Singles provide the focus for this month of April, spring bloom DaveCromwellWrites Feature. For every EP or Album release, there is often one particular or current song that serves the artists best as an introduction to their latest music. A broad field of geographical locations and sonic styles are covered in the reviews below. While frequently covered genres of dream-gaze and power-pop remain a constant, explorations into prog, symphonic and harsher metal appear as well. Familiar labels present new recording artists, while others find their way in on their own.
The folks at Shoredive Records are at it again, and instinctively knows what flies here at this site all too well. Their “new format, straight to the point” pitch method brings news of the labels 116th release featuring an artist out of Chicago called “Glitter Assassin.” That cool name along with the promise of noisy guitar layered indie pop with a heavy gazer influence will always garner a listen. The epic in length, six and a half minute lead single “Burning Next To Mine” ticks all the right aforementioned boxes, and as such receives full DCW analysis.
Deep twangy bass notes lead everything in as synths rise up from nearly inaudible to a loud dynamic swirl. With an electronic percussive clack the lush guitar melody begins in earnest, transporting the listener back to the golden age of late 80's/early 90's dreampop romanticism. As vocals begin with the line “criminals we lay, right next to defeat,” the tone and cadence is reminiscent of Richard Butler's impassioned rasp in his band The Psychedelic Furs. That touches of Bowie can also be felt makes sense as Butler was inspired by the Blackstar Alien as well. The guitars are used for maximum effect as echo lines following many of the lyrics presented (an excellent technique) and the bass guitar maintains it's necessary presence. If there's one slight criticism, the drum track is somewhat rudimentary. It could certainly benefit with a Colm Ó Cíosóig or Loz Colbert on the skins, but then again – any band would welcome those guys!
However the track lifts off to another stratosphere on the gorgeously lush chorus that begins “we can feel it taking over.” The pure shimmer of guitar chords propelling this beautiful melody forward perfectly captures the essence of Robin Guthrie's work with The Cocteau Twins and all the bands that followed him. As the chorus unfolds to reveal the song's title, the been-there-before sense that even in the act of lovemaking, some secrets still remain, with “your lies, burning next to mine.” Other elements creating delightful sonic experiences are things like the reverberated single guitar note Raveonettes-style breaks immediately following the chorus. Verse two delves further into visions of “heaven” and “deceit” while providing the albums overall theme of “stripping your beliefs.” A sudden dropout at the 4:23 mark leaves no other sound than a hum and tick, before bass guitar and snare drum rattle leads it all about in for the triumphant final choruses. Again, intuitive placement of descending/ascending guitar lines on this outro adds another level of exquisite melody to it all.
Respected Label BIG STIR RECORDS rolls out the first in a series of singles highlighting Finnish power-pop guitar group The Bablers. Previously released in Japan and Finland only in 1998, the track "You Are The One For Me" has been newly remastered for a full global reissue in 2022. This lead single is from the forthcoming reissue of a newly remastered edition of the band's second album “Like The First Time.” On the single's original release, it garnered heavy airplay in Japan and received product placement attention while being broadcast during the heavily-viewed Tokyo marathon. Now remastered for release to new territories in a new millennium, this first track begins Big Stir's unveiling of the “lost” middle chapter of THE BABLERS' career – the Japanese Saga.
With snare drum and rolling toms intro, “You Are The One For Me” instantly kicks into power-pop gear as chiming/buzzing guitars mark out its upbeat progression. Singing the opening (title) line with John Lennon-esque tone, subsequent lines “you really turn me on” and “your eyes your eyes” double down on the captured spirit of early Beatles. Hitting the first change a half-a-minute in, “I never thought that this could happen” and “I never thought that this could be real” are separated by chiming Rickenbacker-style jangle. Further segments immediately follow - “oh, no no no” with punctuated chord changes “not for me.” Expanding the lyrical story about “a beautiful girl” and “proud that she loves me,” liner notes reveal it was written for a friend's wedding as a testament for their future life together. There's a sense of sheer joy in the instrumental sections that show how guitars, bass and drums locked together are all you really need for a perfect pop song. Add in those aforementioned Lennon/Beatlesque vocals (and jubilant lyrics) – with just a touch of keyboard harmonium melody enhancement in just the right places, and you have the ideal recipe for this magnificent song.
Social media promotion can be as much of a “message in a bottle” (washing up on some distant shore) than intentional direct hit occurrence. An interesting musician recording under the name Friends from Moon found this site by searching Instagram hashtags (#musicreviewers, etc.) Knowing this is beneficial to all who are in need of connection in this regard. The artist in this particular instance is based out of New Delhi, India and specializes in Prog/Symphonic Metal, Alternative Rock, Soundtrack and Electronic/Ambient Music. Ritwik Shivam developed his band name after a hallucination trip under a full moon (a powerful force where “friends” can in fact be detected). His latest release “Astray” is a concept album in it's truest sense, covering themes of identity crisis, human decadence and alienation.
