Four captivating new and recent musical releases are the focus here for this summertime DaveCromwellWrites. Extensive deep analysis is given to all aspects of songwriting, sound design and (where necessary) lyrical storytelling. The styles covered this time around include indie rock, nugaze. postpunk, ambient, dream pop, drone, ethereal and minimalism-experimental. Creating new works inspired by the pioneers in those genres that came before them, thoughts flow here from what is now being heard.
It was little over a year ago when this site became aware of an exciting new band based in Nashville, Tennessee named Hushhh. Following the release of their debut EP "Summer Medication," the group dropped a video for their track “In My Head” which garnered a detailed review here. Now they’re back with a brand new five track EP “Poison Glass,” surpassing expectations in every way. A focused DCW review is now given to this explosive new recording.
Opening the EP with the run-on-sentence titled “Youwon'trememberme,” a tone is immediately set via hyper-precision composition and recording. Speed-strummed guitars and locked-tight bass and drums support clear vocals riding over top. The spirit of early aughts power pop is imbued (think Simple Plan, Third Eye Blind, Good Charlotte) throughout both musical rhythms and lyrical theme. “Down in the pits, I could not see, I hid low and lived in misery” is how the chorus goes. Concluding with “I’d hate to have to leave - You won’t remember me.” It’s tough emo-boy angst set against harder edged sonics with near prog-rock like riff breaks.
Title track and single “Poison Glass” bursts forward via syncopated drums and power riff guitars. There’s an industrial buzz and sharp angularity on the chord phrasing that bears similarity to a band like Helmet. Vocals are different though, emphasizing smoother tonality and an elongated diction. Ruminating on the “waste” of carrying around sadness and “hate,” the distinct rhythmic change to a slower pace accentuates the inability to “find a key out of this dream.” At midpoint one more change occurs that suggests a revelation underscoring the prior request to “wait for me (that I hope to) crack these feelings that blind what I see.” The final minute is an ambient plateau that further implies resolution.
Third entry “A Passion For Sadness” starts out more sparsely with subdued tempos. Chime accents are place on key lyrical line ending words “take,” “stay” and “break.” An emotional build continues until just after a minute in, when a big dynamic music and vocal wash takes over. “Put me back together like you always do” is the plea. While this soft to frenzied style does tap the self-professed Smashing Pumpkins style, the vocals come closer to the alternative metal style of the Deftones.
Penultimate track “Stone Path” combines angular hard-edged rhythms with busy chord changes and punctuated lyrics. Pausing before the last word of lines is an effective composition technique. “I let myself - - - drown; Waves of - - - doubt; More lost than - - - found; I let myself - - - down.” Extended instrumental segments showcase cohesive skill among the traditional two guitar, bass and drums lineup. While the big hook “We lose all hope when gravity comes down” is what you’ll ultimately sing along with, the actual caution comes the title line included “Don’t step off the stone path, where heartache is found.”
The EP’s closing song (and single) “Tainted” begins with solo voice backed by simple guitar strums on the opening lines. Bass and drums slide in for the second round through, before full sheering buzz guitars soar in for emotional punch. The sparse instrumental and introspective vocal cycle returns, before lyrics “I’m going down the drain with you” trigger another gazey guitar burst. Despite the self-effacing song title, there’s hope in essential lines “Heaven’s a leap – Heaven’s a dream.” The songs final minute serves up an uplifting instrumental passage as a fitting end for this impressive release.
Listen to this high quality EP and find out how to acquire it here:
Follow the exploits of Hushhh via their Social Media on Instagram - Facebook - and through their Linktree.
Never one to let too much time pass between releases, Patetico Recordings label boss Tom Lugo is back with a new track “Loyalty & Blame” via his Heliocentric Overdrive project. A truly collaborative endeavor, Tom’s guitar and vocals are joined by Ian Falcon on bass and Lem Pidlaoan on drums. Recorded at his Studio in Havertown, PA, Tom produced, mixed, and mastered everything at
Laboratorio Soniko Studio in Middletown, PA. DCW now commences with a careful listen and serves up inspired thoughts on this tracks essential contributions.
