It’s always fun at this time of year, no matter your age or where you may be living. Everyone seems to love the Halloween Season, and this current DaveCromwellWrites music review features two releases focused on this universal theme. However, never far from this websites realm are bands that focus on gazey, propulsive indie rock, released via trusted labels. The binding element between them all is a motivation to create attention-worthy recordings.
Rhythmic fuzzy-gaze rockers Phantom Wave are back with a new full-length album “Echoes Unknown.” Still boasting the creative forces of Ian Carpenter (guitar/vocals), Rachel Fischer (drums) and Yanek Che (bass), songwriting is credited to everyone, with Ian providing all lyrics. Contributing to the overall sound design was engineer Ryan Dieringer and Ringo Deathstarr’s audio master Elliott Frazier on mixing. With Shore Dive Records releasing it on their well-respected, like-minded label, a full track-by-track review follows below.
A squall of feedback and noise create the entry point for rhythmically propulsive opening (and title) track “Echoes Unknown.” While guitars create a solid wash as backdrop, thundering drums and bass guitar deliver all the forward motion. Vocals come layered on top with minimal (if any) enhancing studio effects. This clean vocal reading stitches together poetic thoughts of things being “damaged and zoned . . . fever stoned” and “follow down to the bones.” The chorus keeps things simple stating these “echoes” are “for you,” adding more emphatic vocal phrasing and fuller background sonic force. A second verse keeps the poetry flowing, with matching couplets “say now split the sorrow - what wishes can we borrow” and “here comes another remedy - all the skies, you and me.” It’s vague, yet somehow universally understandable. A midpoint section adds a layer of percussion accents to the churning back-and-forth two chord break. The tracks final moments combine metaphysical lyrics – “all in all unknown – echoes on, unknown” with one more layer of higher register guitar textures.
Follow-up cut “Splashed” comes on quicker with forceful drumming powering along bass and guitar sounding like early-era Cure. In fact, the unadorned vocals seem right out of that time period as well. Lyrically playing off a water theme (“hazy fog . . . don’t you capsize”) it’s the emotionally charged heavy-noize-gazer chorus that compares “getting splashed” with “breaking free.” One could picture themselves relaxed on a beach where “swollen skies are here, blankets aglow - somewhere else is burning, got nowhere to go.” Additionally the lyric “take it away, the crash and wonder” references leaning IN to it, rather than removing it. Reaching it’s explosive sonic peak and definitive final word “Free,” comes a quiet 30 second ambient fadeout.
Third entry “Hologrammer” features higher-register “icy” guitar textures and four chord progression locked together by bass and drums. Vocals are delivered in breathy whisper on lines “exquisite you, along the streets - tell me now, beauty replete.” Eloquence of expression continues through loosely connected lyrical thoughts where “all the tones – they begin – praise the saints – don’t give in.” When the chorus is reached, sharp turn accents add punch to essential phrase “burn on hologrammer.” Bass guitar plays a central role out front during an extended instrumental midsection.
A slower, more measured bass guitar and drums groove provides the pacing for next cut “Woozy.” Guitars are angel-stroked chime-y, floating in from the clouds. The chorus hits hard (like one always hopes) with the lines “now what you got? Drifting forever. Now what you got? (and this is clever) “forever endeavor.” Only reading the lyrics would reveal that, as listening to it sounds like “forever and ever.” This writer and eternal student of word craft appreciates the subtlety. Perhaps this attempt to achieve or gain begins with “solace,” “trails” and “desires” to “want everything good.”
Check it out:
Reaching the albums midway point, “Breakaway” plays with tempo shifts that pivot from standard progressions to more angular rhythms and leveled-up speeds. It’s a technique you sometimes hear in the songs of album mixmaster Elliot Frazier’s own band Ringo Deathstarr. While the chorus implores you to “breakaway – what do you say,” deeper clues emerge via lines “open the old maps and all the spinning tops - back to sonic beach, paradise in reach.”
Deeper album cuts exhibit subtle variations on what has already come before. “Collider” blends a Cure-like gothic rock progression with gazey guitars and lyrical views from “the atmosphere.” In contrast, “down here” (on earth) “we all know how it goes.” Open note arpeggio guitar plinking gives seventh entry “Wanton” it’s unique sonic quality. While that singular title adjective has a few definitions, a lyrical reference to “endless pleasing” gives a clue into which one it is.
