Fresh Analysis + Reviews in the New Year

 With 2021 now finally upon us, a fresh start to the year featuring brand new artists' material serves as the driving force on this January DaveCromwellWrites entry. While the records reviewed are recent, some of the creators have been honing their musical skills for a number of years. Trusted media brands continue to shine light on works most deserving by songwriters and sound designers worthy of the deep dive their music receives here.

Returning to a seemingly bottomless well of brilliantly formed dreamgaze artists, Shore Dive Records' January 1, 2021 release “Summerheads And Winter Beds” by The Raft is a stunningly beautiful collection of 13 tracks. Conceived by songwriter and multi-instrumentalist Phil Wilson (who has been writing, recording and performing under the name The Raft since 2003), an elite group of dreamy female vocalists are employed throughout the album, providing necessary lush counterpoint to Phil's own voice.

Opening track “Clear Water” features the multi-layered vocals of co-songwriter Claire O'Neill, who morphs between soft breathy and full throated operatic styings. It's all mood and majesty against Wilson's and co-writer/co-producer Jpedro's dramatic instrumentation. Follow-up cut “There's No Going Back” holds closer to the alternative rock format pioneered by bands like The Cure, Stone Roses and Ride. Bright guitar hooks, driving bass and Loz Colbert-style drumming (presumably played by a combination of Wilson and JPedro) has Ms. O'Neill returning to sing harmonies on Phil's storytelling vocals. Third track “So Bright” drops the pedal harder on what “gazey” music is all about, without ever losing sight of melody or rhythm. Sure, there are moments of shearing guitar, and a full chorus of blended female backing vocalist (the aforementioned Ms. O'Neill, joined by Red Shelly, Ellie Long and Milly Winter), however distinct instrumental hooks also play a substantial part.

The truly gorgeous “Hold Back The World” serves up a heart-tugging, emotional tour-de-force of melody, rhythm and lyrics. As Phil sings in tandem and harmonies with his team of female vocalists (Liz Kramer the new addition along with O'Neill and Shelley), a perfect blend of keyboards, guitars, drums and tambourine lifts this track into the stratosphere. This song is so lovely, it can even melt the heart of the most cynical amongst us. “You're An Animal” pulls out the chiming acoustic guitar for this Mark Gardener and Ride-style vocal homage. While Phil's vocal timbre clearly resembles the aforementioned master, Ms. O'Neill's higher register harmonics continue to assist in pointing everything in it's own unique direction. “Skeletons” slows the pace down, as Phil and Claire present this unfolding story via tandem studio-sheen vocals. Eastern-influenced percussion dominates, while bright guitars and keyboards come carefully placed across the sonic field.

Jingle-jangle breeze runs through the sweetly sentimental “Another Day.” Acoustic guitars and electric melody lines are impeccably placed over keyboard pads in the just right measure, while Phil, Claire and Liz do that blended vocal thing so well. “Heavy Metal Eyes” comes on slow and deliberate, with Phil pitching his voice down lower into Jim Reid/JAMC territory. The female vocal tandem soon arrives with Liz Kramer, Red Shelley and newcomer Dani Mari providing their individual parts, and ultimately merged into sonic walls of bliss. “Thinking About You” pivots off a bass and percussion style most-often associated with “dance” music – without actually devoting any real time exploring that well-trod genre. Instead the lush vocal harmonies (Kramer, Shelley and Phil this go round) are complimented by guest keyboardist Mike Collings, who delivers an impressive organ solo.

The impressive Claire O'Neill takes the dominant vocal position on 10th track “Twisting.” With only an acoustic guitar backing for the songs first minute, Claire's lead vocals stand out, providing a “twist” indeed to what has come before. Phil's backing (and blended) harmonies fill out one more series of powerful melodies and lyrics. “This Is War” builds off the traditional 1-2-3, three-quarter waltz time signature. With a razor buzz sheen on Phil's vocals, Liz and Shelley are called in to provide harmonic depth. Clever layers of deep percussion and synthetic pulses are paired against more spacious, guitar-centric passages. Conversely, “You Need Me” chugs along like a straight-ahead rocker. Sung (mostly) in tandem with Ellie Long and/or Red Shelley, a strong guitar-bass presence matches Phil's vocal cadence. Concluding track “The Story Or The Song ?” returns to a ¾ time progression for it's epic length proportions. Claire appears one final time to join with Ellie and Shelly on backing vocals, adding the beauty and lift that is so apparent with every single track on this album.

Find out more about this artist, including how to acquire their album HERE.

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Another recent release from Shore Dive Records is the debut EP by French duo Tender Tones. Cleverly titling this record “Youth Retirement Club,” Manon Deruytere & Maxime Pargaud delve into the nostalgic side of gaze, synth and dreampop. The Ep serves as a partnered co-release between ShoreDive and American label Somewhere Cold Records.

