Alternative, electronic, dreamgaze, power pop and progressive jazz all share space here for this month of September. The artists chosen for review are not random, but selected via thoughtful consideration. Familiarity with the quality of their work and a willingness to take interest is what is being written about them is weighted heavier than other factors (like mass popularity or aggressively financed PR campaigns). Chances are taken on new stuff as well, but are ultimately held to the previously stated criteria.
Turning attention to one of Shoredive Records recent releases finds this site focusing on the recording project Xeresa. Simply titled “IV” (as in album number 4), the fully named Nicolas Pierre Wardell (previously only known as Label boss Nico Beatastic) serves as the bands primary catalyst. Painstakingly recorded between 2019 and 2022, each song features guest vocalists, some who have full releases on the parent label. Each track was built in the more common now than ever way of sending instrumental basic tracks to each respective artist for their creative additions (predominantly vocals).
Opening cut “Wish” pairs Wardell's basic track composition with first collaborator Daydream Deathray on vocals and guitars. Emerging out of synth tones and light percussive pulsing, classic-gaze pitch-bended guitars propel a fragmented time-signature chord progression forward. As the ticking percussion gets busier, melodic guitar figures enter the mix as an alternate foil against the initial tone. Ghostly voices commence over top as ticking, pulsing movements churn underneath. Dramatic breaks emphasize quick-burst-clatter stops, against those dual guitar melodies. This cycle morphs and evolves with dream-like qualities with a reverential nod towards the vague beauty of MBV's “Loveless.”
Deep buzzing bass-synth notes introduce “Untouched,” a co-write collab with vocalist Dorothea Tachler. “They say – don't touch – don't touch each other” are the first lines from this bewitching female voice ascending over synthetic hiss-clacks and open note guitar figures. As the rhythm continues to develop and fill out, further exhortations of “don't shake my hand – don't hug me” play against an increasingly busier backdrop. Additional developments present vocal lines delivered with quicker urgency, cleverly built on top of that initial basic synth-pulse intro. Guitars, higher-register synths and electronic drumming all share sonic space with this lovely harmonized voice that ultimately shifts the narrative to (post-pandemic) human contact again. Dorothea also delivers a cool guitar solo and optimistic vocal end-out over a rising synth backdrop.
Abrasive guitar textures usher in “Bye Bye,” a pairing with vocalist Hiacynta Szulc. A loping drum pattern lays out central movement against those modulating guitars, while yet-another appealing female singer straddles the edges of Liz Fraser/Cocteau charm with her delivery. The title-line chorus pivots away from harsher tones, emphasizing romantic overture, and contrasts well against the rougher guitar undercurrent on verses. A lengthy final minute coda merges vocal mantra (“I'm not as strong”) with hybrid melodic and drone guitar textures.
Rising swells and bird-like warbles (reminiscent of Yes's “Close To The Edge” intro) usher in the Omega Vague partnership “Burn.” The swirling void gets stretched out further, now moving deeper into The Orb's “A Huge Ever Growing Pulsating Brain” point of reference. Voices ultimately emerge, with understandable lyrics “soon it all it ends the same – through it all we can't refrain – setting fires to the flames – just let it go to pieces.” What started out as a potential ambient music soundscape, ultimately evolves into lyric-heavy storytelling. “All you ever need is someone to be on your side.”
Plunky open note guitar chords and buzzing synths serve as introductory basis for “Fall Into Unknown” featuring Phil Wilson (aka The Raft) on vocals. “All I can do is wait for you,” Phil coos - “wait to lose control” over a bed of quick-pulse electronic percussion. Subtle changes oscillate through those beats, generating forward motion under Phil's soothing vocal style. A dramatic halting just past the midpoint emphasizes synthetic strings approximating full orchestra. Vocals resume with climbing stair-step cadence and gentle passionate payoff, ultimately fading out with a final :15 seconds of tubular bells-like tones.
It's not too long before shearing guitar distortion returns, this time providing the fade-in on “Ghost In Your Mind” (Ft Ural Mountains). Rat-a-tat drumming soon joins the fray as the fuzzy wall of sound pushes forward. It all suddenly drops back as the surprising romantic vocal style of the mysteriously named Ural Mountains commences. A pleasant mix of clean guitar chords and mixed-bag percussion provide undercurrent for a vocal style similar to the band Crowded House. When the wall-of-fuzz guitars return, both vocal cadence and rhythmic propulsion become more active. A quieter plateau is eventually reached, featuring spacious guitar chords, rumbling undertow, synth strings and further vocal recitations.