This one comes with an official video:
A deep bass guitar groove drives the deceptively titled eighth track “High Halcyon.” While essential title word and subsequent lyrics reference blissful, carefree moments of peace, instrumental accompaniment resides closer to traditional noisy gaze. Penultimate cut “Memory Swerver” hearkens back to the “new wave” era (somewhat) with it’s defined chord progression, clarion-chime guitars and emo-angst vocal delivery. Along with the now-expected harsher instrumental elements is a final twenty seconds of Sonic Youth-like ambient fadeout. Final track “Sirens” leans all the way in on breathy, urgent vocals. With a pace and sonic texture close to fellow local gazer band Dead Leaf Echo, clever lyrics emerge, like “seasons cresting into shape – playing all the Sunday tapes.” While the drums on the entire album elicit a live-in-the-studio feel, it’s even more pronounced here. Bass guitar continues to pop and rumble throughout, under the glorious wash of soaring ethereal guitars.
Check out this entire albums multilayered distorted dreamscape here:
Previous Phantom Wave features on this Site can be found Here and Here.
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The DCW universe has been keeping up with The Suncharms since first being made aware of them six years ago. A significant amount of reviews on their musical output have graced these digital pages since then. Along with prominent full track-by-track album reviews, both single releases and compilation contributions have also been included. Now arriving just in time for the “spooky season” are two tracks serving as the first taste from their coming album “Darkening Sky.” A careful listen to these new songs commence below.
Featured cut “Monster to Me (Halloween Version)” comes along at this appropriate time of year. An ambient wash rises up quickly, soon followed by the primary easy shuffle groove. It’s essential melody is delivered by a buzzy guitar riff, with secondary guitar chords, on-point bass and a relaxed percussion backbeat. Vocalist Marcus Palmer gets right to it with the opening lines “you became a monster to me,
I had a fear of going home - one look from you could turn me to stone.” With those chilling thoughts laid out, the tracks gorgeous hook emerges out of a power chord and rim-clack drumming. “It wasn’t always like this” the singer presents, as the most unexpected but perfect-for-it muted trumpet joins in adding pathos to the moment. Where “a teenage love affair – the stars seemed to shine – so bright.” That brightness began to fade when a “dark soul” took over, building “a temple to yourself.” This compact 2 minute, 30 second song closes out stating “this is no – Torture Garden – Vault of Horror - House that Dripped Blood - Friday Night Double Bill.”
The paired second track “Tuesday Afternoon Seance” picks up the pace a bit and extends it’s overall length by a minute. That extra time allows the band to stretch out more instrumentally throughout. Leaning in to a psychedelic vibe with repeated vocal “I know” (7 times) a more dominant bass guitar moves about as distorted guitar melodies flow. Marcus tells the tale of this “séance” where “the lightning lit the room” and “the glass moved, the table shook.” Drums become more active alongside bendy guitar accents as Marcus asks “how could I know?” Rushing synth pads emerge underneath expansive bass and guitar explorations. Returning to verses place strumming guitar chords out front as Marcus ponders a “staircase” with “70s swirls on the carpet” asking “If we go upstairs would we talk?”
Previous DCW features on this artist can be found on this site here, here, here and here.
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Long-time favorites of this site Big Stir Records are always working on new ideas for the music and artists they represent. The Burbank, California based label have been releasing select singles during the month of October off of their Halloween themed album “Chilling, Thrilling Hooks And Haunted Harmonies: The Big Stir Records Halloween Grimoire.” Laid out as a continuous program containing audio tales and sound effects in-between the songs, the vinyl LP version includes a gatefold jacket that folds out into a playable board game. The compilation was curated and produced by
Michael Simmons, Rex Broome and Christina Bulbenko.
Spinning the wheel of choice to select a noteworthy track to review, the needle falls on The Armoires entry “Full-On Witch Mode.” Coming complete with it’s own official music video, elements of magic and witchcraft are woven in with the bands performance. The track comes to life via a mysterious bass guitar driven groove, supported by steady percussion, slashing guitars and deep toned violin. Lead vocals sing about being “connected to the things that move beneath the surface.” Images of candles, powders and potions appears as those practicing these ancient arts devote serious attention to their craft. There’s humor woven in as well, with the verbal spelling of “hell” as “H E double hockey sticks.” As the track continues to build with intensity, a pivotal vocal line states “and when the world wont align with what we want to see . . . we go full on witch mode.” The whole video is shot beautifully, frequently bathed in a purple hue, with dark shrouded close ups of each band members faces.
