Penetrating Observation of Recent Singles, EPs and Album Releases

Another full circle around the sun and a new year commences full of hope and promise for the days ahead. With that comes new recorded music from both trusted and previously unheard sources. Equal emphasis on both noisy experimental rock and more traditional singer-songwriter contributions occupy this early 2025 DaveCromwellWrites Feature. Plunge forward into these audio creations and the words inspired by them.

The motivating force of Philadelphia-based Patetico Recordings chief Tom Lugo offers a nearly endless stream of new music discovery. Having reviewed numerous releases of that labels various collaborations, prior full-length album by “From the ashes” Stellarscope stands out as a highlight. That pairing of Tom and drummer Bob Forman are now back with a new EP “All That Remains.” Written and performed entirely by the pair, Tom produced, mixed and mastered everything at their two studios in Middletown and Havertown, PA. The Cromwell force now digs into each track in search of it’s sonic core.

Opening track “As I Lay Dying” is introduced by a harsh buzzing riff that sounds like a swarm of bees. It’s urgent pace is soon shattered by a lumbering drum pattern that commences at seemingly half speed. It’s a deep, hammering pulse that creates a solid foundation for the “bees” swirling above. As drum fills intro an even deeper, slithering bass guitar line, Tom’s ethereal vocals begin and further amplify the mood. One minute in and a driving chorus is reached, combining walls of sheering guitars, voices and an overall sense of urgency. As the next verse progresses, those live-in-the-studio drums are a welcome change from much of the carefully digitize percussion heard lately. The bass guitar riffing is fast and furious, creating a subtle bouncing movement throughout. The pace quickens halfway through with a rising progression before reaching it’s crescendo and intro-mirroring fadeout.

Follow up cut “All There Is” builds off of multi-layered, downward stroked distorted guitar chords in that revered MBV style. Rough and tumble snare-roll heavy drumming also taps into the Colm Ó Cíosóig bag of rhythm for a pleasantly noisy trip in to the void. Tom’s sneering vocals sound as if delivered through a tin can, but that’s ok (in fact – perfect). Soaring musical passages glide through the middle as drums bash away to 747 jet engine guitars. Third entry “Some Other Day” keeps the buzzing guitar out front, with some unexpected chord selections in its progression. With the drumming still on the busier side, new elements such as clacking stick sounds enter the fray. Vocals are somewhat more intelligible, with references to “voices in my head” and the songs title line clear enough. Warbling effect runs parallel through some of this, adding a subtle, unsettling element. Halfway through, things align a bit more as a traditional guitar melody emerges over top of downward driving chords. Quick cut stop-start rhythms feature in the final verse, while the sludge takes over to its conclusion.

Next track “Devour all” captures Kevin Shields pitch-bend guitar chord churn on it’s opening flurry before low booming drums rumble in underneath. A sheering swarm of quick-strum rising guitars soon give way to single note melody lines as Tom’s vocals appear in a whispered, floating style. The chorus is big and bold, resembling the heavier output of a band like The Sisters Of Mercy. Headphone listening makes you aware of how well produced this wall of sound actually is. The separation of instruments is fully on display making for the perfect balance of controlled chaos.

A dramatic single pounding drum thump leads the way into final cut “Consumed.” With alternating cymbal crashes for emphasis, center melody guitar-churn flows forward, as fluid bass throbs throughout it all. Vocals are softer and near buried at some points, while harmony-doubled in other places. There’s an almost orchestral feel to the rising guitars, soaring above the heavier clatter below. While momentary quieter plateaus set up subsequent verses, a full force sonic assault “consumes” the tracks final minute.

Check out this blistering new EP here:

Follow Stellarscope and Patetico Recordings on their Website and Social Media

Facebook     -     Instagram

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

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Mutual friends and associated bands are the frequent pathway to discovering new music groups. Such is the case with New York City based female rockers Killdeer. Having grown up in musical families that stamped early influences on them, these four women write, record and perform live music combining punk, pop, and alternative into an appealing garage-rock sound. With three EP’s already under their belt, the band has now released a new single “Generic Break Up Song.” The DCW audio-scope turns it’s focus on sorting out this songs contribution to the rock music canon of anti-love songs.

Descending guitar note phrasing opens the track with alternating textures, before climbing back up the scale to start the downward spiral again. Cymbals woosh and bass guitar enters space before everything momentarily comes to a halt. That’s when the drums kick in and a chugging rock n’ roll progression takes off fully. The motion reverses to an upward rhythm, then another split-second halt before vocals commence with playful solo voice and harmony coated follow ups. As the song title implies, this isn’t a new story, but one of time honored tradition. “Seemed so fine” starts thing off solo before “boy I must have been blind” comes layered in harmonies, as trouble is revealed as “a storm rolled in – grabbed a bottle of gin – where’d our love go?”

