Illuminating Report on Dazzling Live Shows and Cutting-Edge Music

Multiple live concerts came fast and furious recently here in the DaveCromwellWrites universe.  With two big shows covered in last month’s feature, the most instrumentally intricate showcase attended now receives full coverage right here.  It’s a rare occasion when storied musical trailblazers join forces in one single band for a tour.  An opportunity to attend an event like this is something you never want to miss.  As the rock music world continues to expand and evolve, recognizing true talent and artistic intent will always be a worthwhile pursuit.

As soon as it was announced that legendary ultimate-shredding guitar virtuoso’s Joe Satriani and Steve Vai were teaming up for a joint 40 shows #surfingwiththehydra tour across North American spanning April through May, we knew it was a must attend event. Spotting April 26 was scheduled for our favorite Orlando Florida venue The Hard Rock Live, plans were quickly made to be there. Rather than doing two separate solo shows, the lifelong friends (beginning in their hometown Carle Place, Long Island) created one single band to play the best of their material together. Enlisting an all-star cast of super drummer Kenny Aronoff, bassist/occasional vocalist Marco Mendoza and rhythm/3rd guitarist Pete Thorn, the two front-man heavyweights delivered a brilliant set of their catalogues, both classic and new.

After the shows opening act (more on them later), Joe and Steve came out accompanied by their aforementioned super sidemen, kicking off the show their recent single release "Dancing."  

A choppy “Boléro” type rhythm with Joe and Steve’s signature precision guitar soling over top, the song is actually a reimagined instrumental interpretation of Italian singer and songwriter Paolo Conte's original 1982 composition.  This updated arrangement was designed by Steve, with it's accompanying official music video (shown on the big screens behind while the band played) directed by Joe's son ZZ.

Sticking with their latest material, the next song was another single "I Wanna Play My Guitar."   Co-written by Joe, Steve and legendary vocalist Glenn Hughes (who sings on the studio version) the initial lyrical idea was Joe's.  Bassist/Vocalist Marco Mendoza steps up to handle the singing here on the tour.

Choosing one more original composition specifically written for this historic Satch/Vai collaboration, "The Sea of Emotion, Pt.1" rounds out the opening 3-song arc.  Inspired by a field outside their mutually attended high school they called this song's title, this heavy chord progression includes sequences they used to jam over when they worked on guitar lessons together.

The next two songs were Steve compositions from his 2022 studio album "Inviolate."   First up was "Zeus in Chains" which was released as a single at the beginning of that year.

Emphasizing sophisticated start-stop rock rhythms with precision guitar note fills in the open spaces.

That made way for the next Inviolate song, the fusion-funk track "Little Pretty."

Choosing to play this one on a Gretsch hollowbody guitar instead of his signature Ibanez solid-body model, this sound complimented his complex shifting chord changes.

Shifting over to Joe's catalogue, a four song set of his beloved classics got under way.

As each song was treated with thematic visuals, the image of the band name frozen and dripping with icicles was a particularly clever touch. The Vonnegut/Cat’s Cradle inspired 2nd track off “Surfing With The Alien” delivered a unique performance as Joe and Steve played in tandem for much of it.

Playing the title track to his third album, "Flying in a Blue Dream" had Joe out front and solo, with Steve and rhythm guitarist Pete Thorn laying down support.  Like most of Joe's songs, it's a gorgeous blend of blues, jazz phrasing and soaring melodies.

The signature and album title song from Joe's 1987 breakthrough album "Surfing with the Alien" is everything you could want from this brilliant musician.   Chugging rock rhythms, pitch bended accent notes and high-speed shredding all over the fretboard.  

Jumping way ahead to Joe's 2022 19th studio album "The Elephants of Mars,"  it's cinematic, Middle-Eastern influenced opening track "Sahara" was given the full live show treatment.    Steve comes back into the spotlight to play intertwined melodic lines together, with the projected visuals behind once again coming from son ZZ's video of the song.

Alternating the set once more, a two song Steve arc was up next.

Going back to his 1995 EP "Alien Love Secrets," Steve presented his emotional ballad "Tender Surrender."   Against a backdrop featuring his "V A Eye" graphic symbol, this image serves to depict his spiritual journey of inner enlightenment, and higher consciousness. 