Opening cut “In Dreamed Lives” puts the synths out front and center with a retro-pulsed fade in of arpeggiated brass tones. The percussion is clean and bright, leaning more towards the less-is-more scenario. Manon and Maxime sing in tandem with the lower male voice serving to support (in this instance) the female lead counterpart. Verse recitations come against fundamental percussive beats and individual keyboard stabs, which alternate against a return to the dominant opening hook and dreamy chorus. There's an intoxicating spacious minimalism to it all, luring you in with it's seductive calm.

“Strangers From Ultra” comes on at a quicker pace, with guitars and bass pulses working their way into a busier percussive mix. Vocals are now presented in a least two formations, with the first in pure tandem, while the second reflects a similar audio separation found on the opening track. That second vocal passage comes enhanced by rolling tom-toms and throbbing bass guitar progression. Catchy hooks abound on a beguiling chorus that recites the English language song-title with charming French accent pronunciation.

“Red Lovers” relies on deep rising bass-tones to apply sonic drama underneath higher-pitched synth swirls. Verses are then delivered against a sparser background, with dispersed percussion and airy open space. That allows for an alternating cycle of uncluttered passages followed by climactic resolutions. The overall feel brings to mind powerful 1980's recordings of bands like The Human League and their seminal album “DARE.” “Pay More Pray More” quickens the pace, while still relying on an electronic jungle-drum-beat, whooosing background synth-textures and blended male-female vocals in equal measure. With momentary levels of unsettling sonics building tension, a snaking synth-bass rumbles underneath vocal declarations. It's uncertain if the songtitle is meant in literal sincerity, or references continued propaganda of current times, and into some dystopian future.  

A singular drip-drop pulse introduces “Still White Noises,” which subtly mutates in pitch before giving way to fuller instrumental representation. Relying predominantly on a sinuous wavelike synth-bass motion, whispery vocals are accompanied by sharp percussion and otherworldly sonics. A strong melodic chorus is still the hook you hang your hat on, with clearly defined (and stated) structure. Final entry “Tournée Au Japon” emerges from a hypnotic, far-Eastern-style rhythm that would reflect the songs title. Full keyboard pads underscore French language vocals that presumably reference a tour of Japan. With female vocals taking the majority of delivered lines, male vocals provide deep harmony support at specific moments.

Follow these links to find out more about this band, and how to acquire their music.

Facebook -- Instagram -- YouTube -- Album/Youth Retirement Club

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The specialty music publicity brand New Dark Ages PR has also provided a steady stream of new and established artists to this site. Focusing on Gothic/Industrial, EBM, Black/Death/Heavy Metal and Hard Rock, there's always something compelling to dig in to. The latest to emerge on the DaveCromwellWrites radar is Goth-Industrial artist Night Terror, with their new full-length release “Freak On The Inside.” This solo work of musician Jeff Heveron presents a unique blend of deep goth-style vocals (straight out of the Peter Murphy school) with synth-driven industrial grooves.

Opening track “Wreck It” (accompanied by an official video release which can be viewed down below) bubbles up via arpeggiated low-register synths and complimentary rising singular note pads. Bass-drum thump lays down the steady heartbeat, before quick dropouts signal a percussive turnaround as the lyrics begin. As previously mentioned, there is a strong Peter Murphy vibe in vocal tone and inflection on what are autobiographical, yet poetic verses. Keyboard melody runs over percolating undertow make it clear this is a song you can actually dance to. However, frequent ambient passages and rhythmic divergence serve to avoid any sense of static monotony.

“Addiction” begins with a cinematic “movie score” vibe, sonic atmospheres one could perceive accompanying tension-riddled scenes in horror films. Synth stabs and factory-sound percussion undergird busier keyboard lines over top. “Oh my God I've lost this purity” serve as a lyrical reference to the tracks overall theme. In interviews the artist speaks freely about how his path to sobriety has led to a more productive life. Those who've also lived this journey know all too well the truth in this life-enhancing choice. “Get back to the dream I had – build a life” are inspiring lyrics of positivity.

“Go Now” builds off of an intriguing pitch-bended synth-texture. The combination of simple defined instrumental lines and busier rhythmic crosscurrents evoke similarities with synth-pop pioneers like New Order and Depeche Mode. “This darkness rises” serves as a lyrical tentpole for an unfolding internal struggle. “Maxxed out” combines spacious ambience, measured synth notes and distant spoken word “public service” announcements with more forcefully defined progressions. There's more urgency found on the mechanized advancement of “Get Out Of This Place.” Vocals come narrated more than actually sung here, which adds an ominous level the whole proceedings.

