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.”
The final month of 2024 offers an opportunity to highlight the best works presented over the whole year. For this music site, its annual “Best Of” collection celebrates the most significant artists written about since the beginning of this time period. Studio recorded music and video continued to dominate the bulk of analysis, with a significant return to detailed live show coverage included as well. Compiled here in monthly chronological order is the “2024 DaveCromwellWrites Best New Music Reviews and Live Show Coverage.”
Four enticing musical releases from over the last few weeks are the focus here within this months DaveCromwellWrites. Critical attention is applied to all aspects of songwriting, sound design and lyrical acumen. Favored genres that focus on fuzzy dream pop, pedalboards, indie rock, goth pop, witchy magic spells. alternative, electronica and post power pop all share space here in this latest deep dive analysis.
Reaching out to the DCW universe is a new band formed within the last year out of Nashville, Tennessee going by the uniquely lettered name Hushhh. Perhaps those extra “h’s” are for their hot, heavy and huge sound. If that smacks of a writers literary projection, what’s certain is quality level of songwriting and musicianship the band delivers. Having released their debut EP "Summer Medication" last October, a new video treatment for featured song “In My Head” has recently arrived now as well. DCW digs in to it’s sound and imagery with an ear (and eye) for it’s essential components.
Compressed, forceful drum strokes lead the song out of the gate before buzz-gaze guitars and locked-together bass enter the mix. Four distinct chords are delivered in a descending sequence that immediately triggers memories of peak-era Dinosaur Jr. The band members are visible from the start of their video, walking down the street, putting stickers up on the back of street signs, getting coffees and ultimately on stage playing a show. The instruments pull back as vocals begin “Paranoid – can’t believe the words I say,” followed by that classic deep-twang hook you hear in the very best alternative rock songs (like The Cure, etc). The earworm hook is reached in well under a minute with the line “life keeps dragging – on and on and on and on and on and on through hell.” This commences a sequence of building riffs over lines “I can't tell if I will ever be well again” with higher register chiming guitar lines blending in with blurred voices against images of the band doing things in their local community.
The second verse continues the songs introspective, soul-searching feel with the lyrics “Wish I was
Happy all the time - Impossible - Impossible is what I find.” Back to that catchy chorus as imagery of video game screens, the band onstage and walking around through their community. The music continues to build and the percussive accents and instrumental turn-arounds are crisp, precise and oh-so-tasty. There’s a cool minor chord (or is it a 7th?) drop on the end these passages that points to a more sophisticated level of songwriting (all within the confines of a 4 minute plus rock song). At the midpoint, a quieter moment of guitar strumming and softer cymbals sets up internal conflict lyrics “Dragging on and on and on and on and on in my head,” before one more explosive run through the hook. At 3 minutes in the tempo shifts dramatically and the overall progression slows to a doom-gazer pace inside a glorious shimmer. A ghostly circular image appears on the video, morphing between what might be a ring light and a moon / sun-like planetary figure above.
This past JanuaryDCW reviewed the two singles gazey dreampoppers Phantom Wave released at that time, in anticipation of their full-length album “Bonfire Secrets.” Comprised of Ian Carpenter (guitar/vocals), Rachel Fischer (drums) and Yanek Che (bass), a focused songwriting style and compatible musicianship fully realizes this sound. Having put the whole album out since then, and with additional distribution from our friends at Shoredive Records, it’s time to dig down into every other song from that release.
Moving past those previously mentioned singles, deeper cut “Shook” builds around a more controlled drum pattern with floating toms enhancing the dominant snare work. Vocals again hearken back to the classic 90’s alterna-pop bands, while guitars shimmer. A rising progression continues to build, leading everything out to conclusion. “Paceline” opens with a rough edge, before dropping the harshness back momentarily as bass guitar drives along. The big emotional chorus brings that wall of guitars back for dramatic exposure.
Modulated guitar textures provide harmonic effect on introductory guitar chords for “Comet Gain.” The initial vibe is easy going and laid back, like Dean Wareham’s original band Galaxie 500. Things get punchier, though once the lyrical hook “spark it good” is reached. A more chaotic wall of sonic disturbance swirls around more structured bass and drums, so diligently attempting to hold it all together. This lengthy, over six minute track reaches it’s emotional peak with the lyrics “and you – so true.”
Reaching the album’s mid-point has the band taking the above-mentioned “easy vibe” a step further into dreamy romanticism with “Astral.” Just when you think this is shaping up to be another over six minute exercise in two-chord meditation, the tempo begins to quicken near the 3 minute mark. Feeling more now like the hurried pace and soaring overtones of Ringo Deathstarr, vocals reveal how “somehow everything’s gold.” Bass guitar cuts loose with melodies while the drums slosh and clatter with wanton impunity. “Got you up in dreams - fly along and be” is the battle cry.