Gentle chiming guitar chords open "Where Could It Have Been" (Ft Aura Zorba). A syncopated electronic drum pattern soon joins the mix providing counter-rhythm. With ethereal vocals commencing, a pliant guitar figure bounces between those lines. Deeper bass synth enters in after the initial cycle, conjuring a rising step melody. Along with the title line, other fragmentary thoughts emerge like “what's on your mind?” The final minute presents a descending coda of instruments, “ooooh's” and spoken word.
The albums only solo-penned cut “Slavic Stars” is a tour-de-force of low buzzing synths, gentle guitar strums, electronic percussion and higher-register synth-melodies. With clearly defined chord changes and structured segments, this is no rambling instrumental soundscape. Vocals appear a third of the way in, adding to an overall wistful feeling. Bright clarion guitar notes are carefully slotted in open spaces for one more level of audio delight. “Where the sun you gaze at meets the water” becomes a thematic mantra in subtle changing forms (“where the sun meets the land meets the water”) of psychedelia.
A 1-2-3 time signature establishes the basic cycle for “Could Have Done Better Than That,” Ft Jackie Kasbohm on vocals. Alternating lyrical segments place emphasis on contrasting singing styles and associated rhythm cadences. Jackie's repeated title line follows that primary descending thirds pattern, while the second voice moves in contrast to it. A quieter centerpiece lays down one more counterpoint, before the circuit begins again with blended voices going forward.
Odd timbre spiky synths herald in the album's final offering “Retrospection,” which features the artist Glassmanet on vocals, strings, extra guitars, keyboards and programming. Bright drumming and a clearly defined melody soon joins the mix, setting the stage for the gossamer vocals that follow. The voices are soon amplified with layered harmonies, enhancing the listening experience. That primary melody line is meted out via a deep-hued synthetic horn texture. There's a violin quality to segments of the synthetic instrumentals along with open air wind-instrument tones supporting downy vocals. It all floats to a glorious conclusion of Cocteau-level beauty and wonder.
UK Power Pop Rockers It's Karma It's Cool recently released the first of what is to be 6 singles over the next few months. Initial track “A Gentle Reminder” comes accompanied by an in-studio style video performance, providing visual imagery of the band performing. Along with James Styring on vocals, Martyn Bewick (Guitars / Recording / Production / Mixing), Danny Krash (Drums) and Mikey Barraclough (Bass) is the inclusion of noteworthy multi-instrumentalist Peter Holsapple (of The dB's, R.E.M., Hootie and the Blowfish fame) on keyboards.
The song opens with a gently reverberated acappella reading of introductory lyrics “We outgrow the ghost, and get gone - With our slogans and cold ones - Turn the stereo pop on.” The band then kicks in full throttle with thematic title lines “Here's a gentle - Here's a general Reminder for you. Don't you look up with vertigo, if so, the sky comes fallin.' Along with the basic guitar, bass and drums plugging away, you can clearly hear the Peter Holsapple keyboard additions adding a richness in those open spaces between. As the band bounces along with crisp precision, there are elements of Feargal Sharkey's well-known vibrato in Jim's vocal style. A cleverly turned reference to XTC also pops up in the lines “Drive into the city and the radio was makin' plans for Nigel.”
Reaching the high-point peak catchy chorus that goes “We all find our feet, when we run - And our shoes have come undone - Spark-out the circuit breaker,” finds the Holsapple touch churning organ tones and rhythms to delightful effect. The chorus continues with those opening acappella lines now fully embedded where they clearly belong. Multiple camera angles keep the video fresh and unpredictable, with shots of tapping feet and some really amusing “rawk” faces from drummer Danny. Also kudos to bassist Mikey for best overall hide-in-my-long-hair moves. Two minutes in drops everything out to a single guitar figure before launching into a full-on ride with rolling keyboards, distant-effect vocals and more distinct rising guitar melodies.
Check out this perfect slice of powerful pop music right here:
It's a rare occurrence when an instrumental jazz album inspired by the Sumerian mythology of ancient Mesopotamia turns up here for review. However, that is exactly what you get with pianist & composer Connie Han's latest release “Secrets of Inanna.” Drawing inspiration from the 1900-1600 BC poem The Descent of Inanna, Han crafts 12 sophisticated piano driven compositions based on this detailed metaphor of femininity, grace, and poise. To that point she's also mastered the art of stunningly gorgeous imagery. Being young, pretty and physically sculpted is a great starting point for all that. What follows here is a detailed track-by-track review of the entire album.