“Viral Attack” tackles the top story of 2020 and the fear this pandemic has wrought. Referencing the confusion and disinformation surrounding it as well points to a worldwide problem still gripping everyone's lives. “Beloved” plays undistorted bell-like keyboard lines against harsh pummeling rhythmic structures. As Murphy-esqe vocals return in full form, those busy industrial sonics throttle underneath creating an abrasive dancefloor groove. Buzzing brassy keyboard tones are employed as melody-motion for the word-heavy, lyric-driven “Falling time.” “I find my life on the ground – it's falling time again” is the sentiment, set against engaging syncopated percussion. Close-out track “Twenty Twenty” is a moody, entirely instrumental piece that emphasizes steampipe hisses, thumping heartbeat bassdrum, hand-clap percussion, and giant empty iron vessel atmospherics.

"Freak on The Inside" by Night Terror is out now on Tigersquawk Records, and can be acquired via these links:

Facebook -- Instagram -- YouTube -- Bandcamp

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MORTIIS - Interview and Preview of North American Tour Dates

Innovative Norwegian artist Mortiis has created a unique catalog of music that dates back to the early 1990's.  Emerging out of the Black Metal scene, Håvard Ellefsen developed a solo project for the longer form music he was creating, complete with a dark and mythical image to accompany it.  Those early releases would see him co-founding a genre known as “dark dungeon synth” with significant solo records released between 1993 and 1999.

Those 90's era releases make up what is known as his Era 1 material, which encompasses extended ambient musical pieces that are equal parts cinematic and beat driven.  After touring this solo material throughout Europe, Russia, Australia, Mexico and South America this past year, Mortiis will perform his Era 1 material in USA and Canada for the first time in 20 years.  Engaging in an email interview with the artist just prior to his arrival on North American shores, a number of questions presented allow for a further look into this musical universe.

DaveCromwellWrites: Since you will be playing your Era 1 material which is all instrumental (with some brief spoken word segments) is your goal to let the music speak for you entirely, precluding the need for a vocal microphone in front of you?

Mortiis: I honestly haven´t analyzed anything that deeply...I always just go with what feels right and, when it feels right, that is good enough for me.  That said, I like the idea of instrumental music, as it opens the mind in a different way that say music with sung lyrics tend to do, where lyrical content and the emoting of the voice probably dictates how "you´re supposed to feel" about the music... When I started listening to Tangerine Dream and Klaus Schulze 25 years ago, it was a very special experience in the sense that it could take me to different places every time...It was instrumental (for the most part) so even though the music was the same on every repeat listen, the landscape of my mind would continue to change... That may sound a bit pretentious. I´m not saying this is why I chose to create instrumental music, but perhaps it did play some role.  Btw these shows are completely instrumental.  I tried the spoken word, and I didn't feel it worked well live.

DCW: Your recent live appearance at The Place Club in Saint-Petersburg, Russia shows your stage set up as a single keyboard embedded within a box-like structure. You appear to be playing the melodies with your right hand, and chord work with your left. What else is going on in there? Do you have effects processors that you also manipulate throughout the performance?

Mortiis: That´s not anything I feel anyone needs to know, haha!  When you try to convey atmospheres and perhaps take people away to strange places, you don´t really feel the need to inform them about what software is going on and what mac model I use up there, haha!  I know some bands love to flaunt gear, personally, for this type of music, it´s the last thing I want to see or hear about.  It´s all about the visuals and sonics.

DCW: Do you have a dedicated sound person that is touring with you? Is that person integral in assisting with coordinating the additional sounds (like percussion and other orchestration) that are necessary to provide the full scope of these compositions in the live environment?

Mortiis: No I do not bring sound people with me.  This is pretty much a one man operation.  I mean I bring one or two assistants, but their job is usually getting me from A to B, handle merch, and so on. It really isn't need in the sense that I bring the stuff that I need and I set it up on stage myself, all the music and all the composition related work, has been done in the studio.  I have no interest in pretending that a lot of this isn't on tracks, because it is, just like all other music created and performed electronically.  Of course it would be awesome to bring along organic instruments and people to play them, and at that point you´d want to bring a dedicated sound technician as well, and it´s something I´d like to do in the future for sure.

DCW: You've stated that you were in part inspired and influenced by electronic ambient artists like Tangerine Dream, Klaus Schulze and others in that musical realm. As an avid fan of these artists works myself (and who listen to their vast catalog on a daily basis) what is it about what they've done that resonated in particular with you?

Mortiis: Musically I didn't pick up a whole lot from them, the thing that really blew my mind was these seemingly endless songs they created. I had never seen anyone do that before, and it almost felt like they were these outlaws that broke a bunch of conventional rules...They made really long songs that covered entire sides of LPs, and they created really atmospheric (and sometimes, in my mind, at the time, dark) music that wasn't created using the instruments I was used to at the time, which was your guitar, drums, vocals... I had listened to stuff like Pink Floyd, but this took things to extremes. I think it was the idea that you shouldn't worry about conventions and standards that inspired me the most. I loved the music, but I didn't really try to emulate it...Mostly (probably) because I wouldn't have known how to do it, haha!