Rising up out of a shimmering ambient wash, drums and bass soon lead in a majestic chord progression. Moving at a slower, more deliberate pace, the overall vibe would not be out of place on one of The Cure’s more cinematic albums (like “Disintegration”). Tom’s obscured, buried-in-the-mix vocals however, moves everything closer to My Bloody Valentine’s genre. One minute in and the first lift off is achieved via powerful layers of guitars, quicker change chords and slithering bass. Continuing the emotional rise, a plateau is reached where the instruments suddenly stop and only ambiance remains momentarily. Soon drums and bass lead it back to the songs fuller structure, with verse and chorus sections revisited with even more purpose. A powerful musical segment follows with bass guitar and drums providing sharp accents within the sonic swirl. One more fade (as if ending) before everything kicks in once again for a triumphant final minute coda.
Check out this grandiose track here:
Follow Heliocentric Overdrive and Patetico Recordings via their Social Media.
It was a mere four months ago when Sueño con Belugas band leader and 3 Robots Records indie label boss Héctor Caolo Alvarez introduced the first two tracks from latest record “Ataque con rayos electrónicos” (“Attack with electronic rays”). At that time those two songs “Velocidad” and "Mil Recuerdos" were given a focused DCW review. Now the dreamers of white whales are back with more cuts from this evolving recording. Once more into the fray, a deep listen sparks descriptive thoughts on what is being heard.
New entry “Love Evolves” opens the record with drone and melodic guitar figures overlaid on top. A driving bass emerges underneath, creating a counter-rhythm to the continuing guitar notes, before the full band joins in on this primary progression. Rising keyboard notes and wah-wah guitar enters the mix before powerful vocals commence from María (Malow) López. Two minutes in and a sharp turnaround finds the tempo shifting quicker as Hector joins in on vocals for tandem harmonies. A minute later, another tight turn accent bridge ushers in one more passionate Malow vocal segment. Precise instrumental breaks create momentary space before launching into a two minute vocal chorus and bold driving conclusion.
Another new entry “Flying high” is an easy flow groove instrumental that builds intensity via traditional guitar, bass and drums. Subtle layers are added on with each pass through the progression, and the overall feel is sunny and optimistic. Along with Hector’s obvious guitar work throughout, special mention goes to Gardy Pérez for his additional contributions on guitars and delays. Third new track (and fifth overall) “Portal” is a heavenly ambient piece that is solely built around atmospherics. In true Brian Eno fashion, the overall form is merely suggested, while still containing dense layers of sound. The album that comes closest to mind as a point of reference in the brilliant 1983 release “Apollo: Atmospheres and Soundtracks.”
Check out all of these song currently available on this album here (including how to acquire it)
At the top of this year, experimental ambient artist Andres Alfonso Lugo returned to this site for a deep dive review of his Los Dientes Hundidos en la Garganta project. Those eight total compositions dubbed “DRONINGUITARFEEDBACKS” was fully covered here track-by-track. The musician is now back with a new lengthy piece “Posthuman Multiverse.” Although a fully instrumental work, the title suggests ruminations on theoretical and philosophical perspectives. With ears “wide open,” DCW digs in to the nuances of this sprawling ten minute audio formation.
A swirling hiss introduces the composition, as if rising out of an alternate dimension. Additional textures flutter in (and then out) of focus adding elements of movement within this overall shapeless form. With everything created out of (only) guitars, bass and loops, the sensation is not unlike Lou Reed’s controversial “Metal Machine Music,” although no where near as harsh. A minute in and the ambient wash pulls back, allowing a more structured, calming guitar figure as primary focus. The sensation now is calming, as if meditative. One could imagine floating slowly on a river, staring at clouds and losing all sense of time.
Andrés provides liner notes that speak of an “existence and identity” that is “no longer confined to a single reality.” These audio waves of sonic serenity here provide an expressive soundtrack to this conceptual theory. After five minutes in, lower tones begin to emerge underneath, adding harmonic structure to the floating sensation on top. As subtle elements gently cascade into focus, the vibe is very much Eno, Budd and Lanois (see the 1984 classic collaboration between those three “The Pearl” as reference). Approaching the final minute, a distinctive whooshing textures boldly enters the mix, joining an ever expanding guitar tones and voicing cacophony, as sound equivalent to “multiple planes of existence.”