You can’t help but chuckle at the cheeky lyrics “you walked away – saiiiiid you’d stay” (in full harmony) “now I’m broken wing – busted feather – thought we were forever!” One can’t help recalling the similar romantic angst referenced in Cameron Crowe’s feature directorial debut “Say Anything” and the still hilarious song “Joe Lies.”

However, Killdeer brings the guitar crunch, and drum pounding gets heavy on lines (thought we were) “forever together!”  Quick-turn drum breaks and single cymbal accents are impressively built into the songs structure as are those multi-voiced harmonies.  An anticipated fuzzy guitar solo hits just after the midpoint, accompanied by a driving melody-echoing bass pattern.  The band is now in full charge forward mode, with slashing guitar chords, fluid bass and pummeling drums.  One more pass through the “master of deception” and “you’re nothing but trouble” lyrical put-down, because “its plain to see, you were never meant for me.”

Check out this clever take on a universal theme on their Spotify right here:

Follow Killdeer on their Official Website and Instagram.

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Friend to this site Phil Wilson has had a number of his brilliant The Raft albums reviewed here with much deserved accolades.  His ability to compose, produce and perform songs with such a beautiful quality has always been impressive.  Much of that production also included the lush placement of dreamy female vocalist who’s contributions lifted the track to ethereal heights.  Now Phil is back with a more stripped down project called Indigo Twinn that is a duo partnership with vocalist Claire O’Neill. The four song EP “Someone Else” (titled after it’s lead off track) features Ms O’Neill as equal contributor with songwriting and featured vocalist on all four cuts.

The record opens with the aforementioned O'Neill/Wilson dual penned title track “Someone Else.” Gentle three-quarter time guitar chords lead the way with a lovely jangle.  Claire’s clear, straight-forward vocals commence with a gentle sincerity and we’re on our way.  The first chord change soon hits as the lyrics implore you to “come down and wash by the water,” and to “wipe the tears from your eyes – and cry.” Comparisons to the legendary band The Sundays once again come to mind (having made mention of that in some of The Raft’s earlier work). Claire take the emotion further with hook lines “cry like a baby – wish you were someone else.” After a minute and half, drums and bass join in giving everything a fuller band feel.   The production is impeccable as is everything else leading to the songs emotional denouement.

Follow up cut “Supergirl” is the first of two solo written songs from Ms O’Neill here. Against a four chord acoustic guitar progression, lyrics question “why does it always seem to be that you’re on my right side, but not on my good side?” The bridge change comes on bolder with the lines “but you get wiser, when I get nicer” ultimately leading to “I’ll be eager to be your supergirl.” Fuller instruments once again enter the mix, with special mention to J Pedro on bass (+ entire EP production) and Paul Keelan on drums, playing brilliantly throughout. Along with Phil’s nuanced guitar work, there’s a strings sound of sorts adding one more dreamy sonic element.

The second solo penned track by Claire “Come Away” reduces the chord structure by half, with only two needed for it’s impact.  Phil layers melodic electric guitar tones over top, while vocals implore you to “leave all your monsters” and “come away with me.”  Vocals are doubled at key junctures, with harmonies placed for emphasis.   “So let’s review the situation” begins a dramatic midsection that comes with well-placed “Ahh Ahh” backing vocals.  It all builds to an emotional peak of voices and instrumental sections, until the final coda floats away on a cloud.

Final entry serves up the Phil written, sentimental and heart-tugging “Sarah.”  With deeper bass notes marking out a counter-melody pattern against jangly finger-picked guitar, Claire delivers the vocals with equal aplomb.  “Look behind our heel walking, didn’t mean that much to me back then” is how the innocent lines begin.  The single word title is given it’s gravitas by repeating it with differing vocal emphasis and varying background enhancements.  The story captures an innocence of place and time through everyday living, where the simplest things can become magical from a looking-back point of view.

Listen to this gorgeous recording here:

Find out how to acquire this EP here.

Follow the band on their Social Media  -  Instagram   -   Bandcamp

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It was exciting news to hear that frequent contributor to this site Andres Alfonso Lugo was back with a new 8 track album “DRONINGUITARFEEDBACKS,” under his Los Dientes Hundidos en la Garganta name (the teeth sunk in the throat).   Recorded at his Where are we going studio lab in Baltimore, MD, Andrés plays all the guitars, drums, programmed drums (with a little help from his AI friends), percussion, loops, and everything else.  It is an experimental tour-de-force that garners an essential track-by-track reaction below.