Opening track “Prima Materia” instantly establishes the modern jazz trio concept with graceful affluence. Lightly reverberated electric piano serves as initial melodic source, accompanied by an expected high level of bass and drums. A flute tone provides additional melody, with quick-burst piano lines woven inbetween. As a point of sonic reference, the overall sound design is akin to Angela (Theme From 'Taxi') by Bob James. The extended piano flights on this over 5 minute piece are next-level sophistication, however.
“Ereshkigal of the Underworld” comes on quicker with an angular time-signature, driving deeper into the finesse of jazz trio interplay. The drums and bass are allowed to expand their repertoire under the free flowing piano improvisation. “Gilgamesh and the Celestial Bull” continues with a similar tonal quality, while incorporating that “hammering” technique inside the piano melody. An impressive left-hand lower-note rhythm creates counterpoint for the high-flying right-hand forays across the keys. A sense of similarity with the master Chick Corea comes to mind.
“Morning Star” employs brushes on drums and a sensual saxophone melody, leaving the bandleader to support with block chords at first. Midway in the sax drops out for an extended piano solo, before returning to close it out. “Vesica Piscis” continues with the tenor sax as slower moving melody over active piano figures. The mood is melancholy and subdued, going without bass and drums that place emphasis on melodic instruments only. “Young Moon” returns to the Fender Rhodes electric as primary keyboard tool, with Ms. Han exploring melodic possibilities against attentive and accent-laden drumming. A bass guitar driven interlude provides space for that essential instrument.
“Ninshubur’s Lament” is a half-minute tone poem on drums, with toms receiving up-front focus before closing out with a perfect snare press-roll. That leads into the buoyant seven minute piano and sax driven “Wind Rose Goddess.” With a sense of joy embedded in it's rhythms and overall vibe, ample room is given for extended piano improvisation, with equal emphasis on saxophone phrasing. “The Gallû Pursuit” revisits Corea's Return To Forever hyperdrive style, with fluid piano lines driving both melody and rhythm. The bass and drums hustle to keep up with a frantic pace that encourages the listener to hang on to this wild ride.
Check out this wonderful composition here:
“Dumuzi of Uruk” doubles down on the Wayne Shorter-style saxophone, with shifting rhythms underneath. Momentary space highlights piano movements, before lurching back in to the full band drive. A walking bassline sets a pillar in which flowing piano lines can improv off of. A quieter presence initiates the nearly eight minute (and album's longest track) “Desert Air.” Brushes are once again employed on the drums and the extended time allows for a number of sub-movements within the overall framework. Space is once again provided for stand-up bass improv against that soft brush drumming. What remains consistent however, is the tinkling of keys on multiple flights of fancy that frequently pay homage to the inspirational influence of Kenny Kirkland. Final track “Enki’s Gift” is a relatively quick study with emphasis on flutes, bass, rim-clack drumming and (as one might suspect) quick-fingered piano.
A combination of innovative original instrumental music focusing on keyboards and guitar serve as the primary entry point for this month's DaveCromwellWrites Feature. As this site continues to evolve, a greater appreciation for musicians composing and recording works that focus on art over repetitive commercial pursuits grows exponentially. That said, when a quality pop song emerges out of the seemingly endless sea of replication, that too will always find a place for close listen and evaluation here.
Holding true to the old axiom of how discovering one artist often leads you to another, Brian Charette finds his way onto this site following last month's deep dive into the music of Oz Noy. Noticing the high-quality, double-tiered Hammond B3 playing he contributed to Noy's “Looni Tooni” made it an easy decision to dig further into Brian's work.
A brand new full-length album “Like The Sun” is set for release on December 1, 2020 that features 13 mostly new original compositions. Recorded during the first months of lock down, these instrumental tracks forge a new hybrid sound that combine electronic beats with the richness of traditional organ sounds.
Opening cut “15 Minutes of Fame” lays out a funky robotic groove with a sharp, synthetic descending keyboard line surrounded by otherworldly textures. Lush, dreamy atmospherics alter the mood in-between in a most pleasurable way, before Brian's improvisational organ soloing commences. What's impressive is how nearly all of this record was recorded live in one take, reacting to random programming changes via the accompanying autogenerated beats and chords.