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 new year and new locations provide the backdrop for this month’s DaveCromwellWrites Feature. Introductory singles from new artists on the cusp of releasing their debut full-length share space with returning artists who’ve previously received deep-dive reviews. The collective result are audio journeys encompassing a wide range of fuzzy dream pop, dynamic changes, progressive electronics, improvisational recording, along with a more precisely structured indie pop.
Hearing that fuzzy-gaze dreampop band Phantom Wave are preparing to release a new full-length LP “Bonfire Secrets” in the coming days is exciting news. Having met the band last year at a Ringo Deathstarr show, it comes as no surprise they’ve enlisted that bands sonic guru Elliott Frazier to mix those tracks. Diving right into the advance stream provided for review, some thoughts immediately flow from the mind and fingertips.
First single and featured track “First Light” initially floats out of a mist in the most dreamy way. A tom-tom driven drum pattern and measured bass guitar provides movement underneath soft shimmering guitars and clean delivered vocals. That softness is abruptly shattered by following passages of hard charging drums, bass and a wall of guitars. All the while, passionate vocals implore you to “hold out the first light.” Downward driving accents add punchy power under vocals delivered with urgency.
Listen to this slow burn fuzz right here:
Promised next single and album opener “Chimera” comes on quick and a bit poppy. Is that 80’s era Cure? Clearly not once the big noisy hook is reached, as a wall of sheering guitars run roughshod over everything. The bass guitar is busy, providing melodic movement, while the drums thrash and bash their way throughout. Vocals are soft and conversational. Is it about a grotesque monster having disparate parts? An apparition, dream, illusion or vision? Who knows – it sounds fantastic, though!
The full “Bonfire Secrets” album is currently scheduled for an April 2024 release.
Keep up with Phantom Wave via their Social Media for updates and new release info.
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Back in July of 2021, DCW did a deep-dive review of the San Diego-based research and development collective Corduroy Institute and their musical duo’s full-length album “Eight/Chance/Meetings.” That creative outlet is now back with a new long player “Take the Train to Manchester.” Consisting of 9 new compositions created between December 2019 and August 2023, this intermittent crafting is the longest span of time spent on any of their albums. Once again using their institutional methodology of cut-up lyrics pulled from print media, the music was created through multi-tracked improvisations.
Opening instrumental track “Take the Train to Manchester” emerges slowly from an electronic substation. Train track-like clack percussion gives weight to the theme, before submerging behind ominous synth pulses and forward driving bass guitar. That percussive clack returns and is joined by higher pitched synth textures. It feels a bit like early Kraftwerk and their pre-mechanized “Trans Europe Express.”
First vocal song “[A] Girl Named Philosophy” moves along mysteriously, adding subtle twangy guitar lines over a deep thump bass and percussion. It’s fascinating how a full story can be conjured together with found, cut-up lyrics. Vocals are delivered with a resonant baritone, while closing lines “in a deal with absurdity” suggests more “folly” than actual “philosophy.”
“Say Something Gentle” brings back the clacking, train-like percussion, enhanced by solid bass guitar and filigree brighter-toned six-string figures. Vocals are dispatched now in a higher pitch, closer to a tenor. Horns (or the synth approximation) are an added element, with repeated lyrical line “the true colors of the machine” standing out. The title line eventually appears with the composition reaching it’s conclusion.
An angular bass guitar pattern provides the musical structure for next cut “Uncirculated Knowledge of the Universe.” Dueling vocals appear throughout, adding to it’s overall ethereal feel. Both vocalists present those cut-up lyrics frequently in echo-repeat fashion. “She can do whatever she wants” serves as one focus vocal line. “(An) Intimate (Tension)” bubbles up ominously via violin-like strokes and stressed textures. A slowly descending bass guitar provides the most rudimentary framework for this instrumental only tone poem.
