Extensive deep-dive analysis of full-length albums are the primary review focus for the month of June here at DaveCromwellWrites. A long-time legend returns with their much-anticipated brand new studio album, delighting fans old and new along the way. Additionally, another frequently reviewed, trusted music label presents a storied collective in their own right. All of this excellent new music is now run through a close-listen analysis, checking for audio clues to the secrets of life.
It was a mere 4 months ago when Sophie Ellis Bextor announced the coming release of her 7th full-length album “Hana.” Promising a record of all new original material, the advance single “Breaking The Circle” was dropped at that time, receiving critical acclaim (as well as a detailed review of it here). Now the complete album has arrived, and with it a rising tide of positive feedback and prominent chart placement. Having reviewed all of Sophie's studio recordings since this sites inception 15 years ago (as well as on fan sites 7 years prior to that) DaveCromwellWrites sets its laser focus on this new album.
Once again collaborating with writing partner Ed Harcourt in a similar manner as on her sixth (“Familia”) and fifth (“Wanderlust”) studio albums, the creative chemistry between the two is undeniable. A celebrated solo artist, Harcourt also Produced, as well as providing piano, synths, samples, organ and backing vocals. Additional production came by way of The Feeling founding member (and Sophie’s husband) Richard Jones, who played all the bass guitar, chipping in with additional synths and backing vocals. Filling out the studio musicians (most of whom are also in Sophie's current live band) are guitarists Pablo Tato, Seton Daunt, violinist Gita Langley and Jackson Ellis-Leach on drums.
The album begins with arpeggiated synthetic pulses laying a steady undercurrent for an emotive “A Thousand Orchids.” Choosing a flower titled lead-off track for the Japanese influenced album overall (with “Hana” translating to “Flower” in that language) points to an intentional pathway on this journey together (between artist and listener). Carefully placed piano chords are the only other initial accompaniment to Sophie's up-close-in-your-ear vocal lines that lead you away from “witches” and “ghosts.” She'd rather you “look for the beacons that show the way.” Gentle synths and electric pianos slowly work their way into the mix by the time she reaches that title line. Stating universal truths we all need to remind ourselves of - “it's so very human to to live as if nothing will end. Though no one's immortal, our secrets will let us pretend.” At the songs midpoint a more driving synth pattern begins, with ethereal vocals floating above. More defined keyboards mark out the chord progression as reverberated snare-drum shots enhance Sophie's final dramatic chorus.
As stated above, follow-up track (and first single) “Breaking The Circle” takes late night existential musings and fashions them into a danceable pop song. Full review of that here. What we didn't have *at that time* - but do now – is a gorgeous video to go with that song.
The deceptively upbeat “Until The Wheels Fall Off” was revealed to be Sophie's “most personal song on the album” in a recent live chat. Extolling the virtues of living-life-to-the-fullest every day you're blessed with, the lyrics were inspired by a letter from her late step-dad. Essentially piano-driven, the tracks enthusiastic groove is powered along by a nimble drum pattern. “Let's taste all the best we find under the sun – till it's done” is the overriding sentiment. Because living your best life IS to “laugh and love until the wheels fall off.”
Moving into the desirous fantasy realm, “Everything Is Sweet” tells a tale about obsession and “endless longing.” Deep buzzing low-end synths and forceful punch drumming comprise the instrumental bulk behind Sophie's vocals. Establishing a contrast between dark and light, “shadow,” ”shrouded” and “clouds” has the imagination turning them into an “enchanted,” “heavenly fortress.” The bridge between verse and chorus tugs sweetly at the heart with it's romantic chord progression and “wait so patiently” lyric. Repeated listening reveal enjoyable audio easter eggs, like the energetic bass guitar and drum interplay, lifting off into space synth rises and piano chords on the fadeout.