DCW: In addition to those synthesizer pioneers mentioned above, you've name-checked the film score work of Vangelis and early pop experimentation of Kraftwerk. Are you also familiar with and can you appreciate the large catalog of work that Ulrich Schnauss has created over the years?

Mortiis: To be brutally frank, I was not familiar with his work, but I did check him out on Discogs, albeit briefly, and it´s sounding really good. Not quite as "pure" sounding as Tangerine Dream for example, and more melodic (what I heard so far) than someone like Klaus Schulze (who was very soundscapy back in the day) but this sounds really good.

DCW: Your Wiki indicates you have two other active band members in Levi Gawron (Levi Gawrock Trøite) – guitars, programming, mixing, bass (2001–present) and Tim Van Horn – drums (2011, 2017–present).  As it appears you are completely solo on this tour, do you still plan to incorporate them in Mortiis at some point down the road?

Mortiis: Tim and Levi were part of the industrial part of Mortiis and they don´t really have anything to do with this version of it, which has largely been a solo effort. Then again, I have brought people into this version of Mortiis in the past, so never say never I guess.

DCW: The Era 1 music is sweeping, grand and orchestral. It has been stated you've done soundtrack work on films where you've composed atmospheric music along with some of it actually “semi-song structured, with some melody and sense to it." The collected music has been said to be eventually released as a Mortiis album. Is that project still in the works and would you be agreeable to provide a soundtrack to other films if the opportunities arose?

Mortiis: Yeah that music was actually released as "The Unraveling Mind" fairly recently and yeah, if someone offered me a soundtrack job I´d certainly consider it. I mean there have been offers, of sorts, in the past, but more often than not they are from "directors" claiming that their vague "it´s in the pre-production stages" projects have tiny budgets, but offer great promo if I do it. Yeah I fell for that and did a million shows in the old days, getting paid peanuts...So while I may come across as sounding cynical, those days are over for me. If you want it, you have to pay for it, haha!

DCW: You have frequently mentioned how growing up as a “hard rock guy” you were initially inspired by classic metal bands like Iron Maiden, Saxon, AC/DC, Accept and Judas Priest. That combined with the showmanship of Alice Cooper helped formulate your visual presentation. How do you see the progression from that to the ambient soundscape music you ultimately evolved over into? Is there an actual progression, or is is simply the case of being interested in two separate things?

Mortiis:  I think it boils down to me at one point becoming very horizontal in my musical tastes and interests, as opposed to the really narrow minded hard rock metal guy I was when I was a young teenager in the late 80´ies. It´s really kind of odd, because the scene that really opened my eyes to other kinds of music, was the early Black Metal scene in Norway, and i think by and large, the consensus is, that anyone that comes out of that early scene, is a narrow minded music fascist, and that´s not true at all. People in the scene at that time, had a very diverse and eclectic musical taste...We´d listen to everything from Venom and Mayhem to Diamanda Galas and Devil Doll. so yeah all that said, it definitely was a case of me being into a whole variety of stuff...When I left Emperor, I was disillusioned with bands because in the past 2 years, I had been a member of 2 other bands that had some pretty hopeless members, and gotten booted out of the one band with the talent and obvious future (Emperor) so I was frustrated and pissed off at being in bands...At that point, it was easy for me to chose to go solo, and focus on keyboards and atmospheric music... THAT step was born out of being pissed off and tired of the other options, which was being in a metal band.

DCW: There's a live show of yours from October 1999 at The Batcave in NYC (since closed down) that has recently shown up on YouTube where you perform as a 4 piece (you and three other synth-percussionists and an operatic female vocalist). Do you recall that show or at least that period of your performance art (there is an additional “member” being a sacrificial female figure) and what were you attempting to present from a theatrical perspective?

Mortiis: That was part of The Stargate tour in 1999. It was part of the US tour that year, and it was the first proper US I ever did. That´s Sarah Jezebel Deva on vocals, and Erik and Fredrik, also of No Festival of Light / Ordo Rosarius Equilibrion fame on the percussion. I don´t really remember a whole lot from that specific show, since the tour was pretty much 25-30 shows almost back to back. I recall the NYC show from that tour as being a pretty decent show, although that footage you refer to, I have seen it, is pretty lofi and doesn't really do it a lot of justice...At that time I was really focused on filling the stage with stuff going on, it was really my way of doing what WASP and Alice Cooper had done decades earlier...albeit in a totally different musical setting. I mean I never really ever stopped to consider "hey, you´re existing within this twilight zone where goths, industrial people, metal people, and these odd dungeons and dragons people show up - are they collectively going to get what you´re doing, or understand where your ideas come from?"... I don´t know if I should have, but I never did...I always acted on instinct, and never looked back (well, almost never). I don´t think I ever thought it terms of "drama" or any other theatrical terms like that, I just wanted cool stuff to happen on stage...I like my dose of "thinking man´s music and entertainment" but at least at the time, I didn't consider Mortiis to be that, it was just a question of "OK is this cool? Would I like this as a fan? OK let´s do it."