You can see and hear this happening live-in-that-moment via the below video (and 2nd album track) for “TimePiece.” Looking down on Brian's impressive rig of keyboards, samplers, drum machines and tone generators, the composer kicks off a mechanized beat and programmed chord progression. Taking to his highest-point mounted keyboard, sweetly piercing flute-like tones are the first to be played, establishing a central melody. Moving down one level to his mixer, audio samples and percussive bursts are initiated on the spot. As the song enters a defined chord change section, Brian drops to his third-tier down keyboard controller and unleashes some soulful organ improv. Check out this wonderful track here:
Third cut “Slasher” gets right to the warm organ tones, balancing that against slap-trappy percussion. After a minute another more synthetic keyboard texture emerges, providing counter-melodies to the organ running along simultaneously. Ascending otherworldly ambience serves up an appropriate coda.
While “Honeymoon Phase” continues that rough brush-stroke percussion, reverberated electric piano is introduced as a dueling keyboard element against the traditional B3 organ. Additional synthetic textures find their way into the mix as well, however it is the romantic chord selection and emotive playing that really shines through here.
Title track “Like The Sun” hits the ground running in full motion with a busy, angular sequence and syncopated percussive strokes marking out an interesting (and peculiar) pattern. Sampled voices materialize like Middle-Eastern prayer chants, and deep bass notes expand the sonic field into lower regions. Organs, synths, blips and bleeps all make appearances, adding an element of sci-fi to it all. There's even a bit of distorted-voice spoken word narration included in the final minute of this over six minute extravaganza.
Other cuts like “Mela's Cha Cha” position closer to more recognizable jazz-funk-soul hybrids, leaning more on buzzy brass synths for melody phrasing. However, there's always room for a few bars of rich, organ stylings and complimentary “outer space” ambiance.
“Three Lights” blends emotive Hammond B3 organ jamming over top of a hypnotic calypso beat. “Break Tune” takes the beat into a more static direction, with a pattern and sound like a Nine Inch Nails intro. While additional icy synths and distressed vocal samples may also throw off a Reznor-like feel, alternating passages with soulful organ and jazz guitar accompaniment take the edge off any potential existential dread.
“From Like to Love” introduces an even brassier synth as the melody instrument to build everything else around. Jazz inflections are the predominant voicings on chord phrasing while the blues scale is applied to solo forays. “Creole” blends a variety of traditional organs with buzzy brass synths over a funky bass and percussion rhythm. While the bright synth tones Keith Emerson with ELP, the end out jam is pure Brian Auger's Oblivion Express.
The motorik beat and Teutonic rhythm of “7th St. Busker” may be the closest track on the album fitting Brian's own self-description of “Kraftwerk meets Harlem juke joint.” Even the alternating synth textures have a “Trans-Europe Express” feel to them. An unexpected child's voice appears near the very end, adding one more twist to it.
An easy groove organ melody line over clearly defined chord progression introduces “Robot Heart.” Things become more “robotic” further in with an arpeggiated sequence, ice-alien keyboard stabs, high-hat tick percussion and mysterious voice samples. Final track “57 Chevy” builds off a funk heavy beat and three essential keyboard parts. A basic two-chord pattern of reverbed electric piano, soulful organ soloing over top of that, and a change section that features rising chords and low-end percussion.
Overall, this is a truly wonderful instrumental album that delivers a wide compositional and sonic range, perfect for the many moods we all experience throughout the course of each day.
Connect with Brian at his Official Website and Facebook Page for Info on how to acquire this New Album, as well as all his other work.
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Musician Afonso Dorido is a Portuguese artist who creates instrumental music under the name Homem em Catarse (which translates to “Man In Catharsis”). Earlier this year he released a 10 track album titled “sem palavras / cem palavras” (in English - “without words / hundred words”) that delves into a heady mix of dreamgaze, ambient, slowcore, classical and emotional musical styles. Primarily a guitarist, this artist also creates on piano, synths, bass-guitar and bits of percussion. The album's producer/mixer also added percussion on a number of tracks, and a string section is used at times as well.
The album opens with a two-minute gentle piano-only rumination poetically titled “You were just a little leaf.” Slow, measured four note arpeggio chords establish an introspective progression, as tender melodies are played on the higher-toned keys.