Reaching the most "showy" portion of the night, Steve stood in front of what looked like a magicians table with a heavy tarp over it.  Slowly the covering was lifted off, revealing a massive multi-guitar structure.  It was The Hydra - a custom-built triple-neck guitar on a stand. Built in collaboration with Ibanez, the instrument features a 12-string neck, 7-string neck, 4-string fretless bass and a 13 harp strings. Vai plays this composition titled "Teeth of the Hydra" by rapidly switching between the instruments. He taps the 7-string fretboard, alternates open A-strings on the bass and 12-string necks, and frequently flicks the built-in harp strings for eerie, synth-like dissonances. The track is another from his tenth studio album, 2022's Inviolate.

Moving over once more to a Joe featured segment, two of his classics are presented to a delighted audience.

First up was one of his most famous pieces, the high-energy rocker "Satch Boogie."  The fifth track from his breakthrough album "Surfing with the Alien" is quick paced rocker that blends blues with virtuoso guitar techniques, highlighted by his signature two-handed tapping. 

That was followed by the much-beloved, somewhat controversial "If I Could Fly."   One of Joe's most beautiful melodies, the track first appeared on his 2004 album, "Is There Love in Space?"   The melody is distinctive as he makes his guitar sing like a vocal line.  The "controversy" comes Joe having to sue song-thieves Coldplay, who blatantly ripped off this song for their massive hit "Via La Vida."   Knowing they were going to lose in a big way legally, they settled with Joe out of court, and he surely got a huge payday.   This song lives on as one of Joe's most uplifting and haunting pieces.

Reaching the penultimate moment of the show, it was back to Steve for arguably his greatest piece ever.

The one so many of us were waiting for, he did not disappoint with his Passion and Warfare masterpiece "For the Love of God."  Written in 1990 during a 10 day fast, producing an altered state of consciousness and vision quest in search of spiritual connection.  Having been on repeat for this writers life over the past 30 years, it holds a special place in the annals of lived history.  The contrast of high-speed playing over a slower moving progression accentuates the sheer brilliance of ascending tremolo notes and descending legato runs.  

The final (pre encore) song of the night went back to Joe, with his romantic ballad "Always With Me, Always With You."

Steve soon comes back into the spotlight and the two of them play brilliant tandem and complimentary lines on this 1987 "Surfing with the Alien" classic.  Featuring uplifting vocal-like melodies, it's the delicate arpeggiated phrasing that truly stands out.  The beautiful sweeping chord progression and song title make it perfect for a wedding song.

Returning for the expected encore, first up was Joe's wildly popular "Crowd Chant" from his 2006 album's "Super Colossal" and then later that year on "Satriani Live!"

It's a super fun back-and-forth participation call-and-response with the audience, where Joe plays a lick and then the crowd is encouraged to sing it back to him (which everyone does enthusiastically).  The track has also been featured prominently for some time during the NHL's Long Island team The New York Islanders promotions.  Anyone who listens to their games on the radio has heard this open a seasons worth of broadcasts.  A fitting tribute for a hometown hero.

The final performance of the night was a cover of the Mars Bonfire written Steppenwolf hit "Born To Be Wild."

Along with Joe and Steve taking the tandem guitar spotlight on this closer, bassist Marco stepped up to take the lead vocals once again.  Also spotted was Steve stepping up to the mic and singing hearty background vocals on the chorus.   A perfect ending to an amazing concert experience!

Opening the show and appearing on all 40 dates of this tour was the heavy math-rock instrumental progressive metal band Animals as Leaders.

Challenging the listener with their complex structures and ferocious attack, this highly-skilled musical trio consists of guitarists Tosin Abasi, Javier Reyes and drummer Matt Garstka.

Along with the percussive low rumble pummel and fluid guitar shredding, the bands unique light show featured spinning circles that projected colored lights all around the arena.

At times what they were playing moved over toward a more prog-rock style.  The above clip shows them sounding a bit like English progressive pioneers Yes at their most frantic.  Like the manic speed-driven into to "Close To The Edge" and Steve Howe's tonal quality and fluid notes.

So many styles combined within just one piece.  Sophisticated jazz with funky moments anchored by thundering drums.

The Hard Rock Live at Universal CityWalk in general is a great place to see a show.

There's tons of great restaurants to choose from, making for a pleasing dining experience before you head over to the concert hall.

Happy concert goers having a meal before the event.