After prior singles releases, the sixth and penultimate storytelling track “Marvels beyond Madness” now arrives with a brilliantly animated lyric video. Clocking in just under 7 minutes in length, there is ample room to develop and expand upon a variety of musical themes. With the opening minute building out of foreboding ambiance, the sounds of industrial hum, tubular bells, rushing wind, clanging notes, and garbled noises of otherworldly nature serves as the basis for what follows. As metal-heavy math rock riffs commence adjacent to hyperspeed percussion, rough-hewn vocals commence with the story unfolding. “On my land – who's the butcher? Plague on the kin – betraying your creator” serve as the opening lyrical salvo. In keeping with the albums overall conceptual theme, the protagonist is confronted by a Lovecraftian monster-like entity which is, throughout, a metaphor for the darkness inside him. Just two minutes in and a number of distinct structural are experienced, with heavy guitars driving rhythms in frantic rising and descending directions, as drums pummel away in ferocious speed-metal patterns. The two and a half minute mark focuses solely on a :15 second space-rock guitar interlude (minus any backing) before returning to a full-on death-metal barrage.
Three and a half minutes in ushers in yet-another sonic change via an instrumental interlude that emphasizes keyboard chords, muscular percussion underneath and a rising bass guitar and is reminiscent of Chris Squire's dominating work with his band Yes. “Light a flame, just follow your instincts” commences the next driving metal section. This become more orchestral as it expands, with call and response vocals on lines “light a flame” followed by “quit running away.” Another cinematic plateau is reached at the 4:15 mark with everything dropping out once more leaving only the ominous sound of a void surrounding you. Chugging electric guitars return after :15 seconds or so, which suddenly leads into more defined thick buzzing metal guitar figures. Precision piston drums return along with another round of storytelling vocals that marries elements of what Rob Zombie does with more complex structures. Final vocals touch on the title line's meaning “show me your secrets – marvels beyond madness” and a resolution where death is no longer feared, in order to belong to a home.
Check out this incendiary track in all it's epic glory here:
Back in November of last year, this site reviewed the album “Winter Skin” by psychedelic dream pop and gazey indie music band EEP. The El Paso, Texas collective is now back with a side-band release called The Rosie Varela Project. First single “Fault Line” from the coming album “What Remains” is now out and receives the DCW review below. Additional singles are scheduled for future release leading up the full album drop on June 3.
Grainy synths and acoustic guitars open the current single “Fault Line.” Gentle background vocal “ahhhs” and tinkly piano work their way into the mix, adding to the moody atmosphere. Lead vocals commence in a soft, breathy manner as Rosie sings “He’s a fault line - He only wants to shake you up.”
As the vocals develop to a fuller projection, drums emerges underneath the still floating ambiance. A bolder voice emerges with an impassioned “Hold on” segment, where those words are repeated with impressive nuanced distinctions. As the story unfolds, a sense of wary caution becomes evident with each passing line. Things get quiet at the two minute mark when the warning “so hold your breath” becomes a mantra lasting for a good twenty seconds. At that point full instrumentation returns with ardent vocals singing out in full imploring to “let him pass by.” The sonics behind fill in with wonderful swirling motion, synths, rising background vocals and an overall psychedelic Sgt. Pepper-like feel.
One of the more satisfying aspects of discovering new and upcoming artists these days (besides being able to hear their great music) is seeing them acknowledging the artists that came before them - those who have been an inspiration for them to make music at all.
The Good Natured are just such a band, unashamedly ticking off their influences (Siouxsie & The Banshees, The Cure, Aha, David Sylvian/Japan, Depeche Mode, Kate Bush - just to name a few) in interviews.
Having started out as the brainchild of the youthful and gifted songwriter/vocalist Sarah McIntosh, TGN act now as a fully formed band, with brother Hamish and long-time good friend George filling out the musical duties on bass and drums respectively.
As they work their way through another well-managed US tour - hitting prime cities New York, San Franciso and Los Angeles - Sarah and the band have been both gracious and accomodating to those seeking them out for interviews and show reviews.
I consider myself fortuante to be among those having been granted this kind of access.
Read the interview I conduced in the band's US record label's offices (Virgin / EMI / Astralwerks) - presented below:
Introducing the the band, there is frontperson Sarah, who writes sings and plays multiple instruments; Hamish plays bass and George plays the drums.
Q: Sarah, you have a new guitar I hear.
S: Yes. A fender Stratocaster electric. I’d always played acoustic guitar before, but decided to add an electric this time.
Q: Is this your first time in New York?
S: No, we played CMJ Festival in 2010.
Q: George, I understand that you are a fan of heavy metal music. Which bands in particular?
G: All the classic ones. Metallica, Slayer, Machinehead – even Slipknot for a while. When you are an angry teenager, this music is great to vent your frustrations with.
Q: How did the band transform from what was essentially a solo project of Sarah’s to the full group of today?
