Best Of 2021: The New Music Year In Review

2021 featured a steady flow of new music here on this site, from both long-time faves and first-time reviewed artists. A return to live show coverage began mid-year, with recorded music still making up the bulk of detailed analysis. Compiled here in monthly chronological order are the most compelling features that represent “DaveCromwellWrites Best Of 2021.”

Early January dipped into the bottomless well provided by Shore Dive Records, with the stunningly beautiful album “Summerheads And Winter Beds” by The Raft. Conceived by songwriter and multi-instrumentalist Phil Wilson (who has been writing, recording and performing under the name The Raft since 2003), an elite group of dreamy female vocalists are employed throughout the album, providing necessary lush counterpoint to Phil's own voice.

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Another release at this time from Shore Dive Records was the debut EP by French duo Tender Tones. Cleverly titling this record “Youth Retirement Club,” Manon Deruytere & Maxime Pargaud delve into the nostalgic side of gaze, synth and dreampop. The Ep serves as a partnered co-release between ShoreDive and American label Somewhere Cold Records.

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The specialty music publicity brand New Dark Ages PR has also provided a steady stream of new and established artists to this site. Focusing on Gothic/Industrial, EBM, Black/Death/Heavy Metal and Hard Rock, there's always something compelling to dig in to. The January entry on DaveCromwellWrites radar was Goth-Industrial artist Night Terror, with their new full-length release “Freak On The Inside.” This solo work of musician Jeff Heveron presents a unique blend of deep goth-style vocals (straight out of the Peter Murphy school) with synth-driven industrial grooves.

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Full reviews on all of the above can be found on this site right here.

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Pulling together a collection of songs written and recorded over the past two years, Indiepop veteran Tom Lugo released the Panophonic album “AWAKENING” during the month of February.  The Philadelphia based musician has been running his own independent Patetico Recordings label for a number of years now, putting out a steady flow of albums, EP's and singles with a variety of bands and collaborations.

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Another album finding it's way into the DCW realm during the month of February was the retro psych-pop “A Dream Without Color” by Long Island's own The Crushing Violets. The record features six new original songs as well as a cover of the 1966 hit “A Groovy Kind of Love.” Placing emphasis on vocals and storytelling over any kind of extended instrumentals, most songs clock in under three minutes in length, with one each cracking three and four minutes respectively.

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Link through to the full feature on the above bands here.

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It's easy to see the appeal of Queens, NY-based edgy power-pop duo Yo Kinky. The duo of Laura Wight and Tom Unish created an enticing five song EP that came accompanied by a number of attractive, cleverly realized videos. Released at the end of February, a full track-by-track review lead off the month of March DCW Feature. With guitars, keyboards and drum machines providing the musical foundation for each excellent song, Laura's lyrics and vocals helps to set them apart from many other male/female duos.

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A much needed (now more than ever) new organization called Freedom Of Creativity connected this website with an excellent band out of Austin, Texas – The Dizzy Bangers. Fronted by guitarist and vocalist Jimi Dharma, the music combines rock and roll with grunge, blues and psychedelia. One of their releases at this time “Under The Sorrow” came complete with an impressive live-in-the-studio video, enhanced by animated effects, and garnered a complete detailed review.

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Rob Clarke and The Wooltones hail from the UK Liverpool suburban village of Woolton.  Among other things, the area is noteworthy for John Lennon's childhood home as well as he and Paul McCartney's first meeting place. Rob Clarke incorporates elements of this history into his music, along with a variety of other influences as well. On the bands latest album “Putting The L in Wootones,” a heady mixture of 60's psych, UK/Mersey and American West Coast vibes permeate the album's eclectic tracks.

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Follow this link for complete reviews of these artists.

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The month of April saw three  separate recorded works receive this sites distinguished individual track analysis.

Finding their way into the DaveCromwellWrites universe for the month of April was the Burbank, California music label Big Stir Records. Based out on the West Coast USA, the label features artists from all over the US, UK, Sweden and Germany. Label runners own band The Armoires released an 18 track full-length album, initially delivered in a series of mysterious single releases that culminated in the collection aptly titled “Incognito” received deep dive track analysis.