Dipping back into the “Cure-style” pool with it’s open string guitar chord phrasing and Simon Gallop-esque penetrating bass comes the more “reasonable” length “Spiraling.” It doesn’t go on like this too long before a gazey wash of white noise and cymbal slosh accompanies lyrics “Hey there, hey there, hey there, right on there.” Stand out melodic guitar lines also remind why we revere that Robert Smith led band so much, right down to the middle-break of this instant classic song.
Coming in as the longest track track on the album (at 6:42) the appropriately titled “Burning Clocks” moves the bands sound closer to prime-era Cocteau Twins, with Guthrie-style guitar and Raymonde-esque bass. That vibe continues onto it’s primary change, with the lyrics “what can I tell you -
feelings transmit - stay on horizon - stay on.” Guitar riffs and their associated noisy textures become more urgent and boisterous during instrumental passages from the midpoint on. Higher-end cymbals and guitar tones pair well with the lower register bass. A plateau is reach after four minutes which allows for the songs title line to be sung “the burning clocks, the twilight smiles.” One more pivot to a sonic liftoff emphasizing the aforementioned “stay on” vocal.
“Fireworks” is introduced by way of natural sounding trap drum set laying down a warm, organic beat. Chime guitar and deep twang bass flood the sonic space as a lyrical tale of conflict unfolds. “Woebegone, don’t stay long” becomes the essential chorus placement hook. Dynamic forward-pounding, rising-note segments are repeated for dramatic effect. “So much trouble, push it all away, away” is the ultimate resolution to these pyrotechnics.
Listen to this perfect gazey album and find out how to acquire it here:
It’s been a minute since this site checked in on the distinctive style PR Rep William Z and his Moon Coil Media clientele have been up to. Having featured a number of their high-quality artists here over the last few years, the time to dip into that well has arrived once again. Digging into New York (and sometimes Vermont) based Witchy Goth Pop artist Metamorph is an eye (and ear) opening experience. The inspired project of veteran musician Margot Day, her multi-range vocals, songwriting and flute playing are blended with dark synth electronics. Recent song release “HEX” has been given an official Stabbing Westward remix by the bands founder Chris Hall. Additionally, an Official “Witchy Matrix” Visualizer accompanies that track, receiving a detailed analysis below.
With large pentagram earrings on immediate display, Margot Day strikes the classic gothic rock figure, conjuring the spirit world with expressive imagery. The recognizable Stabbing Westward industrial synth-pulse and matching percussion charges forward, enhanced by Margot’s flute textures. Vocals commence with mystical lyrics “Your eyes, like onyx stones, a power source dark and deep - when our eyes meet we gleam.”
The visual and audio mood is seductive as Margot reveals to both “glamour up” and become “Guardians of love.” You had to expect a “spell” was coming (it “drops” and the “night wakes”) with the ambient prelude and single title word “Hex.” However, rather than an incantation calling up bad luck or trouble, the magic has amorous intent. “I want what I want when I want it - babe I want you” is how the dancefloor banger chorus goes. The spell is cast in a “dollhouse discoteque” where lovers “glimmer the night away.”
What seems like a while ago (but actually only two months) UK RockersIt’s Karma It’s Cool’s spinoff side project Solitary Bee reached out with their latest single “Love Wakes Up.” Giving that one the old Cromwell review at that time, they now return with a brand new release “Autumn Recruits.” That quirky track now receives the deep-dive DCW analysis to decipher it’s fundamental melodic and lyrical revelations.
The sound of a buzzing synth (a solitary bee?) are the introductory audible moments before vocalist Jim Styring fervidly delivers lines “all the leaves on the trees on vacation.” Byrds-ian ricken-jangle guitar chords chime and measured bass notes mark out musical parameters. Drums enter the mix while “naked branches” have “deep conversations” about earlier times (poetically referenced as “the lives fully clothed they once had”). More is discovered about these seasonal “recruits” with the twee question “but did they ever say goodbye? When they left a hole in the sky. In their golden space suits.”
While comparing the browning of autumn leaves with “golden space suits” is quite imaginative, the sonic elements now in full motion are equally impressive. A rippling keyboard line repeatedly descends while bass guitar provides counter melodic movement. The songs midpoint pulls everything back, but for an acoustic guitar, some subtle synth pulses as Jim’s reprises those thematic opening lines. The full band charges forward with the primary theme and lines “I’m hoping they all learned to fly, before they jumped from way up, all the autumn recruits.” A final quick instrumental breakdown emerges that leads the whole track out in layered call-and-response vocals and twinkling pulse arpeggios.
Listen to this sweet and sophisticated track 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.