A combination of new and returning artists provide the material and inspiration for this August 2024DaveCromwellWrites music review. The discovery process of what’s being newly released is often a random one, with the direct outreach approach often the most effective. Whatever way music finds its way into one’s sphere, an appreciation of what is being heard is always the deciding factor. Four new recordings now serve as the subject matter for this current detailed audio breakdown.
The trusted recording label Sunday Records has been growing it’s presence here on this site, with more than a few of their releases showing up in recent times. So recent in fact, that last months notification (and featured track inclusion) of that labels recent “Beautiful Noise” compilation most-likely served as catalyst for another of their artists to reach out. The Proctors are a C86 / Sarah Records influenced indie pop band on the aforementioned label who recently released their latest album “Snowdrops and Hot Air Balloons.” A dedicated listen and analytical thought flow commences straight ahead.
Jangly, open-note guitar chords, rising bass, synth pads and a steady drum thump introduce “Summer Begins.” A bright-flute synth melody enters and seemingly merges into celestial background voices. Male fronted vocals with female harmonies at appropriate moments implore you to “be kind to yourself and don’t, don’t stop believing” and to “just go, go on feeling.” It’s a lovely throwback that lifts the spirits with rallying cries to not “torture yourself” and how “tears try in the morning sun.” Curiously, the hook concludes with the lyrical phrase “summer’s just begun,” and not the song title. In fact, no where in the song do those two words appear together. It hardly matters as the song bounces along on a joyful breeze while cautioning that “the world is full of broken hearts,” and how “everybody plays their part.” A positive outlook in the face of temporary trouble is the primary theme here, as “memories will fade” and “soon the sun will rise, erasing yesterday.”
Listen to this sweet song here:
Rising out of a distant ambient mist that slowly reveals to be icy synths and churning guitars, “Silhouettes” soon morphs into a full on bass guitar and drums driven four-chord progression. Things go quieter for opening lyrics indicating that “guilty tears won’t set me free.” It’s about love – or more accurately about relationships and how when you “step inside,” it can lead to “sweet sensations – and then lies.” A gorgeous male-female vocal harmony is then featured, and brings to mind the seamless beauty of The Raveonettes. The poignant lyrics state “it’s not a sin or crime, it’s just our sentimental point of view.” In search of a “remedy . . . to cure what poisoned you and me.”
Deeper track “Crystalline Part 2” jumps out at a brisk pace with chiming guitar chords in a descending progression, melodic driving bass and a wonderful tambourine strike on each 4 beat. Clever lyrical metaphors focus on stringed instruments, where “your voice is like violins” and “bells on your guitar” ultimately “kill me with your string machine.” It’s all wonderfully wrapped in this rising step dual-harmony appeal that asks “so why d’you do this now - take me to that Shangri-La? Please don’t do this now, put my head inside a dream.”
The whole album serves up one exhilarating track after another, making for a delightfully pleasurable listen.
New music from Philadelphia's Patetico Recordings is always a cause for celebration as well as a deep dive review. Label boss and primary musical creative force Tom Lugo is back with his band Heliocentric Overdrive and their latest single "Unnecessary." Two years ago a full review of their debut EP “Weightless” was given the CromwellWrites treatment on this site. In between then and now other Patetico releases have gotten their deserved analysis here as well. The time now has come to dig into this new release, and uncover it’s audio and lyrical essence.
The track opens with a touch of feedback before immediately launching into a downward driving progression of glorious sludge. It’s rhythmic force brings to mind those grinding gears on the abrasive half of Ringo Deathstarr’s “Tambourine Girl.” However, rather than launching into a contrasting perky pop segment (as RD does), this cut holds the rhythm but opens space for rough delivered lyrics. Presented in clipped spoken word cadence, the opening lines “Got an invitation - but you ain’t gonna go - got no time for parties - rather be alone” emphasize isolation over social interaction. Piercing sonic bursts from guitars ride over top of the low rumble stomp churned out by bass and drums. It’s a gritty affair that falls firmly in the heavy stoner-rock category. As if onetime same day festival headliners Mbv and Tool (quite a dividing line among attendees at that time) came together to produce this one song. A second lyrical couplet sheds further light on this internal struggle, stating “they say time is money - got none of my own - step up to the altar - I’ll bleed to get my own.” As the thunderous instruments continue charge forward, a chanting vocal repeats the sentiment “all this time – wasted away.” There’s even a subtle similarity to this tracks coda end-out and the Beatles maniacal “Helter Skelter.”