Second official single release “Lost In The Sunshine” comes complete with a gorgeous video that dazzles the senses. Playing to her obvious visual strengths, Sophie returns to the scene of previous videos (and other significant events) in Italy and Rome. The very first shot has Sophie standing in front of the nearly two thousand year old Roman structures, wearing (as she revealed) a dress she wore over 20 years ago in one of her first videos. All the footage here for more than the first half of it is presented in black and white. The multiple outfits are quick cut for maximum introductory effect, and her overall style morphs between Audrey Hepburn's Breakfast At Tiffany's and Sophia Lauren Italian glamour. The song itself is a gentle float-away dream of a perfect day with the one you love. A joyous summertime anthem that touches on the nostalgia of a hot, hazy day, described as looking “clementine.” Gradually, sepia toned images are introduced as Sophie rides a train (stunning in ultra-glam close-ups) singing about how “the ice is melting” and “sun overhead.” The footage playfully rolls out more elegant dresses as it hops around locales. The final third introduces full color imagery with the alluring one riding commuter cars, sitting in restaurants, drinking beer and eating ice cream and pasta. Only Sophie could make this sort of consuming look bewitching. Her little blue dog toy also makes an appearance.
Experience “La Dolche Vita” here:
Open note, finger-plucked guitar chords begin the introspective, Pink Floyd influenced sixth track “Tokyo.” Echoing a similar feel to the aforementioned psychedelic bands “Hey You” (from The Wall). Sophie's vocals are strong yet measured, delivering lines that fall somewhere between that city's reality and an imagined impression of what it might be like. Reaching the signature line “I'm with you and you're in Tokyo again” on the second pass through, has more instruments joining in. The mood shifts into dreamy, floating directions that feature ambient synths and active drum fills. An elevated section with lyrics “there's beauty here besides machines” lifts everything upward.
A peak mid-80's synth-pop feel permeates the celestial wanderlust (now there's an easter egg call back) of seventh song and second side album starter “Beyond The Universe.” Harkening back to that first synth-wave era that gave us A-ha's “Take On Me,” Sophie takes a sparser approach at first. Wafting synths are all you hear initially supporting a tale of weightlessness and stars. Soon bass guitar and drums enter in with the tracks insistent beat, as otherworldly keyboard lines offer counter-melodies. The “climb a little cloud, scale a little breeze” bridge provides a perfect segue to that magnificent full-bop chorus.
Uniquely textured synths and a “Be-My-Baby” Spector-esque drum beat lay down the sonic core of power ballad “He's A Dreamer.” Majestic piano chords support underneath a soaring chorus that speaks about trying “to see the world he knows.” A fascinating instrumental section feels almost improvised on the spot, with multi-toned synths playfully dancing back and forth between drum fills and bass guitar riffs.
A solid 4-on-the-floor beat, synth, piano and bouncy bass guitar establish musical parameters for the looking-glass scrutiny of “Reflections.” As much of a look-back as a gaze on the here-and-now, lyrics “through the lens the shadows refract until it's a memory” suggestively confirm this. An unexpected quicker-paced near spoken word section adds a sense of urgency to the lyrical content being delivered. Orchestral strings appear within the final minute, expanding the sound with an additional level of grandeur.
Rapid-paced tinkling toy piano introduces the synesthesia themed “Hearing In Colour.” That sensation where hearing sound induces visualization, can produce “joy” as well as “a feverish dream.” Applying major chords on the verse while using minor keys for initial choruses emphasize how overwhelming this level of sensitivity could be – especially when applied to a new romance. Tying the two parts together is a perfect bridge section that states “a million shades in the spectrum since you came.” The song resolves with a celebratory coda “calling my name” for an ultimate uplifting experience.
A deeper toned, slower version of that tinkly child's piano returns on subtle hip-hop grooved “Broken Toy.” The parallel between relationship breakup and “tossed aside” inanimate play thing runs against spacious ambience and yet-one-more keyboard texture of curious origins. Bass guitar stands out as the primary melodic counterpoint to Sophie's vocals on the chorus. However, it is her double-step delivery on each verse line (with the second one going) “but under the surface the heart has a purpose” that delivers the most endearing quality.
Final track “We've Been Watching You” has Sophie putting her own spin on the classic science-fiction narrative of outer-space Aliens. Having visited our planet, these “conscience of another kind” have chosen to save some of us to “start again elsewhere.” All good intentions aside, a repeated vocal refrain casts some doubt on the validity of this undertaking. Sophie presents it both ways: “you haven't quite lost your mind” she reassures. Then follows with “Or have you quite lost your mind?” Food for thought, indeed. With that, HANA comes to a playful conclusion, as Earth's fortunate survivors head out into the great unknown.
Previous Feature Review of Sophie on this site (including links to all other features) Here.