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Another Big Stir release - The Forty Nineteens and their album “New Roaring Twenties” peaked a level of curiosity that continued incrementally, wading through it all. Forming the band while working in the San Diego courts, they landed on a name that is something said by every judge in every courtroom in the state of California. That term is "Forty Nineteen," and a 4019 credit is time off the sentence of a detainee who behaves in jail. Their music is pure form rock and roll, that illustrious hybrid sound encompassing the 1950's collision of Country with Rhythm and Blues.

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It's rare that too much time passes before another Shoredive Records release turns up in a DaveCromwellWrites review. This time a Russian collective calling themselves Secrets Of The Third Planet (which we all know from Jimi Hendrix's “Third Stone From The Sun” - is Earth) reissued a 10th Anniversary Edition of their EP “Lost In Reverie.” Originally recorded and released in 2011, the new-to-this-writer tracks encompass that timeless sound of all the great “gazey” bands.

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Link to the full reviews of all these bands here.

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Sometimes the name of a band can provide a level of confusion that often undeservingly puts them on the backburner. Take Tashaki Miyaki for example (pronounced Tah-Shock-ee Mee-Yock-ee). Sounding like a singular Japanese solo artist, the images of a willowy red haired woman as their out-front focal point and dreamy sounding vocal music never quite seemed to match up. The periodic promotional reminders (mostly via email) over the years – with the latest coming for this month of May – finally put an end to all of this procrastinating. Simply put, attention to this band that makes the most wonderfully dreamy, melancholy music was long overdue.

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Once again trusted source New Dark Ages PR introduced another impressive artist from the depth of their diverse talent pool. The May entry, based out of Chicago as "one-woman industrial army" I YA TOYAH entered the realm via her EP, Out Of Order and video for the single, "Pray."

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The late April release (and May reviewed here) track by UN.REAL “Sun Like Star” is a heady uptempo affair. Anchored by songwriter/musicians Hector Caolo (bass), Eden Cruz (drums) and Gardy Perez-Ruiz (guitars), lyricist and vocalist Bernice Cruz completes this dreampop quartet. The track bursts out from the first note in full bloom, with slashing gaze guitars in lavish expanse across the sonic field. The bass and drums are thoroughly audible in the mix (as they should be) pointing to impressive production values and recording techniques. Capping it all off are Bernice's deep and resonant vocals. A final minute of pure instrumental and vocal euphoria lifts this gorgeous track to it's ultimate conclusion.

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The complete reviews on all of the above bands can be found here.

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The recorded works of four new and innovative artists got the Croms-eye-view deep dive analysis for the month of June.

Every once in a while a band will jump out at you from the ocean waves of promotional material that comes through over the wireless here. Making note of an instant liking for a quintet with the curious name Spud Cannon, a double-back on subsequent promotional singles releases confirmed their “must review” status. The release of their album “Good Kids Make Bad Apples” shows every song exhibiting high-level vocal harmonies, catchy melodies and precision instrumentation.

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Contributing their track “Liquid Through My Hands” to Chicago, Illinois indie-pop label Sunday Records compilation Something Beautiful, Sheffield UK based indie-gaze band The Suncharms saw their work standing out amongst like minded artists.

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The always busy Tom Lugo continued to put out new music via his indie label Patetico Recordings under a variety of band names (both solo and collaborations). Already featuring his full-length Panophonic album “AWAKENING” here in this year-end Best Of, the June single release “The Last Time” has earned those honors as well.

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Big Stir Records introduced another Best Of entry in the form of accomplished psychedelic pop troubadour Anton Barbeau. Specifically his single “One Of Her Superpowers” which encapsulates this artists rare chemistry in a radio friendly two and a half minutes.

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The original full review writing on all of the above bands (complete with links or song embeds) can be found here.

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July is always one of the best months for new music. You are deep into the heart of summer yet still far enough from it being over to have any real concern with all that. For this month DaveCromwellWrites featured both new and returning artists, all with recently released material. Horizon's were expanded with this eclectic collection.

Perennial CromwellWrites faves GIFTSHOP returned with not one but two brand new tunes. The newer written composition “More Than That,” packs more into it's barely over two minute frame than most of the repetitious, overlong excess churned out on a daily basis. Backed with “Kewl With Me,” a song that's been around for a number of years but never quite found it's way into the studio for a proper recording until this point in time.