Find more info on each of these artists at their websites:

SatchVai Band

Joe Satriani

Steve Vai

Animals As Leaders

A previous DCW feature covering Joe Satriani can be found on this website here.

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Towards the end of 2023, Seattle, WA based gazey-guitar rockers Guest Directors released their first full-length album “Interference Patterns.”  Impressed with its quality, that recording garnered a detailed review here on DCW at that time.  The band is now back with their follow-up second album, the recently released “Before You Get Broken.”  Putting it out again on the TopsyRecords label, the acclaimed Cromwell listen and review follows below.

Opening track “Meet You on the Land” lays out a bouncy rhythmic groove, before bright female vocals commence a tale of sea and sky. W ell placed distorted, chugging guitar chords enhance the lyrical story where “I’ll meet you on the land, but I can’t stay.”  This siren song to “keep me on the ground” is ultimately rejected with “no, I won’t stay.”

Listen and watch via their official video for it here:

Follow-up cut “You Are Never” pairs male and female voices together with tandem delivery. Quick paced and clean, higher-register guitar driven, the simple (yet-catchy) chorus stating “you are never done” is almost always universally true.  Third entry “Now I Know” builds around dual guitar interplay, with static notes paired against contrasting melodies. Vocals bring to mind the timbre and delivery of 80’s legends Berlin on a chorus that looks back on being charmed by someone insincere. While a touch of Garbage’s Shirley Manson is felt on outro lines “I tried to stop you.” 

There’s a distinct Sonic Youth feel to the pitch-bend accented, crunchy guitar chords and Moore/Ranaldo style vocals of “Just Not Today.”  Even the snare drum accents and quick-cut guitar figure punctuation give off a lost track from “Daydream Nation” feel. 

Accompanied by an official video release, check all that out here.

A laid-back, unhurried groove sets the pace for fifth offering “So Many Somedays.”  Dual female harmonies add a fuller quality to the straightforward title-line chorus.  However, each of these calmer plateaus is followed by expressive, harsher guitar textures.   “Restore Your Soul” flips back to male lead vocals, and with it comes that SY/DinoJr/Seattle late 90’s/early aughts vibe.  Slightly off-kilter downstroke guitar chords share space with open-note guitar phrasings.  Repeated line “I got caught in the middle” provides a thematic center.

Listen to that here:

Chiming guitars and sharp accent percussion provide the underpinnings for the female voiced “Blame Pandora.”  Momentary “Oooooooh-oooh” vocal segments provide contrast to alternating guitar interplay. “At The Gate” continues the alternating lead vocals with male voices telling the tale.  A relaxed vibe permeates throughout, with spacious moments between guitar licks for the unfolding story. With “Ahhhhs” now added behind a chorus that goes “standing in line waiting at the gate,” an extended wiry guitar solo cuts in between.  The album’s closing track “What Shapes They Take” is a tom-tom fueled, mystical descending trip.  Soaring guitar washes flood spaces, creating emotional peaks.  Points for the clever lyrics “I thought that you might be my pet - because you hadn’t bit me yet.”   

Check out how to listen to and acquire this wonderful album here:

Follow Guest Directors on Social Media

Official Website  -  Facebook  -  Instagram  - Bandcamp  -  YouTube  -  Record Label

A previous DCW feature on this artist can be found here.

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Mesmerizing Recognition of Recently Released Music and Video

Compelling new releases kick-off the Fall/Autumn DaveCromwellWrites music review feature. Long-time indie-legend dreampop recording artists share space here with newer experimental ambient creators, and post-gaze, power-pop psych-rockers. Deep dives are the order of the day, with an attentive ear for sonic details still the primary focus. Audio, photos and video continue to provide the inspiration for this careful analysis.

We American's who haven't been afforded the luxury of traveling abroad and traversing the globe occasionally are unsure of exactly where certain country's are. Take Estonia for example – where exactly is that? Trusty internet searches are the charm these days and one can see it is one of those former Soviet Union locales that borders the Baltic Sea and Gulf of Finland – now considered Northern Europe. The reason for this particular curiosity is a relatively new release from Estonian dream pop band Pia Fraus. Having heard about them for years, it was eye-opening to discover they've been at it (off and on) for 26 years! Their latest album 'Evening Colours' is out now on digital, with a vinyl release set for September 28th. The Cromwell focus on these artists work is long overdue.