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One thing this site can count on is an
enticing pitch from frequently reviewed Burbank, California label
Big Stir Records. The currently much celebrated and promised summer
long roll-out of new recordings from fellow So-Cal pop-legends SPARKLE*JETS U.K hits all the marks for excited anticipation. Emerging with their first full-length album release in over 20 years, an expected multi-year plan of covers and originals is professed to unfold going forward. This initial step in the overall plan is something quite unique as it presents a 21 track double LP filled with covers of underground classics originally released by their friends and associates from the early aught Southern California power pop scene. Calling the record “Best Of Friends” underscores how they pay homage to a vital LA music scene that redefined the very essence of Power Pop at that time.
Without knowing hardly anything at all about the original artists recordings of these songs, a deep-dive review follows on what is heard in the here and now on THIS record. The album kicks off amusingly with someone sneezing, before launching into the 3 minute jangle-guitar driven “Hold On Tight.” Sweet vocal harmonies and precision placed drums+bass nestle securely alongside twangy guitar punctuation. It's Beatles-y in that way they would blend their pop with a tinge of country music. First single “He's Coming Out” is a joyous rave-up cover of late '90's/early 2000's LA pop heroes The Masticators. Intro'd by a singular chiming guitar, the band quickly thunders in with jingly tambourine and forceful rhythm section. Laying out a tale of “walking 'round the city” and “the people going mad,” additional points are given for the amusing lyric “he'll be puttin' on a different shoe – and he's got an electric guitar too!”
Check it out:
Next track “No One Rides for Free” builds off of an angular progression that shares space with heavier power chords. Interestingly with a similar key word in the title, this vocal rendition evokes John Lennon's on “Ticket To Ride.” “One Summer Sunday” switches gear to a more gentle “McCartney-esque” approach. There's pleasing minor chord change segments that also bring to mind elements of the band Chicago's huge pop hit “Beginnings.”
“Are We There Yet?” emphasizes female lead vocals to expand on that universal long-car-ride expression, applying it this time to an interpersonal relationship. Keyboards and strings add lushness to the production behind these impassioned vocals. Choral “la la's” provide a nice touch, bridging to male vocal response which includes more Beatles references via lyric “when you get to the bottom you go back to the top of the slide.”
There's a cheerful son-of-Beatles-Eric Carmen-in-Raspberries vibe on “Ludlow 6:18” Strong piano chord work provides solid underpinnings for the bright guitar, flam-drumming and vocal harmonies seamlessly woven together. “Battle Song” relies on rising step vocals that create a harmonious romantic feel, running against what it's title initially suggests. Once again, an early McCartney-through-followers like Badfinger feel is present throughout.
“I Want a Pony” bring back female lead vocals for this tongue-in-cheek bratty teenage wish list. Demands made via a chunky rock and roll chugger - “pony up” indeed! Bass guitar steps forward on the euphonious “Till We Meet Again.” Punchy rhythmic changes handled by those essential rock fundamentals of guitar, bass and drums drive everything towards exuberant high vocal harmonies.
Clocking in at 5 minutes in length is the album's longest track “Come Down Now.” A piano ballad featuring female and male vocals in a call-and-response duet, a sense of reverence is felt with the repeated vocal-hook “a Church Song.” Additional lyrics “come down now – remove your bandage – so I can see your damage” is as much about revelation than any sort of salvation.
There are many more wonderful songs included in the 21 here on this double LP. Among them are two other "focus tracks" that really stand out.
“Another Myself” emerges out of an angular pizzicato plucking on guitar strings before more chunky (and funky) chords join in. It bears similarities in both vocal tone and song structure to that twisted-prog-funk King Crimson did with Adrian Belew singing. Other elements surface in the guise of wacky Zappa-like “la la la” background vocals and seemingly melody lifts from “Paperback Writer” (or is that Paul's “Jet?”) There's even a touch of George Harrison's slide guitar sound on a madcap instrumental foray.
“Mahnsanto” takes everything in another direction, with it's mechanized structure and motorik undercurrent. A trip to the Carnival feel pervades while managing to straddle a modern times glitch-pop vocal arrangement on the verse. The chorus hook is another thing entirely, with the title word repeated like a siren call, followed by a plea to “come back to me,” promising “I'll wait there.” Churning rhythms and chugging guitars lay a bed for tasty lead lines to float over. Everything comes to a momentary halt (with brief bubbling synth interlude) – before lurching once more into the battering, beautifully harmonized chorus.