The 54 second opening snippet sounds like a field recording of an outdoor jam percussionists often entertain themselves with.  That launches into the 5 minute “Cosmicomics” which emphasizes motorik drumming and unnatural sounding wind-wooshing seemingly pumped down echo-heavy tunnels. Expanding track lengths, the 9 minute “Trantor Yuba” takes the initial drum-circle conga-fueled percussive elements and lays the groundwork for extended guitar drone over top.  The patterns are consistent, yet move organically in subtle changing directions.  A distant siren emerges as the piece slowly fades out.

Snare drum makes a prominent appearance on the six and a half minute dream-gazey meditation “Onoe Matsusuke.”  Low end textures (sounding like cello’s) share space with higher-pitched ambient explorations.   Moody floating movements are held together by way of the simple drum beat that fades in and out of focus.  Pushing the sonic lengths further, an over 10 minute “Kebra Nagast” goes full-on slow, introspective dreamscape, emphasizing the twilight moments that exist somewhere between heaven and earth.  A single drum thump appears at intervals throughout its continuous shimmering audio field.

Bandcamp featured track “Bene Gesserit” (the albums longest entry at over 11 minutes) emerges with full-throttle force.  While the droning elements hover above everything, mad-crazy jazz-style drumming thunders, rolls and ride cymbals with frenetic energy. Droning elements slowly change patterns, marking out a recurring melody (of sorts). The combination of longer held ambient textures with the hold-on-for-your-life roller-coaster ride drumming creates a uniquely fascinating soundscape.

“Bezdomni” features an electronic hand-clapping like percussion, ominous long-held ambient backdrop and wailing voices that sound like what you might hear in a jungle.  A subtle melodic movement emerges, adding another element to lock on to, between those recurring vocal outbursts.   Final entry “Omni Poetics” leans into a rapid paced single snare drum shot, long held center drone and horror-style voices placed wide in the left and right channels (heard on headphones). It’s a fitting way to end this hallucinogenic album.

Check out this creative recording here:

Follow this artist on Social Media:

Instagram   -   Bandcamp   -   jakjonsontapes   -   YouTube

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

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Detailed Review Writing on New Music Releases

October catches the Cromwell range of view fully engaged on new recorded works from artists either previously featured here, or first time entries to this site.  All of this new material show musicians taking their creative ideas - much of it developed by way of live show performances over the years, and forging it all into high-quality studio recordings.  Each artist exhibits true emotional commitment to their respective style of music.

A band this site has been keeping a close eye on over the last year or – The So Lows - hail from “the land of enchantment,” that beautiful wide-open big sky southwestern state of New Mexico. In full disclosure, I'm compelled to mention having lived there on two separate occasions after my parents retired and moved to that locale. I've since been back on vacations with my current family, and can attest to it's rugged natural beauty. The So Lows have just released a new album ‘Times Not So Weathered,’ and receives a most-worthy DaveCromwellWrites track-by-track review analysis. Led by the singing/songwriting duo of Molly Miller and Ronnie Rael, the sophomore album is the first to feature Troy Krusz on slide and lead guitars, Barron Preuss on bass guitar, and Haven Willis on drums.

Album opener (and the record's first single) “Smile” comes on intimately at first – with Ronnie's vocals out front asking an existential question “and I wonder how you ever got this far – with a feeling that just won't shake.” The accompanying acoustic guitar is warm and vibrant, as Molly comes in with matching harmonies on the following lines. The rest of the band thunders in and the rootsy, blues/folk/rock progression swings into full motion. This easy groove vibe immediately brings to mind what a guy like Izzy Stradlin brought to GNR as well as his own solo work. Which in turn points back to The Rolling Stones “Exile On Main Street.” The chorus here is simple and to the point – “I wanna smile like you” celebrates the best things in life – all against a backdrop of tight, rhythmic accents and snaking slide guitar.