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Making their way onto this websites radar during this month were Brooklyn-based neo noire rock'n'rollers Toshio Band. Finding inspiration from a variety of film makers (Quentin Tarantino, Jim Jarmusch), poets (William Blake), jazz innovators (Charles Mingus) as well as literary rockers (Iggy Pop, Tom Waits) serves as a wide and disparate pool to draw from. Lead singer and bassist Tim Lavigne pilots the project through songwriting and sound design bringing all these influences together in a modern rock and roll format. Their recently self-released EP “Lock Your Doors” is a five song concept EP that explores themes of madness and melancholy in an unforgiving world.

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Another eclectic collective weaving it's way into the CromwellWrites universe are a San Diego, California-based duo that go by the name Corduroy Institute. Having recently released a new album titled “Eight/Chance/Meetings,” the creative members adhere to an “institutional methodology” emphasizing improvisation. Additionally, their lyrics were formed using the cut-up method (or technique), which is a type of found poetry that has its roots in the 1920's Dadaists but was popularized by writer William S. Burroughs in the late 1950's and early 1960's.

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Psychedelic documentary film-maker Matt Levin previewed a new project in the works on the life and times of influential musician, writer and painter Will Carruthers. Most psych-rock fanatics know him as an innovative bass player in seminal bands Spacemen 3, Spiritualized and The Brian Jonestown Massacre. With the clever title "Nobody Gets Fat Eating Music," Matt combined an informative live interview with brilliant animation and in-depth analysis for a uniquely immersive experience. The Cromwell breakdown on this Translove Airwaves production is fully notated.

This film received entry for showing during The Psychedelic Film and Music Festival.

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Read all the reviews on every artist in this feature here.

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The ability to attend live music shows out in public with your friends once again had been a long time coming. After a soul-crushing shutdown / lockdown of 2020 that continued into early 2021, it wasn't until mid-year we finally got back to in-person appearances. Summer in NYC and adjacent Long Island has always provided many opportunities for mostly-free events in open park theaters as well as clubs and restaurants. Along with a variety of recorded music both new and vintage covered in this sites August feature, came a long-overdue return to live presentation recaps.

Among her many talents and accomplishments, Laura Schaefer is an impressive singer in the soft rock, country, adult contemporary, and pop music realm. Catching a recent run of live appearances both indoor and out in the open street festival environment showed the performer captivating audiences with her nuanced vocal interpretations. Appearing on Sunday night's during these summer months at the highly-regarded Westbury, Long Island restaurant Cassariano, the duo act of Laura and Bill (with the equally accomplished Bill Blais on keyboards and vocals) entertained patrons with a dramatic set of classic cover songs.

In addition to her current collaborators and bands frequently offering guest vocal spots, Laura co-wrote and released a number original songs as the lead vocalist in a band called Blue Mile. A full review of that record appears in the August Feature.

Street festivals are always a great place to check out live music on a warm summer night. A band Laura has been doing some guest vocal appearances with are the wonderful Americana Country Rockers Tri State Alehouse.

Core members Jonathan Crist, Jeff Schumacher and Mark Ambrosino wrote, produced and released 12 original songs (and one surprising cover) on their album “Open Here” with a variety of guest co-songwriters and musicians.

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Continuing their relentless quest for sonic excellence, Ottawa-based Paragon Cause released their third album “Autopilot.” Expanding on the auditory palette they've been building since their first two albums “Lies Between Us” and “What We Started,” (both meticulously reviewed previously here on this site) a bolder evolution in composition and sound design was delved into.

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Full coverage of all the above artists can be found here.

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Relationships are a significant driving force in much of what appears here on this website. Trusted record labels and artists who've previously shown appreciation for detailed analysis on recorded music meaningful to them are prioritized. Finding new composers and their unheard works within that framework will always continue to expand this overall field. Finally, losing a four-legged family member is heartbreaking, and celebrating the life-affirming years spent together is the best way to honor them.

There never seems to be too much time passing before another ShoreDive Records release finds it's way into the DaveCromwellWrites reviewing sphere. The independent Brighton, England based label provides a continuous supply of high-quality dreampop, gaze, electronica, post-rock and post-punk releases. Landing in the DCW mailbox in September was a six-song mini-album debut from Lyon, France residents Lunation Fall. Titling the collection “Near,” their mission to blend melancholic dreampop and explosive noise was fully achieved and given a full track-by-track review.

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This past June saw DaveCromwellWrites featuring a detailed review of England's The Suncharms first preview from their 30 years in the making (!) proper full-length debut album. With the release of “Distant Lights,” ten full tracks (with two bonus cuts on the CD release) were given deep-dive treatment.