Opening cut “French Exit” comes on with an instantly romantic feel (which will extend through all the songs). The guitar riff hook is of the descend-then-rise, start-stop variety, with drums providing a counter motion throughout. An advance promo promise of “shimmering layered male-female vocals” makes an immediate entrance, bringing to mind what Sune and Sharin did so well with The Raveonettes. Chorus hits and the dreamgaze feel goes into overdrive, with full ambient washes and melodic guitar figures.

Follow-up track “Fog on the Hills” is quicker, breezier – giving off a more gentle, wistful vibe. That is until the chorus hits and then it's full-on gazer-romance, tugging at that music-to-fall-in-love-with-someone feeling. Frequent use of minor chords shows depth and sophistication in the songwriting. The drumming is once again, fantastic – as are the synths and voices. Album title track “Evening Colours” continue the sugar-coated voices and add subtle pitch-bended guitars to compliment that Raveonettes-style twang. Soaring strings lift everything onto a cloud of angels. There are higher vocal notes hit here, and the bass guitar makes its presence felt in positive groove-oriented ways.   

“Sunny Afternoon” combines slashing guitars, synth highs and sophisticated phrasing that incorporates major, minor, 7ths (4ths?) voicings in their easy breezy sentiment. For those who can imagine a joyous day of wind in your hair and warmth on your face. “Who's the Envelope-Man?” relies heavily on orchestral synth washes, as those familiar sheering tandem female vocals push everything forward. Angular pauses within the song structure creates space for cleaner guitar lines. Drums, bass and piano skillful lock to each distinct rhythmic change.

“Regret Everything” comes on quicker in pace, adding flute-y synths for instrumental expansion. Driving bass and drums propel the tandem female voices along against a bed of synth ambience. “Confidential Information” adds a level of pitch-bended “gaze” guitar to the now anticipated Swingle Singers style vocals and rapid-fire drums. Chunky, chiming guitar chords and a bit of organ emerges into the mix as well. The curiously titled “Another Artichoke” introduces a subtle new dimension by adding occasional horn sounds to the mix. Clearly discernable lyrics state “please hold my hand at least for one more year – I'm so tired and the end is near – you know you're better than nobody else . . . don't let me go that's all I ask of you.”  

“Cloud Winterland” veers back into the gazey warble guitar world, with placid open spaces intermittently staged for dramatic emphasis. “We Melt” picks the pace up once again, with unexpected and refreshing sharp turns and quick breaks. The central chorus and lush and bathed in a dream-gazey wall of euphoria. “Lost in Nights” closes out the album with it's most romantic and soulful groove. Subtle pitch-bended guitars share space with more traditional strings. Those alluring female vocals strike the perfect balance between nostalgia and longing.

Much respect to guitarist Rein Fuks for writing and arranging 99% of this masterpiece.

Check out this incredible album here:

Find out all the ways to acquire it here.

Follow their Social Media here:   Pia Fraus   -  Sek Sound

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Back in May of last year, DCW had the opportunity to dig deep into advance track “Normal” by Héctor Caolo Alvarez run project Sueño Con Belugas (I dream of belugas – whales). That ambient tour-de-force is now included along with five other cuts on the recently released EP “Memoria Cósmica.” A cast of familiar names like María Lopez (Malow) on vocals and synths, Gardy Pérez on Guitars, Loops / Delays are joined an equally impressive group of various other contributors.  A full review of all six tracks follow below.

EP opener “52Hz / Agua Atómica” emerges quietly, floating on gentle guitar strumming with overlying noodling effects. A singular synth introduces the next movement about two and a half minutes in. A minute late a full drum beat kicks in, along with distant vocals over top of a ominous, crawling progression. Heavier guitars begin slashing their way momentarily into the mix, before the percussion drops out and female vocals become more prominent. The groove kicks in once more, with a throbbing bass leading the way over drum crack and layered male-female vocal tandems. Soaring vocals drive this mysterious over nine minute epic to it's conclusion.

Follow up track “Caracol” combines nature field recordings with Spanish language spoken word. Distant ambience is blended with the sounds of birds tweetering along with a rising level of otherworldly synthesis. A bass pulse emerges gently, before fading out with this relatively brief reverie. As mentioned above, third entry “Normal” receives a full detailed review HERE.