Follow-up cut “MMIW” sets everything in motion with chunky electric guitar and syncopated deep tom tom percussion. Ronnie sings out with a more passionate, soulful edge right from the start here. Depicting a situation of imbalance and potential negative results, the repeated hook line “heartbeat and a look away” is delivered with precise harmonies and slide guitar. Guest vocalist “Quiltman” adds authentic chanting for a crucial passage, while a blistering guitar solo brings the track around to the final chorus.  Third track “Engine” builds off a bright, chiming 12-string guitar instantly laying down a descending progression. Soaring solo guitar lines create a lightness as bass guitar and drums power along this fragmented 1-2 time signature. Full harmony vocals with Molly slightly out front create an enchanting overall feel as the song continues to unfold. There are a number of curiously mysterious sounds emerging underneath, with one approximating a diving down bass texture. Special props must be given to slide guitarist Troy, who's virtuoso playing here is equivalent to David Lindley's outstanding work on so many of Jackson Browne's albums. The overall combination of Ronnie's acoustic and Troy's various electrics are matched brilliantly with Molly and Ronnie's equally impressive star-turn harmony vocals.

Opening once again with vibrant finger-picked acoustic guitar (a Martin HD-28 dubbed “Lines” we learn via recent social media post), “On the Lam” embraces that particular form of escape. “I got to find a way – feed my dog if you would” (ah, that's sweet) “and tell 'em I'll be back some day.” Snare drum propulsion surges forward, approximating the stuttering rhythm of a railroad car. Deep twang guitar doubles down on the southwestern vibe pulsing through these grooves. Poetic lines roll smoothly throughout, like “I've been running that line – since before the railway,” and “you know the land is forever, I could just jump off this car – and go straight to the sky.” A honey-textured guitar solo creates additional melody and motion to this forward chugging train.

“Worth the Weight” adds a soulful feel to those glistening acoustic guitars via a rich extended note undertone and higher pitch-bended fills on top. There's a subtle gospel element to Ronnie and Molly's harmonies here, embracing the spirt of a song like The Black Crowes “She Talks To Angels.” “Bring it down on me, so the truth can mean, what we want it to be” serves as lyrical entry not only to this song's title, but the overall album title too. “And we dream – of a time not so weathered” . . . ultimately concluding “it doesn't matter anyway – let it rain, I'll feel the pain.” Emotionally powerful moments continue to unfold, as on the lyrical refrain “And you can cry like you used to, 'cause it all makes sense. It's not a reason to falter,” (with Molly going solo here) “just a reason to try again.” Repeated passes through the title line creates a sense of duality on the word “weight” whereby “wait” could fit in just as well. An impassioned buildup to the songs ending (Ronnie and Molly's expressive vocals coupled with sinewy guitar figures) wraps up with a left-in studio voice definitively stating “there we go.”

It's a full on bluesy-rock stomp chugging out of the Rolling Stones influenced “Give All.” Ronnie and Molly's cascading vocals on lines “I heaaarrrrr youuuuuuu” joyously recreate the extended phrasing on their psychedelic 1967 release “We Love You.” Even the guitars here emulate the electrified rhythms of Keith along with the slide work Ry Cooder added to that band on their classic albums at that time. One often felt that Aerosmith's “Sweet Emotion” also looked to that original Stones track as point of reference on their hit song. The So Lows keep things closer to rootsy than anything really “psych” - other than the overall “cosmic” feel of everything they seems to put in all their songs. As this track progresses, Ronnie and Molly's tandem vocals push the feel closer to the swampy blue-eyed soul of Delaney and Bonnie. “Lay Down Misfortune” rolls out in three-quarter time, merging Country-Western conviction with a Folk-Troubadour narrative. Sounding like Greg Allman's Georgia-Country-Soul at points, a subtle change occurs in chords and vocal phrasing suggesting the eccentric jazzy folk-pop of underground legend Nick Drake. With those whimsical qualities emerging at times, a steady pedal steel-like guitar solidifies a country-home feel.

Female vocals take center stage with Molly's solo lead vocal turn on “Permanent Horizon.” Once again, an easy-groove Stones-like feel is established with electric guitars and more active, busy-loose drumming. “Sometimes we all need a place to go,” is how the smoky, emotive vocals begin. “What if  I can't get it right?” she asks – quickly followed by “what if - it get's worse when I try” (with those 5 words emphasized by bass guitar and drum punctuation). While the repeated title line chorus is smooth and straightforward, a testifying conversational style on subsequent lines adds an intimate charm to the delivery.

“Let Go, My Atlas” dips back into three-quarter time for this acoustic guitar driven, reflective track. Ronnie's voice is fully out front, with Molly's rich harmonies adding depth to the plaintive melody. A variety of guitar fills and textures add color and motion to a song without any drums or bass. This allows focus on voice and lyrics contemplating mysteries of the universe. “In a way I feel I've seen myself in you – before. Rising with the moon – holding on. Trying to make sense of it all,” is how one passage goes. An unusual wind-rushing texture emerges underneath for the songs final :45 seconds, leading out to an ending where that is the only sound remaining.