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On September 13, 2021, beautiful boy cat Nicky crossed over the rainbow bridge after 14 wonderful years on this planet. He was the most perfect cat you could ever be so blessed to share this life with and will be sincerely missed.

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Check out the full coverage on all the above here.

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October caught 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 showed musicians taking their creative ideas - much of it developed by way of live show performances over the years, and forging it into high-quality studio recordings. Each artist exhibited true emotional commitment to their respective style of music.

A band this site had been keeping a close eye on over the last year or – The So Lows released a new album ‘Times Not So Weathered,’ and received 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.

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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 returned with his first new solo music in 15 years. Lead single “Sunblind” received a detailed in-depth review.

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Finding their way back once again into the DaveCromwellWrites universe, Sydney, Australia based gazey-noise-rockers Trillion released a new single “Sure” 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” received a full detailed review and makes the “Best Of” for the third year in a row.

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Read full-length reviews on all of the above artists here.

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The best recording artists put as much creative effort into every song they choose to include on their album. While standout tracks may appear, there is a consistent quality to each track on it. Those full-length albums deserve to be carefully listened to, from first track to last. This site makes a point to review those albums track-by-track, leaving no stone unturned. It's the deep dive and detailed analysis that sparks creative exploration and new experiences. Two full albums for a total of 19 songs received the DaveCromwellWrites focus during the month of November. One more life-in-review memorial to a dearly departed animal companion closed out the month (and year) in a heartfelt manner.

Burbank, California based music label Big Stir Records continues to provide a deep catalog of wonderful new music. With their reach expanded internationally, there is a treasure trove of high-quality recording artists there, well worth checking out. The November release of Nick Frater's “Earworms” earned itself instant classic status and a complete DCW track-by-track review.

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Another November release that received a CromwellWrites full review (and now qualifying for end of the year “Best Of”) is “Winter Skin” by psychedelic dream pop and gazey indie music band EEP. Released on the local Hogar Records label, the 9 original tracks were produced and engineered by the band themselves, with recording and mixing done at Brainville Studios in Sunland Park, New Mexico.

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November also saw precious baby girl cat Cherry crossing over the Rainbow Bridge to be with her twin brother Nicky, after 14 years of joyous life. She was the most perfect chubby cat that ever lived and she will be missed and remembered forever.

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Full reviews of everything in this feature can be found here.

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Assembled New Music, Video and Entertainment Reviews

 With Spring now in full bloom (the backyard here at DaveCromwellWrites estates a veritable nature preserve), bursting flowers, birds, lizards, bees and many other forms of flying and crawling things abound. Against that backdrop, four new recently recorded works (and an additional entertainment recommendation) are given this sites conscientious brand of literary analysis. While the great (frozen in time shooting star) Dale Bozzio once asked “what are words for – when no one listens anymore?” - a strong commitment to the arrangement of sentences in a coherent manner continues on here at DCW.

Sometimes the name of a band can provide a level of confusion that often undeservingly puts them on the backburner. Take Tashaki Miyaki for example (pronounced Tah-Shock-ee Mee-Yock-ee). Sounding like a singular Japanese solo artist, the images of a willowy red haired woman as their out-front focal point and dreamy sounding vocal music never quite seemed to match up. The periodic promotional reminders (mostly via email) over the years – with the latest coming this past month – finally put an end to all of this procrastinating. Simply put, attention to this band that makes the most wonderfully dreamy, melancholy music is long overdue.

Along with her fellow musicians, the band concept derives from the singularly consistent vison of frontwoman Paige Stark. While initially mistaking Ms Stark for simply the voice and image of this “Japanese band,” further investigation shows her to be the sole visionary for clearly defined image (she directs all the videos) sound, lyrics and mood. Credit must be given to guitarist Luke Paquin – who's dreampop style is integral to the bands sound. Current bassist Sandi Denton (there appear to have been at least a few over time) is more than competent, also providing backing vocals and dark haired attractiveness as well.

In advance of their upcoming sophomore album “Castaway” out on July 2, they've released a video for one of the track's “I Feel Fine.” Much like the album cover itself, the video for this song emphasizes the more muted colors of living. While the record cover shows a cloudy sky Los Angeles (where the band is based) with Paige tiny and dwarfed next to a large structure from decades ago, the video goes even darker. Described as an homage to her favorite vampire films, it's actually the first time the band has appeared in one of their videos. Opening with a simple drumbeat (Paige is the band's drummer – which in general goes against the grain of what a “frontperson” usually is) two women (Paige and Sandi) are sleeping on a couch in a candlelit room (all black and white imagery) with a snare drum by Paige's head (an amusingly clever touch).