The full album is out on Vinyl, CD and all streaming services on June 30.
The relatively mild weather here in New York this current month of February has been a welcome respite. Presently spared from backbreaking snow shoveling and near sub zero temperatures allows more time for music listening and writing reviews. Back with brand new music is a long-time friend of this site and frankly at this point a UK Legend. Another returning collective has also released stunning new material in that most-beloved hazy-gazey genre. New to the site finds the recent work of an LA-based artist also receiving the now world-famous DCW detailed analysis.
Back in 2019 this site did an extensive historical recap and review of English recording artist Sophie Ellis Bextor on the release of her orchestral “greatest hits” album “The Song Diaries.” That album and this review both did well and all was sailing along smoothly. Sophie even managed to work in a trip to Japan in early 2020, before as she says “the world tilted.” Pinned down in our homes as we waited out this crisis, Sophie kept us entertained with her Friday “Kitchen Disco” internet shows. We were welcomed into her home for these half-hour concerts. Looking back from our perspective in 2023, those shows were a delightful silver lining, allowing a view into her home life and a temporary reprieve from not being able attend shows.
When things began to open up again, Sophie started taking her “Kitchen Disco” shows on the road, much to the delight of live entertainment starved concert goers. In that time she also published a self-penned autobiography and cook book with her husband Richard Jones (which also pivoted off the “Kitchen Disco” theme, as in “Recipes From”). In addition to renewed print and tv appearances, Sophie continued her successful ongoing “Spinning Plates” podcast series, as well as spots as a DJ on BBC Radio. Now there is news of her next full-studio album “Hana” being set for release at the beginning of June this year. With this being her 7th album of entirely new material, an advance single “Breaking The Circle” has just been released and receives a detailed review below.
Deep, low-tone strings introduce the track before a cymbal swirl leads into the piano-driven progression. Sophie's vocals commence right away with her asking “do you want to know what I think?” Well – yes – indeed we do. “Do you want to hear what's in my head?” follows as a lively drum pattern thumps along in tandem with those hammering piano chords. “It's too early to go to bed” she continues. “Do you want to hear a secret? I think there may be a day when the sun doesn't rise!” Oh, my. She's posted how “it’s a song all about those philosophical conversations you have at 3am when anything feels possible,” and that may have contributed to its creation. However, one feeling here (along with the universal meaning of “breaking a circle” - ending some kind of cycle) is a reference to the current fears of a full-on nuclear war, where “the sun doesn't rise” because it's been the end of us all.
However, the mood switches to a change progression where she states how “I can see a new horizon in your eyes.” That pivots into the big chorus “here we go into the light of the great unknown” ultimately “soaring up into the twilight zone” to the resolution of “breaking the circle.” Moving forward there is a “crashing through” an “edge of destiny” calling out to “come with me and we can chase what the end might be.” Resolving with “and when the morning comes – will everything feel the same?” Late night existential musings indeed. The hard-edged piano rhythm and matched percussion continue to established a driving musical propulsion.
“Can you sit a little closer” she continues to ask. “There's a magic in the night time air,” with an uplifting rise in her vocals on that final word. Repeating the “night time air” again for good measure, the bridge-to-chorus cycles around once more, this time with an alternating background vocal line running parallel against. Additional vocal overlays include a celestial “here we go” and “come with me.” Other subtle sonic chances seem to have the hammered-piano motif morphing into a more synthetic keyboard sound. Sophie adds further vocal lines like “don't want to live like days gone bye” and “it's time to rip it up and let it die.” A quick-stop, dramatic pause momentarily punctuates – before the final Big Chorus takes the track out to its conclusion – ending on a final question - “and when the morning comes, will everything feel the same?”
Another musical collective having a bit of history here in the DCW metaverse are the Sydney, Australia new school fuzzpop and lofi gazer 5 piece band Trillion. After prior reviews of their EP's and singles here on this site, the group has now released their debut full-length album “So Soon Now.” Having previously waxed on about their “modulating glazed and gazey guitars,” “impressionist murk,” “blissful reverie,” “buoyant bass,” “billowy guitars,” - not to mention the “warbling” and “shearing” (oh, and there must be “shearing”), a head-first dive into these new tracks follow below.