A bright, clicking percussion pattern kicks off next entry “They Don't Even Know.” Long-held keyboard pads lay out a chord structure over distant, driving bass guitar. There’s a soulful, near-funky feel to this one, combining an electric “drums and bass” vibe with a melancholy mood. Completing some kind of thematic arc with the previous cut, “No One Ever Knows” pivots to gentle acoustic guitar for initial instrumentation, while layering on unintelligible tape-recorded voices. A deeper Cello-like texture saws back and forth in a gradually decaying pace that Brian Eno employed on his 1975 masterpiece “three variations on the canon in D major.” This composition is more acoustic guitar-centric, however and the light textures those strings add contrast playfully with those taped found sounds.
“Our Former Places of Worship/Luminous Chaos” combines synth textures, bass guitar, stirring vocals with hiss-crack percussion. Synth chords and bass guitar breaks offer up spaces between vocal line readings. Rising synth textures evoke Eno once again, but this time his early work with Roxy Music. Final entry “You Always Loved Everything…” adds echo to the dual vocal rendering of these particular cut-up lyrics. “I was worried about leaving” followed by the song title. Driving bass guitar, sparse electronic percussion and a smattering of synths all contribute to an overall Joy Division-like feel.
Listen to and find out how to acquire this innovative recording here:
Follow Corduroy Institute on their Social Media: Instagram - Facebook
It’s been a while since new music from Chad Sabo has made it’s way onto this site’s radar. It was July of 2018 when a combined live show and previous release retrospective was covered on his band The Cold Seas at that time. Enjoying a seamless 10 song set comprised of the four singles and one EP released over the previous two years, an appreciation for the talent on display was realized.
Now Chad is back with his debut solo album “joyride,” inspiring a new DCW deep-dive review.
Choosing to open the album with an amusing short “intro” of upbeat electronic rhythms and spoken word, Chad invites the listener to join him “on this sonic joyride.” That leads into the albums title track which advocates the virtues of going for a cruise in your favorite car. The production is impeccable, with soothing higher pitched vocals that bring to mind high-gloss pop bands like 10CC.
Every instrument is precisely placed, with each percussive and stringed note avoiding excess. Voices are intertwined and pitched to varying levels. Follow-up track “Still Mine” relies on strummed guitar for rhythm, adding off-kilter ambient instruments for oddball effect. Lyrics “saw your name pop up on my Instagram – I know that face well” references the way we sometimes carry on relationships via the internet only. “Sunday” doubles down on the warbly strummed guitar, adding a funky bass pattern and soulful background vocals. “I’m no good for love (pronounced LA-ove)” is the essential lyrical refrain. Sweet, sentimental roller-rink style keyboards completes the audio picture. “Catholic” morphs over to dreamy with a Beatles-esque vocal cadence, and well-placed tambourine accents. Dealing with embedded influences, lyrics “I don’t know if I believe in something greater – or at least myself,” questions early religious training.
“Holy Ghost” seems to hold onto the previous theme, while pivoting to other potential sonic influences. The in-your-ear, casual spoken word style employed so effectively by The Strokes is noticeable, as are those choppy guitar rhythms and single run melodic fretwork lines. Clever lyrics provide strength behind the whimsical musings of “Our Love.” Understated guitars and a driving bass offer up the appropriate accompaniment for witty rhymes like “just look at us – making out in our electric chairs – and the coroner said he the saw sparks come flying from our hair.”
“Another Show” laments being “too hung up to go down easy” but will “hang around till I know your leaving,” making this “show” about a failed relationship all too real. Regretting spending time “chasing rainbows in a thunderstorm” furnishes appropriate imagery for time squandered. Bass guitar continues to drive everything throughout the curiously titled “Single Use Plastic.” That title reference becomes clearer with the lyrics “the wind has changed – a thousand ways – a plastic bag caught in the sky.” Points given for the madcap instrumental break at the songs midpoint. In fact, this composition offers up multiple distinct passages, making it one of the more densely constructed offerings here. The album wraps up with a brief "outro" where Chad thanks this listener for "hanging out."
A Feature on this artist previously posted on this site can be found here.
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Near the end of 2021, DCW wrote a detailed review of Adam Lippman’s featured single “Sunblind,” from the later released full-length 'Some Things Cast Long Shadows.' That track later earned placement in the year-end “Best Of” annual wrap-up. Adam is now back with a new single “Wasted” which delves once again into the pop-indie-rock genre. Written and performed by Adam, the track was recorded and produced by James Mauri at Strawberry Hill Studios in Norwalk, Connecticut. Showing off his visual arts skills as well, he also painted the album cover.