As the impeccably disheveled stylish women slowly rise to the sound of twangy guitar wash, they both appear to be enjoying a wake-up popsicle as wall photos reveal images of Tom Waits, Patti Smith and Marilyn Monroe (among others). “Sitting all alone in my bedroom, wishing that I had more headroom” is how the opening lyrics go – processed with a uniquely appealing sheen. As the women put on their sunglasses at night – and looking so vintage in their clothes – they head out onto a night streetscape of subdued tone and occupancy. Paige revealed she imagined the vampires died in the 1950s and they’re still wearing the clothes of their time. The additional element of a romantic couple out on a date is added, providing the “prey” in this cinematic noir depiction.

When the romantic couple's female reveals herself to be a vampire as well, the neck gnawing commences with Paige and Sandi rolling up on the scene just in time to join it. It's both sensual and vicious at the same time, while little details like the kid on the bike from previous scenes appearing in background as an out-of-focus apparition. Before things get too grisly, they all appear back at the homebase together (with an adorable dog slinking through), satiated, asleep (again) with blood stained mouths.

With emphasis on the visual aspects of this production fully explored, the actual song should not be overlooked. It moves at a relaxed, measured pace – all country-western twang and drawl – initially popularized (to this listener) by Margo Timmins and her Canadian siblings band Cowboy Junkies with the breakthrough late '80's hit cover of Lou Reed's “Sweet Jane” - along with some Mazzy Star vibe as well. The lyrics (and vocal delivery) resonate on a thoroughly relatable emotional level. “I can't keep up with all the bad news, it's hard for me to just be me with you, anything I say or do is never right.” With the eventual question: “Is there anything left about us that you like?” “I love you but I can't stand you – after all the shit we've been through. Nothing for me left to do – but try.” “I think I am fine.” Of course that title and sentiment means anything but “fine.” But it's what you say when you are dissatisfied, but still willing to “try” and push through – to try and fix it.

Check out "I Feel Fine" here:

Connect with Takashi Miyaki:

FACEBOOK // INSTAGRAM // YOUTUBE // BANDCAMP

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Raising a child from birth to young adult has a profound influence on you in so many ways. One that took to all things anime (and art in general) from an early age provides a daily audio and visual reference point that otherwise may have been overlooked. Listening to the radio together in the car while shuffling back and forth to more serious tasks (like, say going to work) can provide mutually realized moments. Hearing a song by British indie pop band Kero Kero Bonito had both of us instantly captivated, declaring to each other “that sounds like anime show music.” While said offspring continued on their merry way back to (at present) “Steven Universe” (among many others) this writer needed to delve further into the sources behind the sound.

Began by multi-instrumentalists/producers Gus Lobban and Jamie Bulled in London now a decade ago, the band is fronted by a near perfect for the sound (and image) vocalist Sarah Midori Perry – who affectionately goes by her stage name Sarah Bonito. Alternately singing in both her English accent and the Japanese language (both of her ethnic heritages) encapsulates a consummate approach to today's target audience encompassing alt pop, computer music, electro-pop with a touch of hip-hop and j-pop thrown in for good measure. Perhaps the guys should have gone “full Ramones” and used the Bonito tag as well. Either way, the band now has a sizeable collected works of recordings and a dedicated, adoring fanbase. Their latest EP “Civilisation II” was recently released with two of the three tracks already receiving a full video roll-out.

The EP's second track (and current release) is simply titled with a date from a year ago “21/04/20.” That track (like much of their music) is driven by an upbeat groove, while lyrically recounting a day-in-the-life, as it were. There's an almost “Our House” talking vibe to the tale as Sarah sings in her appealing childlike voice “Out of bed just after one” (nice – and here I thought sleeping to 11 was being “lazy”) “Down in time to catch the sun. All the bugs are at their business now the flowers are in bloom” (“bugs at their business” - how quaint) “We take a note of their perfume. Underneath the pale spectre of the moon.” An nice vintage sounding synth-sax riffs blows a few hooky notes (we know it's vintage since they literally tell us in the descriptive notes that the tracks are “all completely devised using vintage hardware” - so – take that modern computer equipment!)