Opening (and title) track “So Soon Now” wastes no time getting off the ground as it kicks in full-throttle from the opening note. It's aggressive stomp emphasizes the bands trademark 3 guitar approach over the deeper low-end of bass and punchy drums. Male-female tandem vocals echo the Mbv/Slowdive/Blonde-Redhead fractured cadence in both diction and mix placement. There's a touch of “romantic” feel with the swooning chords that also touches on what Ringo Deathstarr does so well. Follow-up cut “Lo-Fi Days” progresses at a more measured pace, with a delightfully muted clarion-bell guitar stroke standing out as an every-4-beat delineator. As the chorus explodes with guitars and voices all crashing together in a singular sonic meld, its impressive how the drums stay clearly defined within that fray. A momentary pause at the 3 minute mark serves as buffer, before the push to conclusion (which includes an enchanting :25 second ambient guitar coda).
Third entry “Atomic Sunshine” makes inventive use of echo and delay on the opening drum beats. That is soon met by a wall of dream-gaze guitars as a snaking bassline provides counter-melody underneath. Strong tandem vocals with the females voice mixed slightly in front sing out lyrics that can actually be heard. Extended passages of softer, easier-going sentiment connect with more dynamic bursts. The album's first video single release “Cherry Blossom” is a hard-driving, forward charging affair that is self-described as “a song about the judgement that comes with living life to the fullest.” An instant affinity was felt with this track as it's title is the same name as one of our beloved cats. Although we initially named her “Sakura” it was quickly translated to Cherry Blossom (and then just Cherry), symbolizing the ephemeral nature of life.
Check out this amazing song and video here:
Fifth track “Kusanagi” (also Japanese mythology referencing a sword that represents the virtue of valor) features classic gazey pitch-bended, down-stroke guitars, double-time drumbeat and brightly stated vocals. Strategic open passages of only drums and a single guitar give reprieve as well as setting up the explosive guitars and alternate chord advancement that follow. The single title word chorus matches seamlessly with it's associated progression. “Falling Down” clocks in at a mere 2:09 making it the shortest entry on the album. The shapeless razor-burn guitar churn and submerged vocals elicits recall of something Brian Eno said when hearing a particular MBV track – calling it “the vaguest song he ever heard.” That description would apply to this cut as well. Recently released second video single “Take It Slow” brings back the bass and drums rhythm support, anchoring everything under scorching guitars and subtle melody lines. Vocals float in and out with a multi-layered chanting cadence, and chord structures following clearly defined patterns. There's a bit more emphasis on the lower-end sonic hue cycle, as guitars pitch downward in a more blended form with the bass.
Check out this metaphysical video here:
“Close Your Eyes” comes on with that heart-tugging, gazey-haze that a band like the aforementioned Ringo Deathstarr frequently dabbles in. Vocals are appropriately submerged for maximum dreaminess, as those starry-eyed guitar chords churn away. Crafted melody lines emerge over the turbulent textures, exhibiting the power of a three guitar assault. “The Silent Sea” pivots off a backward-leaning guitar chord down-stroke before moving into four-on-the-floor structure. Pitch-bended off-kilter (or as they self-describe “offset”) guitars push the pace forward, while a singular unblended voice provide lyrics. A Sonic Youth-style breakdown emerges in an unexpected (but welcome) midpoint sequence. Final track “Sometimes it's Alright” is a symphonic tour-de-force of ambient experimentation. Beatless, shapeless and relying solely on texture, it is actually quite soothing in it's measured rise and equally gradual fadeout.
Check out this amazing album here:
Follow Trillion on all their Socials:
spotify.com/trillion
trillion1.bandcamp.com
facebook.com/trillionsydney
youtube.com/@trillionsydney6897
instagram.com/trillionsydney
twitter.com/trillionband
A Previous Feature Review of Trillion (which includes links to all the others on this site) can be found Here.
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The circular way an album or artist finds their way toward a review here on this site is a curious and fascinating one. In the case of accomplished recording musician Julian Shah-Tayler, the most-likely spotting of a recent Night Crickets write-up inspired contact regarding their own recent work. As it turns out, Julian has been making music in one form or another (both in bands and solo) for a substantial amount of time now. In fact, he's written over 300 songs, which is impressive by any measure. A full-length album of original songs titled “Elysium” was released a few months ago, which now receives a deep-dive review below.