A spirited snare shot, high-hat and bass drum beat kicks the song off as melodic six-string and bass guitar quickly joins in. Adam’s reedy vocals soon commence, telling the universal tale of how people meet at “the bar right down your street.” A subtle xylophone is detected underneath the following lyrical theme that references the songs title – how so much time can be “wasted” in these pursuits. “When you gonna come around?” is the repeated questioning expressive inquiry and hook. “You didn’t have to run and hide from me” ultimately leads to “we don’t have to look too far to see that it’s wasted.” At the tracks midway point the rhythm guitars and bass drop back leaving percussion and more open spaces. An ambient descending guitar texture and simple bass lead the way to a pleasing rhythmic interlude, before repeating the primary vocal hook, leading to its overall conclusion.
Listen in and find out how to acquire this track here:
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 receive the DaveCromwellWrites focus here. Finally, the loss of a beloved animal companion is never easy, and celebrating their influence on all those affected helps keep their spirit alive.
Burbank, California based music label Big Stir Records provides a seemingly endless amount 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 latest to find their way into the DCW sphere is the album “Earworms” by Croydon, England's Nick Frater. Scheduled for full release on November 19, a complete track-by-track review is given the CromwellWrites treatment right away.
Opening track and the album's first single “It's All Rumours” comes with an official video expanding on the cover collage image approach. The audio jumps out of the box immediately with rough-edged guitar riffs over a powerful rhythm-section progression. With visual images showing classic memories from days gone by (“get the BIG SOUNDS with Sears Instruments” and “give the new, big Sound Of Now”) fresh faced youngsters behind drum kits and winking gals with guitars at the beauty parlor double-down on 1960's-1970's nostalgia. As the vocals commence (an instantly likeable voice in that Nick Lowe/Dave Edmunds mid-range) key lyric punctuations like “hit the ground” and “run-around” are displayed in bold type over more eccentric video images.
The rhythmic vocal cadence and lyrical delivery share similar qualities with the Paul McCartney and Wings 1975 back-end hit single “Rock Show,” further adding to the songs appeal. “She sells her story to the Daily Hell” (surely a reference to British Tabloid “The Daily Mail”) - “don't trust a word it's only kiss and tell” provide clever lyrical turn, with graphic emphasis in the video as well. “Did I stay? That's what they're starting to say” commences a perfectly constructed bridge. It all leads in to the falsetto sung, wonderfully hooky sing-along-chorus, appropriately centered around the songs title-line, capped at the end with a Beatles-esque “Ahh!” (or is that an homage to Freddie Mercury/Roger Meadows Taylor's combined voices in Queen). Embedded inside all of the lyrical examination is a basic romance story (of sorts) where “staying the night again” ultimately leads to “they don't know what to believe,” because – well – “it's all rumours – lying in your arms tonight.” There's even one more change section two-thirds of the way through serving up additional sonic elements (moving into 10CC piano territory) along with more curiously amusing found and reassembled imagery, with Mick Jagger showing up multiple times.
Listen and check out this wonderful song and video here:
The album's second cut “Buggin' Out” blends more Beatle-y inspiration, establishing a similar vocal cadence to the Paul McCartney penned “Wait” (from 1965's “Rubber Soul”) on the verse, along with “doo wop” background vocals on the chorus. “We could be breaking out – making out – staying out way too late” encapsulates the enthusiasm that chorus imparts. “What's with Your Heavy Heart?” chugs along with pop earnestness, propelled by some particularly whip-crack drumming. Another dip into Beatles vocal stylings (at least to this writers ear) comes on the “always rolling thunder and hiding undercover” change section. There's even a George Harrison-style slide-guitar hook fill for good measure.
Syrupy strings and bonkers synth twiddles introduces fourth cut “Lucky Strike.” Keyboards stab out the chord progression while up-in-your-ear vocals establish this lullaby tale. Soon enough the full band is engaged along with sugary background vocals to enhance the proceedings. “Making the same mistakes – over and over and over again” eventually gives way to “maybe soon we'll see happy endings on the horizon.” Impressively blistering tandem guitar soloing adds a near prog-rock tip to the whole proceedings.