As for the groove itself, it's bass-synth driven with those charming ticketty casio-drum sounds so popular in the late 80's (included on every beginner keyboard of that time period). The storytelling and rhythmic vocal cadence continues to mirror “Our House” somewhat – but far more pleasant periodic minor-key interludes than the aforementioned heavy-handed track – one which has not worn all that well over time (with it's constant repetition and frankly beaten-to-death airplay). “Last night's pasta in a tub, Out the fridge for lunch and breakfast, But as I sit down to eat I hear a song riding the breeze - "Happy birthday to Eloise" - Then mum and dad both let out a cheer, They're gonna throw a party another year.” That last line gives the first clue this is actually a dealing-with-the-pandemic-lockdown song.

The video is a wonderful animation that flows horizontally at a relaxed pace, with one panel showing musical notation in ¾ time as Sarah drops a 70's soul vocal phrasing on the line “then mum and dad both let out a cheer” - which is sweet on a number of levels. More hooky keyboard riffs ensue, adding pop lightness to this overall bittersweet melancholy vibe. The story goes on “As I head up the road, A private ambulance zooms off into the distance. In silence, All the shops are closed. With rainbows painted on the glass. Covering notes - That they hope to see us soon. But right now, There's not much they can do.” Hopefully these pandemic blues are coming to an end (there are certainly current rumblings to that effect). Simultaneous with those just quoted lyrics are a myriad of synchronized vocal cadence and instrumental accents, sharp turns and precise rhythmic pauses. That is to say there is A LOT of movement within this 3 minute “pop song.” (It's in quotes because clearly this is far more sophisticated music than so much of the mind-numbing simpleton pap one is forced to endure under the “pop” banner).

“Back at home I play the game, Rewatch repeats, And set a call up with a friend - A means towards an end, 'Til we can meet again. "Hey so how are you doing?" "I'm ok you know the usual kinda weird." It's all so poignant in the most casual conversational way. Speaking to the world and the crisis we all share(d) in our everyday lives. The story concludes, “I can't stifle my yawns - I make my bed up after I floss” - with one new audio element emerging as a percolating sound - “And tuck in tightly” (dramatic pause held here) - “For a new day.” The overall melancholy-to-hopeful sentiment is inspiring.

Check out this wonderful song and video here:

Connect with Kero Kero Bonito via their socials here, here and here.

To learn more about the band in a little over 4 minutes (and who doesn't have that small slice of time to spare) check out this humorous video recap that has the nerve to call itself the “Accurate History of Kero Kero Bonito.”

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Another trusted source consistently presenting exciting new artists is the Gothic/Industrial publicity agency New Dark Ages PR. More than a few from their roster have been featured here over the last couple of years, with the depth of their talent pool impressive and diverse. The latest now comes out of Chicago as "one-woman industrial army" I YA TOYAH enters the realm via her just released EP, Out Of Order and video for the single, "Pray."

That song and accompanying video is a technical tour-de-force combining pummeling industrial percussion, razor shred guitars, passionate vocals and quick-cut imagery that is equal parts glamorous and foreboding. Like much of new material coming out these days, it was written during the pandemic lockdown, combining desperation with hope for a revitalized future. Opening with a whispered plea “pray for me,” an array of buzzing synths, thundering percussion and slashing guitars introduce goth-glam images of the artist in a succession of visual appearances.

The chord progression is sophisticated and unpredictable, while ample room is left for ambient interludes of quieter intensity. As the vocals begin with lines “Somebody stop the world from shrinking,” another visual storyline is introduced, showing the artist “on the road” in a hotel room. An attractive audio element is how words are pronounced. Originally from Poland, the vocalist applies a stylized diction to words like “realm” (which become “ree-alll-ummm”). What's decidedly more clear is the depiction of someone wrestling with mental distress paired to lyrics “lost in the white noise of insanity.”

The chorus is big and hooky, with vocals carefully layered in just the right amount of harmonies and echoed lines. “All I’ve ever known - Is dying within. All that I’ve wanted - I watch disappear. “Dreams turning against me” (with a delightful rising notes emphasis on the words “against me”). “One by one. So pray to your gods for me - Cause I got none.” It's dark and bleak with the sense of being forsaken, yet the audio aspects are somehow uplifting. Going deeper into the void on the following verse, the “need (for) more than just to survive” (only) leads to “confusion, toxicity” (and the specter of chemical crutches). As the mind is blinded, it hardly makes a difference if it “wonders” (or wanders) as either one can lead to it all falling apart.