DCW: With you often mentioning JRR Tolkien an an early influence on, at the very least, your initial visual imagery, one wonders what other authors you have read, admire or are interested in. Another admitted Tolkien devote is celebrated author George RR Martin. With the popularity of Game Of Thrones, many (including myself) went seeking his “A Song Of Ice and Fire” series. Have you read those books, and if not, what else have you enjoyed in the literary realm?

Mortiis: Well to be honest I didn't explore fantasy authors too far outside of the Tolkien realm.  I think at the time I kinda felt that nothing else came close...It was the same way I felt when I started looking for fantasy movies after seeing Conan the Barbarian, and realizing that there really wasn't anything else out there, that wasn't either flat out horrible, or at best low budget...I did like the Excalibur movie, though.  Anyway I did eventually read a lot of the Dragonlance and Death Gate Cycle books, by Margaret Weis and Tracy Hickman.  Another series I really liked was The Sword of Truth by Terry Goodkind.  If memory serves me right, I came across the first book in the series by accident, and it just turned out to be really good.

Beyond that, I've not really been delving too deep into fantasy genres...It´s been a mix of authors like Neil Gaiman, F Paul Wilson (and the fantastic "Night World Cycle"), Bukowski, Hunter Thompson, and not to forget the fantastical (albeit very dark and mostly horror) Necroscope and Psychomech series by Brian Lumley.

I neither read nor watched Game of Thrones so far, believe it or not. I just fell off the wagon...I watched all the Tolkien films obviously, and quite liked most of them...I did read the Narnia books, but they´re pretty much for kids, so I didn't get a whole lot of out of those.  Something people may not realize, is that the original Thousand Nights and One Night stories, are brutal as hell...Nothing to do with the watered out versions most people know. Worth a read for sure.



Mortiis will be performing his latest record "Spirit of Rebellion" in it's entirety.  This work is a re-interpretation of his classic 1994 ambient album Ånden som Gjorde Opprør.

Tour dates are as follows:

March 28 – Metro Gallery – Baltimore, MD
March 29 – Brooklyn Bazaar – NYC (Tickets can be gotten here)
March 30 – The Raven – Worcester, MA
March 31 – Petit Campus – Montreal, QC
April 1 – Velvet Underground – Toronto, ON
April 2 – The Forge – Joliet, IL
April 4 – El Corazon – Seattle, WA
April 5 – Hawthorne Theatre – Portland, OR
April 6 – Metro Opera House – Oakland, CA
April 7 – Lodge Room – Los Angeles, CA

Find tickets to all of the shows and connect with Mortiis via his Social Media outlets here:

Webstore -  Facebook  -  Twitter  -   YouTube  -  Instagram  -  Soundcloud  -  Bandcamp  -  Website

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Features: Whispering Sons, Magic Dance, TAUK, apbwas, Papadosio, Milkmen

A steady flow of new music releases arrive daily into this websites multiple email inboxes.  It can be overwhelming at times.  Making a renewed effort to investigate as many of these artists as possible, a select group has been chosen to receive the DaveCromwellWrites treatment.  The artists covered here are not limited to any geographic region or specific musical genre.

Straddling the lines between the darker side of goth-rock and what is more frequently referred to as “post-punk” these days, Whispering Sons are a Belgian group set to release their debut album “Image” this October on PIAS and Smile Records.

There's a distinct sonic lineage that runs through much of this material. While a starting point could certainly be the darker aspects of early Cure (with their seminal “Pornography” album serving as an initial reference point) other equally influential purveyors of late 80's and early 90's “gothic rock” like Bauhaus and Sisters of Mercy can also be felt.

Much of that is found in this bands instrumental and vocal delivery.  Like those early pioneering UK bands, bass guitar becomes the dominant driving force, while guitars chime downward, allowing for a deep and resonant vocal delivery.

Opening cut “Stalemate” sees that bass driving everything along through a forceful motion that also acts as the song's melody, while vocals are delivered in a Peter Murphy-esqe cadence over simple and precise motorik percussion.  The guitars aggressively throttle singular notes as dark synths fill in deeper sonics underneath.

 “Got A Light” emphasizes a start-stop percussive beat that leaves open spaces for the rich, deliberately-moving bass guitar figures, chiming guitars and deep, passionate vocals. An anxious undercurrent emerges through lyrical references such as the “need to sleep” (but having difficulty getting there) how “everything seems less like itself” and “there was never meant to be clarity.” Ultimately the question is put forward - “how are you feeling good – and not losing it all the time?”