The album's longest track (at 5:10) is also arguably it's best, with the heart-tugging ballad “Star-Crossed.” The smooth 70's am radio vibe is immediately apparent with it's soft “ooooh” background vocals, again bringing to mind the genius of band like 10CC or even Fleetwood Mac. Cool lounge electric piano and a powerful rhythm section of prominent bass guitar and drums provide the musical force for unfolding lyrics. “I would like – to leave in the morning. I won't ask – to know where your going. Alll night – you keep yourself together – I won't ask again.” A song about personal relationships for sure – but listening can also furnish comfort and emotional release for anything you've ever loved. The rising background vocals behind lyrics “and I would like – to know where your heart IS – star-crossed once again” bring the title-line into focus. Piercing lead guitar riffs as bridging interludes echo both melody and sentiment with equal measure.
Questioning dogma is never a bad thing (regardless of whichever side it's coming from) and sixth track “Not Born Again” does that well. Embedded within a driving pop-rhythm is the lyrical refrain “you say that we never can play, 'cause baby you're not born again. But I pray we can make it this day, 'cause baby I'm not born again.” Much like Pete Townshend's “Won't Get Fooled Again” and his ultimate declaration “I'll get on my knees and pray - We don't get fooled again” we all eventually embrace our own “hypnosis.” Discovering that seventh cut “Desert Ships” is based (at least partially) on legends of treasure ships buried in the California desert, a bit of research was in order. It seems there is some evidence to bear this out. The globe is a fascinating place, especially when digging deeper in it's rich, historical layered past. The the track itself is a piano driven, bright guitar-lick enhanced chugger, lyrically presented as a date stamped travelogue. “Palm Springs '75,” “Cat Walk '73,” “Fat Chance '71,” “Short Shrift '74” are all referenced, while a quick-delivery guitar solo supplies agile musical interlude.
A buzzing violin approximation and strong piano chords sustain dominant musical accompaniment on the sentimental, Paul McCartney-esque “The Unbroken.” Primary hook “cross your heart another day, holding on for us to stay – I heard you say” evoke the spirit of classic Beatles ballads, like “The Long And Winding Road.” The synth-driven “Who Says I Need A Plan At All?” elicits David Bowie's “Space Oddity” vibe, with that particular mellotron sound riding high throughout the mix. Doubling up on the ¾ waltz time to a steadier rock 6/8 allows the track to stand out from the album's previous, more pop oriented cuts. Closing entry “How to Survive Somebody” builds around that room-echo piano sound so prominent on Supertramp songs like “Goodbye Stranger.” This track moves at a slower pace – a true piano ballad – before ultimately bursting into full band and background accompaniment. Exploring the eternal subject of “knowing someone well” the title line turns the table from 'you' to 'me.'
"Earworms" by Nick Frater is out November 19 on vinyl, CD and all digital platforms.
Previous Features about Big Stir Records on this site can be found Here and Here.
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EEP is an alternative rock band out of El Paso, Texas that plays a varied style of psychedelic dream pop and gazey indie music. Their latest album “Winter Skin” was released earlier this month, and features nine original, wide-ranging songs. Released on the local Hogar Records label, the tracks were produced and engineered by the band themselves, with recording and mixing done at Brainville Studios in Sunland Park, New Mexico.
Opening cut “Hanging On A Wire” makes clever use of muted ambient textures as it's sonic introductory point, before the clear, undistorted vocals begin. “You left me hangin on the rebound,” begins the pointed story of a one-sided affair. As deep level drumming kicks in, off-kilter tones share space with guitar power chords, leading into a soaring cascading vocal chorus. The dynamic flow is impressive, moving from elevated multi-layered vocals to spacious interludes with extended note guitar structures. A rhythmic shift develops under subsequent vocal passage “do you even care - why am I am I am I am I am I am I am I am I,” as forceful snare drum shots and buzzing guitars drive it all along.
Follow up track (and single release) “No Inbetween” sprinkles extra percussion on top of a decidedly rock solid drum beat and out-front bass guitar progression. The vocals commence in full shimmer mode stating how “you always compare something to everything.” A solid background sheen of voices creates an angelic halo around the singular lead vocal lines. As the essential change presents itself, a subtle downward shift can be felt on the lines “lay your judgement down for once - let it fly away from you.” Points must also be given for the cool “wah-wah” guitar solo and the coining of new word “inbetweenin'.”