The sparsely adorned bass pulse of The Knife's “Silent Shout” (currently in the midst of a 20th anniversary celebration) is referenced briefly. While the sheer power of her operatic singing prowess brings to mind those similar qualities in Amy Lee's Evanescense and the groundbreaking song “Bring Me To Life."  Check out I Ya Toyah's wonderful song and video for "Pray" here:

Special kudos to the costume design team (which most-likely is her alone) for reviving Brian Eno's Roxy Music look from their early 1970's “For Your Pleasure” period.

Also be sure to check out This Great Introductory video with the artist, which reveals her eminently likeable qualities as an unassuming, sweet and sincere person.

Connect with and follow I Ya Toyah on all her socials:

FACEBOOK // INSTAGRAM // BANDCAMP

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In contrast to the slowly unfolding, floating quality on previously reviewed UN.REAL track “Lovely one/Islands,” current release “Sun Like Star” comes on as an uptempo affair. Anchored by songwriter/musicians Hector Caolo (bass), Eden Cruz (drums) and Gardy Perez-Ruiz (guitars), lyricist and vocalist Bernice Cruz completes this dreampop quartet. The track bursts out from the first note in full bloom, with slashing gaze guitars in lavish expanse across the sonic field. The bass and drums are thoroughly audible in the mix (as they should be) pointing to impressive production values and recording techniques. Capping it all off are Bernice's deep and resonant vocals, with opening lines “this is exactly how I feel right now” drawing the listener in. Her voice is pitched deeper this go round, moving away from Liz Frazer stylings and closer to Siouxsie Sioux (and in particular, the song “Shadowtime”).

The chorus goes down in a dreamier manner, with shaded voices supporting the title line (and sentiment) “you are – sun like star.” An immediate second verse leads into the all enveloping chorus once again, followed by a brilliant ambient interlude. At approximately 1:45 (of this 4:14 length song) the percussion drops out completely, leaving room for an emotive bass guitar note statement. The buzzing atmosphere deconstructs even further, washing out all structure (creating the sensation of gazing up into a night sky full of stars). This momentary drift into bliss is ultimately awoken once more with the band returning for a repeated run through the chorus hook. A final minute of pure instrumental and vocal euphoria lifts this gorgeous track to it's ultimate conclusion.

Find out how to acquire this remarkable track here.

There is also a campaign now where the full 10 song ISLANDS album can be ordered on a limited run color vinyl edition. Check all that out here.

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One of the great advantages provided by our current “streaming” culture is the ability to go back and rewatch an entire catalog of shows from decades gone by. Whether watching for the first time (like millennials are now doing) or re-living what you loved about it the first time you saw it, everything is now at your fingertips and a click of a button. This writer, (also a film and quality tv series fan) is now deeply ensconced in (and thoroughly enjoying) the incredible 2006-2013, 8 season, 96 episodes (12 per season) run (once again) of Dexter. To say this show doesn't get nearly the credit and accolades it deserves is an understatement.

It has everything you could ever want. An “anti-hero” you completely root for even though he is doing “bad things.” The brilliance of this show is listening along with Dexter's mind (impeccably delivered by lead Michael C. Hall). His thoughts-only “replies” to people and situations are hilarious. There aren't that many “cop dramas” that consistently make you laugh out loud, but Dexter provides multiples in every episode. You want strong, good-looking, independent, but totally vulnerable and loveable female characters? This series is loaded with them. It's no secret that long-time crush Jennifer Carpenter as Dexter's sister Deb (that's Officer Morgan to you) holds a coveted place on the Mount Everest of crushes.

She's adorably foul-mouthed and hits all the marks of attractive “normal girl” (as opposed to her anything but “normal” brother Dexter) even if she does suffer from “overlooked child” syndrome. Actually, that only ADDS to her appeal. Then there is their father (played in memory clips only by the criminally underrated James Remar) who's “Harry's Code” informs every one of Dexter's moves. Anyone who hasn't seen the show or would simply like to enjoy it all over again is encouraged to do so. The fact that they are finally coming back with a brand new 10 episode 9th season this year is almost too good to be true.

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