Taking note of the vintage glamour cover image photo tribute (slyly recreating Roxy Music's 1973 “For Your Pleasure” which featured model Amanda Lear), we're already off to a great start. Opening cut “End Of The Line” combines electronics with funk-style bass guitar and deep-vocal stylings, immediately delivering on the Bowie/Prince hybrid influence promised in the liner notes. Catchy keyboard hooks after each chorus line and in-between verses serve up pleasing synth textures. A Robert Fripp-esque guitar solo and deconstructing end-out emphasize its unexpected conclusion. Second track “The Devil Knows” boasts the musical assistance from famous and accomplished friends in the guise of David J on bass and Mark Gemini Thwaite (henceforth referred to as MGT) on guitars. Having written about the famous David's latest output with new band Night Crickets just last month, it was 3 years ago when coverage of MGT's guitar mastery in Peter Murphy's live band first appeared here on this site. Both musicians add cachet to this intimate (yet danceable) lyrically driven song.
Romance and sensuality are the driving forces on the dreamy lovesong “Melt.” With vocalizing morphing between the aforementioned deeper-toned Peter Murphy and David Bowie's mid-range tenor, impressive lines like “I have to make you love me tonight” (as opposed to the more de rigueur “I have to make love to you”) stand out. “Secret” pulls together throbbing synth-bass, chunky soul rhythm guitar and hand-clap percussion on verses displaying a free spirit. The chorus is lively and upbeat, with horns behind extended words for singalong emphasis. A tasty, wirey guitar solo adds a dose of rock and roll to this pop confection. “Evolution” comes on full electronica with it's bright synth melody line and pulsating machine-driven rhythms. While still maintaining rhythmic continuity, the chorus moves into a smoother aural state, utilizing multiple-voiced harmonies for dreamy effect. Irregular guitar textures emerge as the song progresses, adding counterpoint to the dominant synth-melody line.
Opening with the howl of a wolf, “Lupine” builds around plucking bass notes and repeated audio sample. Morphing into a chugging guitar-bass+drums rocker, an analogy of human desire as an animal hunger is fully explored through the lyrics. “All Good Soldiers” continues that simpler guitar-bass-drums blueprint further by stripping it down to the basics. Vocals are delivered with an uncanny similarity to Bowie in both tone and phrasing. A substantial instrumental section allows for buzzing guitar forays, leading into a gentle bass guitar and softer percussive accompaniment. “Head Up High” benefits from a solid drum track and richly textured keys (via Sam West and Nathan van Hala, respectively) along with its beautiful melody and finely crafted lyrics. One of the best produced tracks on the album, the positive message presented makes it an instant favorite.
“Kintsugi” featured another guest drummer, as Chris J Olivas (Berlin) lays down a raucous pattern underneath new wave guitars. Lyrical references to Japanese precious metals repair techniques serve as a metaphor for the emotional turmoil of the heart. “Earthquakes” combines ambient synths, a bold, rubbery, bouncing bass-line and heartfelt vocals that encapsulate the best 80's new wave singers. In this instance, Cy Curnin of The Fixx comes to mind. Additional lyrical points are given for working the thematic imagery of “shifting tectonic plates” in as an allegory for (once again) emotional devotion. “Bet Your Life” is an acoustic guitar driven composition that layers in elements of buzzing ambience, busily descending bass-lines and metallic percussion. It's extended coda rewards the listener with an enveloping instrumental dreamscape. Resolving all the themes laid out in the previous songs is final cut “Darkling U.” Syncopated electronic keyboards and percussion are met with an angular bass pattern, creating an otherworldly, futurist dance track. Elements of industrial emerge in the harsher tones and aggressive forward pace. While the songtitle reapportions something the aforementioned Prince would do (change “darling” to “darkling”), it feels more Nine Inch Nails in the synths and execution. Kudos once again to Nathan van Hala for the clarity of mix and to all involved in its brilliant production overall.
Check out this eclectic album here:
Connect with Julian Shah-Tayler/The Singularity via his Social Media here.
Dave Cromwell has been writing about music since the dawn of the internet age. In addition to the steady flow of features here on this site, he has been a regular contributor to The Deli Magazine (both Print and Web) since 2010. With numerous Print Issue cover features and weekly contributions on the Deli website, scores of artists have received the Cromwell point of view. Along with ongoing contributions to this site and The Deli Magazine, Dave has written for Dingus, My Social List, The Waster, Spin and Rolling Stone magazines.