“Alone” has the guitars moving forward to provide the prominent melody line hook this time.  The dominant bass is still very present, as more fractious drum patterns and on-edge vocals (echoing Ian Curtis desperation in Joy Division) create a sense of apprehension.

Lead single “Waste” rises up from pulsing synths and clarion bell guitar strokes.  A sense of foreboding is felt through the carefully delivered vocals.  As the track has yet to introduce any percussion at this point, guitars begin to fill in more defined melody lines.  Lyrics that tell a tale of internal struggles with s+m desires - “ I want to make you scream – the texture of your cries – pleasure me.  My own ideas – it's a perversity – that's slowly – spiraling down in me - and I don't know if I care,” is matched only by the bands intense instrumental delivery.

Check out the lyric video for "Waste"



The album is out on October 19th and can be ordered on vinyl or cd here.

Additionally, Whispering Sons will embark on a lengthy European tour beginning October 10th where they will support both The Soft Moon and Gang of Four at select shows.

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Magic Dance have just released a video for their first single “When Nothing's Real” in advance of the full-length album “New Eyes” scheduled to arrive in early December.  Recently signed to Frontiers Music Srl, singer/songwriter and band visionary Jon Siejka has created a heavy guitar and synth oriented sound that pays homage in part to peak-era 1980's arena rock.  While Jon wrote and recorded much of the record in his bedroom, Kevin McAdams drums were tracked at Virtue and Vice Studios in Brooklyn, with bass tracking at Tone Tent Studios in Stanhope, NJ.

Taking the currently popular lyric video to a new level, words are displayed in quick succession by two distinct alternating type faces against shifting cybernetic “tron-style” backdrops.  Arpeggio keyboards, whip-crack percussion, crunchy arena-rock guitars and rising choral background vocals (blended with sharp synthesizers) set the initial instrumental tone for this story of internalized frustration.  Jon Siejka's voice is rich and powerful, reaching levels attained only by an elite group of rock singers.  The songs production makes further use of these qualities by placing sharp emphasis on select words with a quick, shouted chorus of voices.  Whereby the lyrics “I want this noose to explode – that's wrapped around my throat. 'cause these bones I've cast in stone have shackled me far too long” – use that technique to accentuate the words “explode,” “throat,” and “far too long.” Riding the wave of precision drumming, chugging guitar chords and a sizzling solo, the ultimate question (and central hook) is asked “how can I feeeeeeel – when nothing's real?”

Check out the track here:



New Eyes will be released on December 7th and can be pre-ordered here.

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It's been a few years since the progressive instrumental quartet TAUK were featured here on this site. While an instant appreciation and respect for their impressive chops and overall ability was noted at that time, brand new material exhibits how much their sound has evolved since then.

The band will release their latest album “Shapeshifter II: Outbreak” on Sept 28.   Continuing the thematic narrative of their early-2018 EP, "Shapeshifter I: Construct," concern over the human condition as it relates to society and our freedoms are touched upon through video depictions.

Muted bass pulses, a singular exploding guitar chord and stereo-panned synth shimmering kick off the band's 3rd pre-release single “Checkmate.” As syncopated drumming and piercing guitar melodies fold in with this progression, the accompanying video (streaming below) pans over an open suitcase. With the image slowing moving through a sparse and somewhat squalor room, jazz-inflected guitar lines advance its sonic narrative. An individual is spotted lying in bed while another sits on the couch preparing to watch a video screen (with a mound of popcorn in sight). The camera continues to move, sometimes panning further out or flipping the image upside down. The driving music continues to pick up steam, with quick cut changes coming at an accelerated rate. Those precise arrangements and overall tonal qualities bring to mind a myriad of fusion artists from over the years. Checking off the mental reference catalog suggests a modern day offshoot of Jeff Beck, Allan Holdsworth, Al DiMeola and even some prog-rockers like Yes and Genesis.



As the video continues, the protagonist is seen out in a bucolic countryside, walking past a horse. Quick cuts to interior windows, close-up headshots and more in-bed reclining suggests much of this imagery is the product of dreams. The drumming becomes busier (with impressive snarework) and the melodies take on horror movie tones as the image of our man is seen maintaining his own arboretum that also houses life sustaining fluids like blood. The change comes (both sound and vision) just past the midway point when this individual casts off those elements while a hazmat-suit posse descends upon his house. A plateau of more sustained synth pads, guitar textures and propulsive bass guitar-drums interactions (echoing the brilliant rhythm work of Mike Rutherford's bass and Phil Collins' drumming on peak era Genesis recordings) establishes the soundtrack behind an eventual invasion of the house. Drawing narrative inspiration from your favorite kick ass movie, the homeowner sets out to defend himself. As the music drops into a post-event pattern, we see our hero has lost the battle and the invaders moving through his space. Amid the post-onslaught carnage, the initially shown suitcase comes into view (possibly containing some sought-after content) being taken away.