Every once in a while something totally unexpected comes out of left field and winds up in the message box. Such is the case of indie artist Ronaldo Vivo Jr. from the Philippines, who puts out music under the moniker obidya himig. Internet translators indicate that second word means “melody” which is an appropriate designation for this music. However, those melodies often come buried in the dreamgaze murk many of us weaned on My Bloody Valentine (and others) have come to know and love so well. The recently released album “Other Seasons” now receives a close listen and descriptive reactions to these recorded soundwaves.
Opening track “Footsteps” takes it’s cues from the aforementioned mbv’s “Loveless” by bringing together the essential elements of two-chord slog, crisp live-sounding drumming and unintelligible lyrics buried under layers of guitar sludge and pile-driving bass. Lyrical hook “glow like embers do” is merely suggested, and how could Kevin Shields not love this? He’s spawned a whole generation of acolytes, perhaps more than even The Velvet Underground once did. Liner notes indicate this solo-studio artist played all the instruments, so props in particular from this writer for getting the Colm Ó Cíosóig drumming down perfectly. Follow-up cut “River” goes even deeper down the loveless well with a slow crawling wash of ambient bliss. There’s a touch of Ringo Deathstarr here as well, especially in the guitar effects and romantic style vocals. The single line “see me under” becomes a repeated hook in this psychedelic trip.
“Olivia” is a brief (a mere 1:24) exercise in deep bass notes, rough charging guitars and enthusiastically matched drumming. The single word title line appears in a chanting cadence, floating inside of the mix. “Bless Me” is closer to the lo-fi, alt-indie acoustic guitar driven living room recordings described in the liner notes. No percussion at all, an accordion-like sound serves as the only other instrument is this ode to a “sweet and long love.” “Sun” changes course somewhat, bringing to mind the casual, laconic groove of J. Mascic’s Dinosaur Jr. “Close your eyes and see the sun inside your mind” is even sung with a hint of J’s lazy boy drawl.
There’s even bits of chill out trip hop with the one minute, twenty two second “Waiting.” Or a touch of pre-loveless mbv on the “Isn’t Anything” styled “Crystal Tears.” More dreamily romantic vibes are felt on the Ringo Deathstarr/Dinosaur Jr hybrid “Hollow Colored Evening.” Additionally, “Purple Sea” propels along via active drumming and a see-sawing melody. Final entry “Hallway Lung” serves up an under two minute instrumental of muted guitar strums and back-and-forth floating synth textures.
Check out this weird and wonderful recording here:
One more new to this site recording artist that recently released music is Alaska-raised, Washington State-based singer-songwriter/guitarist Mark Ward. His latest power-pop album “Let ‘Er Rip” is a tour de force of time-honored indie rock song craft. Taking cues from the initial pop “British Invasion” through the decades of similarly styled rock that followed delivers potent results. Combining singalong hook melodies with lyrics that run the gamut from serious to lighthearted, a descriptive focus on representative tracks follow below.
A crisp snare drum roll leads off the album’s opening track and first single “I’ve Been Around.” Chiming power pop guitars and paired bass patterns roll out the four chord progression with 80’s indie rock flair. Conjuring up The Records classic jangle pop track “Starry Eyes,” upbeat audio is countered by more sobering lyrical content. Recounting a brief bar encounter and one night stand, the aftermath is anything but happily ever after. When “the band was playin your favorite song” and they were “dancing and singing and getting along, “morning light” brings a realization “it was just one night.” The chorus hits hard though, as the track’s title line is all that’s needed, accompanied by euphoric harmonies and melodic guitar lines. Mark delivers subsequent verses with that Dave Edmunds subtle twang in his voice, while readily admitting “I’m not sayin’ I’m some kind of saint.”