Fourth cut “Fantasma” starts quietly, with soft acoustic guitar that is soon met by additional laid back half-spoken, half-sung Spanish vocals. Ambience begin to build up underneath with loops and delays creating a magical dream world. “Gris” returns to more traditional rock stylings, with guitar, bass and drums pumping out the rhythms and progression for maximum effect. The chorus hits quickly, with elevated lead female vocals driving it all along. Male voices take their turn briefly on a line or two, before the blended voices mesh with soaring guitars on lofty passages. Extended instrumental segments emphasize the melody progression, driven by that ever present bass guitar, drums and chiming guitar hooks.

Epic final entry (the EP's longest at 9:45 in length) “Detrás del Volcán / Memoria Cósmica” builds up from a quiet hum, as female vocals slowly begin to shed light on the proceedings. Drums enter quietly, along with additional layers of vocals and shimmering guitars. The midway, separation point moves bass guitar out front in the mix, as everything transitions to an ambient world where beluga whales swim free through the cosmos. A final third movement emerges with pulsing percussion, shearing guitar textures and a clarinet move forward for the final fade out.

Listen to this dreamy recording here:

Follow the band and label releasing this record here:

El Gran E Records: - Facebook - Instagram - X/Twitter

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Finding their way into the DCW mailbox is the Seattle based guitar-centric band Guest Directors. They've just released their first full-length album “Interference Patterns” that features nine songs drawing from the bands entire lifespan. Building up to the complete album drop, the band has given some of the tracks video treatments. Most of the audio was recorded in a beautiful old church in Anacortes, WA. Released by Topsy Records in conjunction with Snappy Little Numbers Quality Audio Recordings. Available on Bandcamp, a few choice indie stores, and streaming everywhere.

The more recent (second) video put out for deeper track “Nico” kicks off with straightforward four-on-the-floor drum thump that's soon met by chiming guitars. Chords shift quickly while a melodic guitar line rings along over top. Female vocals emerge with a doubling effect, that gives it all a timeless vibe of 60's era rock. As the video shows appealing patterns of vintage psychedelic floating projections, subtle human images are briefly embedded in as well. A gorgeous, instantly hooky chorus is then revealed, with full-band enhancement and lovely multi-tracked vocals. As the second verse moves forward, a noticeable change in the drum pattern shifts to more two-hand, tandem strokes on the toms. The bass guitar also becomes prominent, with the open spaces allowed for that instruments melodic movements. A burst of guitar soloing emerges at the mid-point, reinforcing that 60's psychedelic-rock vibe. One more softer verse cycle through with busier drums and bass, before a final glorious chorus and sparkler enhanced end-out.

Check out this great track and imagery here:

The album's opening cut “From This Distance” was first to be given a video treatment, kicking the whole record off with appropriate style. As the drummer counts everyone in, visions of lofty mountain ranges are superimposed against colorized images of the band playing their respective instruments. It's a slithery-gaze groove that employs expectedly sheering guitars and an out-front rubbery bass pattern. Opening male lead vocals are soon met with female counterpart harmonies. It's a harder, heavier version of the “gaze” genre, with down-pounding strokes via those essential rock instruments – guitars, bass and drums.

Groove into this badass video and song here:

Follow up track “Perfect Picture” quickens the pace with a more frenetic approach, and the lyrical hook line “trapped inside your head.” Stimulating forceful sonic breaks keep the listener engaged, avoiding any level of predictability. “Raise a Glass” ambles along with an easy groove vibe. Female vocals stand out front in this near-ballad offering. The minor key driven hook “but you fall apart, and the cold winds blow” and again “when the sun shines through your window” suggests any “glass raising” isn't necessarily celebratory. A heavy guitar mid-section adds crunch to the overall proceedings. 

“Blackout Dream Blues” lumbers along with doom-laden underpinnings as impassioned female vocals lay out a tale where you “drown, drown, drown.” Tasty guitar figures are never far from any of this bands songs, and this one is no exception. “Skinless” emerges out of twisted guitar phrasing, one entering from the right, followed by the second on the left side of the mix. Heavy bass guitar and drums drive a thundering rhythm down the middle. Those female voices deliver the lyrics in higher register, with an elevated level of passion.

Dig into the complete album, with info on how to acquire this record here.

Follow Guest Directors on their Social Media:

Facebook  -  Instagram  -  Bandcamp  -  Official Website

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