Third entry (and also a single) “A Message To You” takes a clearly defined song structure and blankets it with pummeling rhythms, shearing guitars and wall-of-sound vocals. It's more than simple dreamgaze (although including the lyric “story in your gaze” is a clever touch), packing much more punch overall. While the opening chords emphasize a softer jangle, triumphant drums and buoyant bass guitar fills point the way to a coming force. This explosiveness hits in full motion, with stomping percussive beat, enveloping guitars and multi-layers of elongated vocals. A minute in and right to the bridge, “it's so hard to explain” sparks those pleasure sensors in your brain as it should. That arousal is extended further with a Chorus that takes one single line and turns it into an uplifting celebration of hope. With the primary voices ringing that out, a chanting background vocal call-and-response approach heightens sensations further. A final beatless, ambient coda emphasizes the songs overall message of honest revelation, and that sometimes “it's ok to cry.”
One more single release, Ángeles is delivered entirely in the Spanish language, and features two guest percussionists playing the Djembe. According to the Bambara people in Mali, the name of the djembe comes from the saying "Anke djé, anke bé" which translates to "everyone gather together in peace" and defines the drum's purpose. Fifth cut “Today I Woke Up” employs the ¾ (or is that 6/8) time signature for that alternative 1-2-3 waltz effect. The guitars are jangly, and the descending progression benefits from a dominant bass guitar pattern adding counter-melody movement. Inventive lyrical turns “the powers of my weirdness” and “crocus bulbs of irrepressible audacity” add psychedelic insights.
“Stubblefield” pivots deeper into the psychedelic realm, utilizing backward playing, reverse instrumentation effects, hypnotic repeating drum pattern and bold extended guitar notes. Additional psych-rock elements include inward-trip lyrics “if we turn around and go back to where we started, we just might understand all of the reasons why we parted - if we turn around and go back to where we parted, we just might understand all of the reasons why we started.” Sharing a similar auditory experience with The Beatles “Tomorrow Never Knows,” the sequence-shifted layering of voices and periodic submergence under guitars pitches this track closer to true gazey-rock.
“Stargazer” surfaces via otherworldly repeating bleeps and patterns before being joined by elastic-bending guitar textures. A full minute of this outer-space ambience flows until measured bass guitar and light-ticking percussion eventually joins in. Making lyrical references to “death,” “En plein air”(French translation: “in the open air”) and “Auvers,” the songs title (and content) appears to be referencing Vincent van Gogh's work and ultimate tragic end. A distinct tempo shift downward occurs at the songs midway point, emphasizing spacious ambience. The repeated closing mantra “life's for shooting man,” ultimately morphs into stark piano chords and a gentle floating away.
A singular driving guitar riff ushers in eighth track “Time Crunch.” As the band kicks in, forceful propulsion comes by way of hammering drums, vigorous bass and crunchy guitar chords. The verses roll out with syncopated snare-accented percussion underneath, while a larger sonic wall of gaze explodes on the lyrical “I've been watching you go” repeated passages. There's a holding-level interlude where dual harmony vocals repeat “under your nose,” leading into an extended intensity segment focusing on “I've been watching watching - I've been watching you go” once again. A final synth accompanied segment conclusively states “you've surely returned from a dream to discover-
you've been dreaming your life away.”
Final entry “Slow Down” does just that, with it's measured pace and understated instrumentation. Focusing primarily on sincerely felt lyrics and vocal delivery, the album's title is revealed with the lines “Shed your anxious shaking Winter Skin - And let yourself be something new again.” A song of understanding and acceptance of the life cycle, it serves as a fitting conclusion to this truly inspired collection of songs.
On November 10, 2021 our precious baby girl cat Cherry crossed over the Rainbow Bridge to be with her twin brother, after 14 years of joyous life. She was the most perfect chubby cat that ever lived and she will be missed and remembered forever.
Cherry came to us as a baby kitten with her brother in 2007.
She was a sweet and gentle cat who would purr up a storm at a moments notice.
Like most sibling pets, or those that arrive together, the bond of snoozing in close proximity (or actually on each other) was a very frequent activity.
Donning a holiday appropriate festive hat was certainly not out of the question.
Paws and claws out for a good solid stretch.
Helping out with the computer or around-the-house decorations was one of her specialties.
An open box is always an endless source of fascination.
Gettin' a leg up and chubby snooze-a-thon.
The endless fascination with and secure feeling of a sturdy cardboard box.
Cherry was a beauty and a wonderful companion. We will never forget her.
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.