TAUK is currently on tour, with a big hometown show at Gramercy Theatre in NYC on Saturday, October 6.

Preorder the CD, LP or Digital, or listen on your favorite service here.

A previous DaveCromwellWrites feature on TAUK can be found here.

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Having last encountered electro witchhouse occultists A Place Both Wonderful and Strange performing at a Subvert Secret Boat Party (a Brooklyn floating “venue” at the crossroads of "Nostrand" and "Nosferatu" avenue) on an appropriate Friday the 13th this past Spring, the announcement of new material released from this collective comes as welcome news.

Their latest EP release “The City Smells Like Cat Spit” brings together four distinct tracks that provide a fuller view of these artists' united vision. Along with the newly recorded tracks, a video accompanies lead off song “Kristae (The Strawberry Girl).” While fans of Siouxsie and the Banshees will immediately “get” the sly title reference, the track itself bears little resemblance (if any) to that classic “goth” recording.



Emerging out of the sound of running water (or perhaps rain), a muted trip-hop beat beat commences, accompanied by carefully dropped in bass guitar notes. Russ Marshalek's vocals begin almost immediately, and are altered with effects and lower register modifications. This creates a sensation of dark mystery, whereby lines like “Kristae has a heart, that kind of falls apart” are enhanced by percolating percussive undercurrents reminiscent of Brian Eno's seminal “Another Green World” track “In Dark Trees.”

Laura Hajek's bass adds a level of warmth to this sonic mix, laying down a steady pattern of notes that creates an alternating syncopated line against the busy percussion. Her whispered vocals soon enter the mix as well and are layered throughout in cascading overlays.

The video itself depicts the band in a similar dream-like state, where images of live playing are woven together with deep hue red lighting and swirling disco ball reflections. The overall impression is as if you're viewing through the prism of a strawberry. With the live playing shots filmed at that very same Subvert Secret Boat show mentioned above, the bands hybrid balance of computer driven tracking and in-the-moment improvisation receives an accurate portrayal.

EP follow-up track “W*tch (Mevius Tour Version)” enlists the production, co-writing, engineering, mixing and mastering skills of fellow like-minded artists Mevius (also covered numerous times here on this site). Rich synth pads and bell-like melody notes share equal space with bright hip-hop influenced percussion. With those 16 and 32nd note high-hat rattle percussive textures momentarily dropping out (before quickly returning), Laura's vocals move front and center for the first lyrical foray. As a subtle male voice quietly rises (then recedes) into the mix, an overall romantic quality can be felt throughout.

“Stone (Version)” makes use of spoken word poetry to introduce i'ts initial visual imagery. That's followed by a hypnotic dance-trance rhythm that makes full use of synth enhancements and bouncing percussion. Soft male and female voices are employed in a subdued manner as the track begins to build in intensity. The vocal line “Kristae smells like cat spit” is heard, instantly pulling together this EP's overall themes. This over five minute psychedelic freak out ultimately concludes with additional spoken word statements of mysterious origin.

Closing cut “Hex and the City (Resonata remix)" exhibits the distorted electronic qualities that studio reinterpretations often breathe into existing tracks. Big, reverberated clock-strokes and rattle-y percussion becomes the dominant audio anchor, as voices, synths and other sundry noises compete for attention. Buried within all of that is a slow moving melody that ultimately serves as its hook.

You can order the EP here.

The band is playing a number of select shows in the coming days and info about all that can be found at the usual social media sources, including their bandcamp here.

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Being a big fan of musicians who combine elements of rock, jazz and modern electronics into extended creative works (often referred to as jam or space rock bands), curiosity took hold after a notice about Papadosio showed up. The band has recently released their latest studio album “Content Coma,” and are currently out on a lengthy US tour that has them playing between 25-30 shows till the end of this year.

Having built an ever-growing, dedicated fan base over the years through six studio albums and dynamic live show, this latest release has the band taking on modern-day-problem themes of how to deal with our growing dependence on technology.

Opening track “Write Sing Play Mix” makes immediate use of that technology through electronic percussion and synthetic keyboard melodies. As more traditional bass and six string guitars enter the mix, surprising (and initially unrecognizable) “vocals” begin that give new meaning to the term “computer generated.” Heavily processed through vocoder-like masking (bringing immediately to mind the work of Black Moth Super Rainbow), only the inclusion of these lyrics on social media platforms provides awareness of their existence. “A musical life - big wide open sky - sing to the trees - take a sample of the night - a musical life - people sing sines - making ripples in the night.” The mid-point of this over six and a half minute recording gives room to fuller drummer, a variety of keyboard segments guitar passages and even a flute. There are further occasional breaks where suggestive subliminal messages like “accept it” are dropped in. The final sung “chorus” comes unadorned by any FX's at all.