“Means a Lot” has Molly taking the lead vocals once again, for the final and longest cut on the album. Clocking in at 6:46, it serves an an epic and fitting close to everything leading up to it. While introductory guitar chords and wistful extended notes establish an initial melancholy feeling, a sense of hope develops. “If you really wanna know – we can do time together,” leads sincerely to “thanks so much, it means a lot.” A series of elegant guitar interludes surface in places, as one might expect from a song of this length. Thoughtful questions crop up, with lyrics asking “does anyone see – how I see – how everything connects?” Contemplating that universality progresses to a realization of “how everything reflects.” As the track builds instrumental momentum, mysterious spoken-word elements permeate the undercurrent. The intensity of the band rises, the tempo quickens and drives everything to a dynamic conclusion.

Listen to this band's wonderful new album on Bandcamp, and find how how to acquire it in your preferred format via all of their social media.

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Adam Lippman is an indierock singer-songwriter who's been close with the DCW world here for quite some time now. In fact, first contact was established nearly a decade ago. However, his long musical journey goes back much further as a member of various noteworthy bands from the mid 1990's up until recently. Inbetween he released a few solo albums and EP's, while playing well-known tri-state area clubs and festivals as a supporting member as well as fronting his own bands. Adam is now back with his first new solo music in 15 years. With a full album on the way, new single “Sunblind” is the lead track out now on his own Papa Tone label. Mixed and mastered by James Mauri at @aberlin_sound_recorders, the track features Chuck Beckman on bass and Pete Wilhoit on drums. Adam plays all other instruments along with vocals and the songwriting.

 

A lush synthetic orchestra opens the track with a touch of reverence, until bright chiming guitar chords forcefully push through. Bass guitar and drums rumble up from underneath as additional guitar tones, back-and-forth pulsing keyboards and distant voices mark out the progression. A quaint story unfolds with opening lyrics “Once you gave me a chance - for your hand - at the back yard dance - in the rain - in New York - we were younger.” Those vocals are delivered with soft inflection at a measured pace, with certain words elongated for affecting emphasis. It's a vibe similar to the cool processed voicings on The Alan Parsons Project 1982 hit “Eye in the Sky.” While significantly different than that aforementioned classic, the chorus here jumps just as hard, with the hook lines “takes me forever and forever takes me forever you know. Now we had better get it together bring back that yesterday glow.” Attention to complete songwriting craft is on full display with the post-chorus turnaround “time is all we need to find put it all behind I am on your side.” The second verse serves up an impressively crisp drum fill and the song title reveal with the line “your sun drives me blind.” An instrumental interlude combines rising synth melodies with countering guitar notes, creating a lovely push-pull sensation.

Check out the track right here:

Follow Adam for album updates and info on how to acquire his music on preferred streaming services Hear Now, Spotify and YouTube.

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Finding their way back once again into the DaveCromwellWrites universe are the Sydney, Australia based gazey-noise-rockers Trillion. The 5 piece collective have a new single “Sure” set for release on the 27th of October. Having covered their work extensively over the last two years (with the band making “Best Of” in both 2019 and 2020) “Sure” is the first salvo from the band’s forthcoming “Atomic Sunshine” album.

The track kicks off in full motion (no fade in here) with pitch-bended guitar chords sawing back and forth as the bass guitar and drums throttle along. A murky 3-note rise/descend becomes audible, adding ghostly textures to the proceedings. With only a hint of possible voices leaking in, a shift downward into an impressionist murk emphasizes grinding distortion over a recognizably steady drum beat. Exploding back into the initial hook, additional layers of brightness shear through the sonic spectrum, evoking those timeless qualities associated with psych and gaze. A deeper trench is further explored blending low rumble modulation with soft narrated voices.   As the steady drums briefly drop out, a shimmering wash of guitars provides momentary reprieve at the 2 minute mark. Quickly bringing the rhythm section back, an elevated wall of sound pushes everything upward for the next :30 seconds. More low-end grumble returns to the fray as a mixture of guitars, voices and tom toms press the behemoth onward. While drums remain busy (in that way Colm Ó Cíosóig does during MBV's otherwise shapeless “Holocaust”) guitars and bass are more about texture than any actual chord progression. Voices float into the overall mix, adding one more level of blissful reverie before it all comes to a quick stop conclusion.

Preview the track right here:

Full song release on on the 27th of October.

Also check out these complete DaveCromwellWrites reviews of previous Trillion releases HERE and HERE.

Connect with the band via their Linktree HERE.

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