vocal cadence quickens, delivering simple observations like “there’s a shortage of clean laundry, and a mound of plastic bags” with the following verse declaring “there’s a party” as well as “a new tree that was planted.” People living in close proximity of each other would be inclined to share this kind of information.

In place of where one might traditionally expect a guitar solo is a falsetto vocal melody, moving it all closer to David Lynch film soundtrack weirdness. Harder power rock guitar chords lead the charge towards an ending that conjures the sound of a car wreck explosion. The accompanying video directed by Brooklyn-based visual artist Paul Remund portrays moving images in stark black and white, distorted by a form of digital cubism.

The band will be playing Shea Stadium in Brooklyn on Saturday, June 4.

WRITER on The Deli Magazine by Dave Cromwell

and on DaveCromwellWrites Facebook Page

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