Follow up track “Distress Signal” brings back the digital blips and bleeps, however the vocals are rendered in the more familiar human form. A dissertation on oil consumption and the potential of World War III, the lyric “we disagree on everything now” becomes an initial, revealing hook. “Liminal Daybreak” emerges slowly via it's mellow, subdued opening. Click clack percussion, gentle syths and jangly guitar slowly builds into a larger mix. The brief, one-line lyric “Dawn on the rise I just opened my eyes” is first sung in standard (traditional) form, followed by a complete reverse rendition of the words “seye ym denepo tsuj I esir eht no nwaD” - presumably created through computer assistance.

It's not until the fourth track “Skipswitch” that the full sense of what this band is capable of reveals itself. Doubling down on the clickety-clackety percussion and rising synths, jazzy guitar lines provide melodies. Traditional piano makes it's way into the mix, adding a welcome human warmth to the cybernetic atmosphere. Even the percussion begins to swing a bit, approximating the sound of tap dancing. Full drums, keyboards and electric guitar all make their presence felt in a series of ever changing segments, suddenly bringing to mind the clever jazz changes of bands like Steely Dan.

Eventually reaching the title track further down as a “deep cut” (does that expression still apply in today's digital age?) “Content Coma” evokes the softer pop vocal style of 80's hits like The Alan Parsons Project's “Eye in the Sky.” Those parallels don't end there, with the previous era's concern over big brother watching us (Parson's has said his work at the time was heavily influenced by George Orwell's 1984)and this current concern over social media' s influence (both positive and negative). While organic drumming powers underneath, retro syths and guitar textures of varying levels push the melody forward. There's a melancholy romanticism permeating this vocal performance and melody, where the message is clearly stated - “Nobody feels alive - * at least you were notified * - we've been conned – living content coma.” The clever lyrics continue with choice (and biting) commentary on the internet life so many of us now live. “Righteous at the right time – only when you're online – think your on the bright side,” and “The love of your life is found, it's too bad you were looking down” speaks volumes about the world we now presently live in.

Download or stream their latest album here.

To find out all of their tour dates, which includes a stop in New York City at Pier 17 on Sept. 28, 

go here.

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Reading the words “post indie rock pop jazz experimental punk” as the description of what a band does is more than enough to entice this writers interest. In fact the only other word not included among favorites is “prog.” But perhaps “prog” and “punk” can never be combined together, as they've always been designated as the antithesis of each other. That said, New Jersey trio Milkmen check off nearly all of the appealing expanded rock genre boxes. The recent announcement that Know Hope Records has reissued a remixed/remastered version of Milkmen's 11 song self-titled debut provides an opportune investigation into their sound.

The opening under two minute cut “Ramus” bursts out with equal parts enthusiasm, frantic chops-laden riffs and screamo vocals. “Johnny Dangerously” expands the previous formula by another minute with chunky (funky) guitar chords, counter-melodic bass and appropriately matched fevered drumming. The vocals continue with that partially sung/partially shouted hoarseness on lines like “somebody get me out of my head – it's a matter of time before I wind up dead.” “I Think I Know” places emphasis on tandem-vocals over an angular, quick cut progression. It's impressive how much fury is packed into a barely over two minute song. “Papa Gable” Gives the drummer some with press rolls and copious fills throughout a (believe it or not) one minute and a half song. “K.O.T.H.” Expands further on some precise and busy drumming, as guitars run roughshod throughout. Kudos to a bass line that holds everything together with it's solid, centrally positioned placement.

“Circles Are Square” takes that contradicting title and wraps it in a pop song that embodies late 90's/early aughts Americana rock. “Grahamcracker” kicks that vibe up a notch, with long drawn out vowel vocals popularized by bands like The Strokes (that is until the screamo/emo outro). “Fruit Leather” drops everything down into a “cool cat” jazz mode, with intricate interplay between bass, drums and guitar. “Brown Pants” packs a complex structure of arpeggio guitars, busy drumming and melody-note matching bass under passionate, exasperated vocals. “Indian Red” provides a new melody incorporating all of the structural (and instrumental) qualities previously described. A vocal hook “running, running around in my head” is delivered with the now-anticipated semi-scream emotion. The record's final (and by far longest) track “Foreverday” clocks in at a whopingly excessive 3:22. Powered along by an always-appealing melodic “woooooo wooo wooo wooo” vocal hook, lyrcial storytelling moves to the forefront. Detailing mundane daily activities ultimately leads to a chorus declaring “I think I'd rather be dead – or at the very least, numb – 'cause I'd be lying if I said I was having any fun.”

Check out this high quality video recording of the band doing "Johnny Dangerously"



The record's overall feel and excellent quality is as if a ramshackle (and great songwriting) band like The Replacements actually bothered to practice their instruments more and developed a higher level of individual skill and chops.  A brand new record is expected in early 2019.

Connect with Milkmen at their Facebook Page here, and @milkmenband everywhere else on the internet.

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