Check out this catchy pub rock track here:
Follow up cut “Kiss Me Kiss Me Kate” doubles down on the Lowe/Edumnds Rockpile vibe, with it’s uptempo groove and sharp corner accents (special mention to the album’s drummer Dylan Mandel for his excellent work). Flipping the script on the previous song, the subject matter is one of a potential future together with someone giving “a sign you could be mine.” It’s a joyous ride packed in under three minutes with a lovely chorus and a touch of “it’s now or never” sentiment.
It’s a fully Merseybeat immersion on the brief (under 2 minutes!) “Love Me Once Again.” Of course The Beatles influence is there, but also perhaps a bit of Gerry and The Pacemakers, Herman’s Hermits or even Freddy and The Dreamers. It recreates the innocent charm of falling in love with that genres subtle flair, “when tomorrow comes around, we’ll be more than friends.”
There are many more inspired, finely crafted tracks on this album, well worth a listen. Check it out right here:
Creative individuals are driven by a need to make something new no matter how many times they may have conjured up something before. One way to spark emerging ideas is through new partnerships and alliances. Drawing on familiar sources of inspiration and bouncing those ideas off a complementary musical mind can lead to something unexpected. The JuneDaveCromwellWrites delves into four separate releases that examine this approach and the positive results arising out of it.
Frequently featured label Patetico Recordings returns to the DCW realm with a new collaborative effort Heliocentric Overdrive and their debut EP “Weightless.” Formed via DIY internet track sharing, drummer Anthony Gatta and singer-songwriter/guitarist Tom Lugo now share their melodic-pop tracks fueled by precise and frenetic interpretations.
Lead off track “Reveling” builds out of a clarion ring guitar figure, before bass and drums quickly join in to set the rhythmic progression off into full motion. Vocals come on initially in an understated, effects free manner, offering a conversational style question “do you want to fly -do you want to touch the sky?” It's a song of delight and celebration, where you “make your move,” because “there's no room for doubt.” All vocals effects are reserved for the hook-chorus that rides a guitar-wave of speed-strummed melody while proclaiming having “had the time of my life.”
It's straightforward pop for sure, with the drums showing restraint while still propelling everything forward via subtle accents on highhat and snare. Like all great three and a half minute song, there's a vibrant guitar segment two minutes in delivering additional melodies and allowing the drums to stretch out with some rolls. A special nod to closing production elements where instruments are pulled back and an upper and lower register vocal are revealed.
Title track “Weightless” immediately establishes a more forceful percussive statement, with the opening beat jumping out first with hard struck toms, snare and jingle shake. A wall of sheering guitar wave commences with Johnny Ramone energy, while another melody rides over top of that. Like the image depicted on this EP's cover, a quick cut tale of space launch - “counting down – all systems go – time to blast off – rocket thrust – lift off” come in rapid fire succession. The chorus hits with expected hyperdrive momentum, extolling the virtues of “ripping through the atmosphere-feel the thrill of being here-weightless, floating in space.” However it is the unbridled instrumental breaks that follow (both here and on the songs end-out) that are the true highlights. On these segments the melody rises, with both percussion and bass guitar let loose underneath to throttle on in a relentlessly joyous cacophony.
If it seems like there is yet-another Shoredive Records artist being featured here on this site every other month or so – well, that's because it's true. One of the busiest, most-consistent labels out there, something new, exciting and previously unheard of appears in our listening sphere that simply can't be ignored. This time it's mysterious dreamgaze from Montpellier/Paris going by the somewhat painful name 40 Days Without Water. While contemplating how anyone could even survive that scenario (unless the water was replaced with some other beverage) the music produced by this collective is utterly sublime.