S: I started writing songs about four or five years ago. When I got a few gigs, I didn’t really want to do them on my own, so I asked my brother Hamish if he could play bass with me. I then went to University and met George. From then as a three piece we jelled pretty well and became a band. Everyone brings something different to the table. A new element that makes its more interesting.
Q: When will the new record be released?
S: Our first single will be in April and the album should be out in September.
Q: Explain how “Video Voyeur” fits in with all of this.
S: That track is on the album, and we basically wanted to put it out there because he hadn’t had anything out for a while and wanted to let people know we were working on the record. It’s intended to be a taster and to get people excited.
Q: Were you surprised or excited by the success of your song “Wolves?”
S: I suppose both. That was the first song I wrote with Patrick Berger, who has produced most of the album. That was really the start of finding our sound. I think it takes a while to decide what you really like and narrow it down. When I met Patrick that’s when it came together. From then it seems to have progressed.
Q: It’s been reported that you had ‘the best time ever’ at the SXSW festival in Austin last year.
S: Yeah, we did. It was so good. It was amazing to be able to get up and do a gig – then have some food – and do another gig.
Q: What spaces did you play?
S: We played Emos and The Convention Center. We did loads, actually – at least 8 or 9 spaces.
Q: Do you think you will be playing there again this year?
Whole band: Yes, we think so. Fingers crossed.
Q: Sarah, talk about your tendency to sometimes do a walkabout out into the audience during your live performances.
S: If the stage is low enough, I’ll step off in the audience and have a little dance. It’s fun. It’s cool because people don’t expect it.
Q: BBC Radio’s Huw Stephens has been noted as an early supporter of your music.
S: The first song I wrote for The Good Natured, when I just started – I was determined to get it heard so I literally sent it to everywhere. I sent it to Radio 1 and he played it. I thought that was amazing and I felt that I wanted to really keep doing this. It definitely inspired me to keep going. It’s nice when people recognize what you are doing.
Q: There’s talk that you started out playing on your grandmother’s old keyboard. Do you still have it?
S: Yes. Some of the keys are broken now that it’s a bit old, but I love it - it’s amazing. She was going to throw it out, but I took it home instead and started writing on it.
Q: Do you come from a musical family? S: Our parents don’t actually play music, but they listened to a lot of music. Q: Like what, for instance?
S: Stuff from the 80’s like Blondie and Tears For Fears, Siouxsie & The Banshees – which definitely inspired us.
Q: I’ve heard you’ve been inspired by the lyrics of David Sylvian with his original band – Japan.
S: Yes, I think the album “Tin Drum” by Japan is really great.
Q: What is the songwriting process like for you? Especially when working with producer. Do they help you fashion how the song will ultimately sound?
S: Yes, definitely. With Patrick – he’s been a real big inspiration and has helped my ideas come to life. You definitely have to get on with the producer you’re working with and have a really good with them. I think production is really important to the songs.
Q: How did you write “Wolves?”
S: On an acoustic guitar. It started out quite driving. As we went along we’d add different bits – we’d add a drum beat and other sounds and just build it.
Q: Video Voyeur has benefitted from a number of interesting remixes, some quite techo/dance oriented.
S: It’s always really nice for us to hear how people interpret it and make their own thing of it. Every remix is so different and that’s really inspiring.
* * * * * * * *
The impression I'm left with Sarah is one of a young person who is professionally experienced well beyond her actual years. There is an utterly charming aspect to her combined gentle almost shyness, yet its obvious how confident and determined she is. Mix that with a prolific songwriting ability and its easy to see why so many noteworthy music industry professionals are eager to work with her.
On to the live show experience then - and what an experience it is. Heading over to Glasslands in Brooklyn on the 17th of January, The Good Natured took to the stage at 11:00 pm. The first thing you notice about Sarah and the band is their keen sense of style. Knowing full well that the "rock show experience" is as much a visual as sound presentation, their look is a cut above most club show acts. Sarah has impeccably combined the best of Siouxsie Sioux and Robert Smith, with her own glam/gam elements that bring to mind the leggy appeal of Britsh artist Sophie Ellis Bextor.
Adding to that the genius move of going out into the audience to sing directly to the crowd - not once but twice during this show - for the songs "Be My Animal" second song in - and then and later on again during "Dancefloor"
getting down with the fans
up close and personal
you really can't get much closer than this
well, everyone loved it
taking to electronic percussion for one song
Bassist brother Hamish plays a five string version of the instrument because, as he says "there's a a lower note that has to be gotten to"
A tight and entertaining set that leaves the audience wanting for more.
Signed posters for anyone who wanted one after the show. (Of course I wanted one).
As I have been known to do from time to time - take a picture with the band.
The pleasure was all mine!
Special thanks to Andy Von Pip and his great music site The Von Pip Musical Express - for his tireless efforts in making me aware of this band!
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.