Lead off track and featured single “Shed” starts with a higher-register, piercing guitar texture chiming over a muted undercurrent. A mere :15 seconds of that is met with what is considered more “gazey” guitars, rumbling percussive undercurrent and those vague, emotive vocals synonymous with this musical genre. The snare beat is crisp and on time, guitars are strummed in quick speed tandem, bass throbs and those vocals are delivered with smooth, elongated cool. A minute in and drums get busier with repeated snare rolls until it hits an ambient plateau. It's almost dub-style here, with distant sounds providing the background for an upfront bass guitar segment. Hissing waves and another round of voices begin filling in the spaces as the bass-line fades back somewhat with snare-beats reentering the mix. It's full-on forward again until another plateau is reached, this time less sparse with wind rushes and melody tones remaining. The final minute pushes ahead with a strong drum beat leading it all out to it's ultimate fade.
“Chore” rises up out of some mysterious void, before settling into a quick military rolling snare-drum pattern, deep-tone guitar line and soft-vocal delivery. Sheering “gaze” guitars soon enter the mix that now feature more elevated voices, along with staccato, fragmented percussion. This formula continues to delight with additional sections playing off the simpler “Cure-like” guitar-bass melody interplay floating over those unpredictable broken-pattern drums.
“We Woke Up Early” builds around a clean bass guitar pattern, cymbal rushes and FX-laden vocals that give off a dream-like sensation. Continuing this meditative state for three and a half minutes, the calm is ultimately shattered with an explosive wall of guitars powering the tracks final 2 minutes.
Listen to these tracks (and more) from this wonderful recording here:
Acquire the EP Here - and keep in touch with all things Shoredive Records via their Socials Here and Here.
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Another independent label discovery is the Peruvian based Chip Musik Records. It specializes in ambient, electronic, chillwave, experimental, glitch, dreamgaze, vaporwave and experimental artists from all over the world. Their latest release Lego 15 – Pulsos de Bosques (Forest Pulses) is an extensive collection of music from Central/South American and other international locales.
Opening cut Miyagi Pitcher - Akiraka ni suru (を明らかにする) is a gentle meditative offering that relies on looping ambience, alien vocal snippets and beat-free environment. A Dream Short - Better day (Italia) follows that up with more traditional songcraft. Melodic, bass-heavy synth pulses provide the rhythmic basis for vital female vocals delivered in tandem. An active percussive element enters the mix, along with guitar layers adding a decidedly alternative rock feel. Big Channels - Sigue orbitando (Argentina) churns out the bliss of sawing between two-chords over a drum machine, with effects on the guitars providing much of the musical variations. Strong, single guitar notes emerge at the mid-point (and end) adding further movement overall.
Cielo Oceano - “Eclipsed” returns a familiar collective to this site, having reviewed their work previously here. This new track emerges out of ambient build-up of wind rushes leading into a slow shuffle drum beat groove. Against that two-pronged backing of swirling rushes and ambling beat are vocals presented in deep, breathy cadence. A sheering wall of high-wind guitars surge up in the mix and threaten to obsure everything else going on underneath. Snippets of vocal melodies can only be made out – until a sudden shift and the harshness is temporarily pulled back. That easy shuffle beat and soft vocal delivery step forward once more, and the cycle repeats. Halfway in a guitar solo (of sorts) commences amid the chaos, proving one more audio element to latch onto. A final round of MBV-style (mini “holocaust”) noize consumes the tracks final 2 minutes, fading out under slow moving melodies over top.
Listen to this incredible track here:
There are many more remarkable tracks on this compilation, which can be acquired here:
Sometimes a record is released in a low key manner with little fanfare, and the band moves right to playing live as a means of showcasing this new material. Such is the case with Tight Lips debut EP, which was released at the end of March. A quick scan of recorded evidence shows the tracks were first put out individually throughout last spring and summer. With bands and audiences reconnecting at live shows again, the opportunity to focus on this previously uninvestigated recorded music now presents itself. Aware that it's the collaborative work of many-time reviewed (in multiple iterations) Jasno Swarez and Abdon Valdez, indicates a high-quality output.
Initial release “Leaving the Planet” evolved from drum and bass riffs into a fully-formed three minute-plus melodic, danceable rhythm pop song. Drawing lyrical inspiration from futurists J.M. Godier and Lex Fridman spark the creativity for original prose. As the angular guitar melody and crisp percussion drives the track forward, signature lyric "I want to feel what it's like to fly, I want to fly when it feels like I could die," is delivered with nuanced flair, followed by the hooky “I'm alright, I'm alright, I'm alright – yeah.” Fluid guitar-line turns lead into musings on “the atmosphere in me to the moon in the sky.” The pure enthusiasm is felt completely on the beat-less, keyboard only segment stating “I wanna be unstoppable.” A rock-solid instrumental interlude follows, locking down that melodic-dance appeal. Going introspectively deeper with lyrics “all I can hear, and all I can feel – freak out with fear I knows not real” leads to “maybe neither am I?” Ultimately the uncertainly is pushed aside with the return to dramatic sonic plateau and the declaration “I wanna be – a trillion miles away from here – with you.” Roughed-up guitar chords, keyboard and that steady beat leads everything out to conclusion.
Follow-up track “Black Rainbow” ruminates on the human mind and how we are presently faced with technological evolutionary stress. Fuzzy bass-bounce guitars and trip-hop percussion powers the track along momentary synth-twinkle grooves. Space is carved out through drop-outs and stark power-chord moments, emphasizing the songs overall theme. Choosing to “be a light” and “do right,” focuses on human choice that rises above “the sums of my thoughts ran on living circuitry.” Whether intentional or not, the riff from Jimi Hendrix “Third Stone From The Sun” is echoed a various points throughout the song. It serves as a launching point for the sinewy guitar riffs and extended percussion that follows.
Center placed on the EP is the popular YouTube track (impressive at 111K+ views so far) “Nearly Nude.” Taking the previously established theme of human-to-cyber existence (in this modern world we now live) even further, striking representative video imagery creates a “Max Headroom” style experience. Open note chords and tweetering bird sounds introduce the audio as the first “head” flickers into view. A walking bassline sets the groove in motion as a second “head” (and shoulders) pops up with appropriate visualized distortion. Sparse and minimal audio serves the track well, as vocals about “feeling like a hologram” sync perfectly with the imagery. Jasno's soulful vocal delivery and Abdon's fingersnap/handclaps on percussive moments add one more level of appeal. Keyboard strokes at opportune moments (like when everything else drops out) underscore how well-produced this whole song is. The bass guitar drive is just funky enough against spacious ambience, while lyrical passages emphasize android confusion. “I fragmented my mind” leads to “I am a human being with circuitry made to bleed and see sunlight. I think I know that I'm me – because I'm alive. This is the person I programmed myself to be.”
Check out this trippy (electronic-soul) song and video here:
Deeper cut “Digital Death” emerges out of atonal synth drones before drums, bass and guitar kick in with an angular progression. The movement is downward-circular with bass guitar (once again) an initial driving force. Self-discovery becomes the primary lyrical focus (“Try – try to be me – should be easy”) and yet one more “digital killing” seems necessary. Open note chords take the instrumental spotlight later on, along with a 20 second (or so) guitar solo. “Immortal Living” pulls elastic, bouncing guitar chords into focus, alternating those strokes against snare and high-hat percussion. Allow ample space for vocals, the running theme on our high-tech lives looks closer at cellphone dependence. “I am processed on a screen,” and “through the internet – I can outlive death.” However, it is the human component (once again) that garners the bigger musical moments. At the 2:20 mark a guitar segment begins but it abruptly truncated by single twinkling keyboard notes – before the initial cycle starts over. That's as much a statement as any of the lyrics.
Final cut “People” bubbles up from an ominous electronic field with piercing keyboard notes stabbing out a slow moving melody. Deep buzzing bass joins in along with solid trap drum percussion. As the title suggests, a litany of individuals are named, both well-known icons along with those known only to close family. “I'll never meet Elvis Presley, I never met my dad's mom, I'll never know Jimi Hendrix, my mom's dad is dead and gone. My sister's got a new last name, and I'll never be Kurt Cobain.” Combining universal themes with a personal touch, the central theme “I don't wanna be alone” (paired to descending keyboard line) pulls everything together. Bonus points for the lines, “I'll never meet my great grandson, John Lennon or Johnny Cash. I saw Bowie on Lafayette now he's dead.” Although those three icons may have left this planet, their influence is still very much alive. Tight Lips now make a case for their own influence as well.
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.