However, it is with following track “Hey Vini!” that we are introduced to the ambient, psychedelic dreamgaze promised in promotional descriptions. Moving to guitar here, Afonso opens with an electrified diffusive wash, then switching to placid open-note chords. Bringing in percussionist (and producer) Pedro Sousa creates a more solid foundation and complimentary rhythm section with Afonso's additional bass guitar work. The track seems to float on air, with it's multiple layers of reverberation – bringing to mind the dual guitar work of Robert Smith and Porl Thompson on classic-era Cure songs. Returning to that gazey sound only hinted at in the intro, a new layer of extended-tone, quick-strummed, e-bow style guitar textures flood the sonic spectrum, leading out to one more open-note-chord coda.
A pattern of short, steady, plinking sounds introduces “Hotel Saturnyo” as deep, reverberated guitar notes roll out a slower melody over top. Percussion soon enters the mix with additional guitars layering on in a more urgent manner. Using a digital delay on guitar riffs create the sensation of many guitars playing at the same time (something U2's The Edge is famous for), and this technique is employed here as well. The pace is quicker though, with deeper bass guitar moving underneath at a more defined pace. Synth strings arrive to enhance the tracks final minute, adding another majestic layer.
Slow moving guitar twang give fourth cut “I remember yourself when I can't remember” a dreamy western feel, that's part Spanish Classical Guitar and part American Cowboy. Adding a rapid strum layer at mid-point pulls things over into dreamgaze and psychedelic territory.
Sticking with the slowcore premise and progression, “Marie Bonheur” serves up it's glacial pace through double guitar layers of strummed chords and bright guitar figures over top. Carefully paired percussion and bass guitar enters the mix, creating the base for multiple layers of emotional guitar melodies. The final minute adds a gorgeous violin and cello string arrangement lifting it all into the realm of classical.
Returning to solo piano, Afonso presents a lovely progression and melody on “Calle del Amour” (Love Street). There's an almost Christmas feel to this one, with it's stark impressions of a landscape that might possibly play best in the month of December.
Synthesizer pulses, sparse mechanized percussion and bass guitar set the tone for “Yo La Tengo” (I Have It). In contrast, natural electric guitar figures are played with an emotive quality, adding warmth to the proceedings. Guitars progressively occupy the sonic field, converting what began somewhat automated into a more overall organic feel. The addition of chorused voices in the closing moments creates a final uplifting sensation.
Rising up out of silence comes a pizzicato struck guitar pattern on what seems appropriate for a track titled “Martian Dances.” With that rhythm established, a more traditional rock bass-guitar and drum segment commences. Dueling guitars emerge with one playing digital delayed notes and the other rough-hewn textures. A strong melody develops out front, before the rhythm-section drops out, leaving clearly defined guitar notes remaining against the initial pizzicato design. The cycle repeats, leading up to a grand finale finish of guitar pageantry.
Clocking in at over six and a half minutes, “In the Sea” serves as the longest track on the album. As this length might suggest, ample room is provided for extended, ambient passages that build slowly over time. With gentle guitar strokes over spacious synthesizer washes, a stuttering percussive pulse marks out elongated time while extended guitar tones create a reverential atmosphere.
Final entry “Little birds house” closes out the record with a stark, hallway-reverbed piano musing. Despite it's brevity, there is a strong melody running through it, and serves as an appropriate ending to this beguiling album.
Detailed interviews, record reviews and live show recaps on Astoria, Queens NY based pop-rockers GIFTSHOP has been chronicled here on this site numerous times over the last few years. Now they are back with a brand new song and video for their latest track “Stylish Junkie.” With each member recording their part remotely (as these current trying times advise), modern technology (a positive product of our current age) delivers a slick and professional sounding track. Taking equal care to shoot the songs accompanying video, an homage to pink and pastel 80's era MTV video lore is playfully represented.
A clarion ring of chiming guitar figures slowly rises in volume from the distance, with alternating mid-toned plucked strings adding dueling counterpart. An abrupt halt of that allows for drums to stand alone with a 1-2 x 4 beat. Chugging bass guitar joins in with the dominant progression, as high-hat cymbals add percussive force. Explosive power chords are the next element to emerge, creating an overall distinctive power-pop sheen. With the arrival of Meghan's vocals, the repeated song title comes complete with hook-tag-line “beep beep” that suggests David Bowie's similarly clever use of that audio punctuation on the hit song “Fashion.”
The vocals are impeccably delivered, recorded and mixed, with double-harmony enhancements at just the right moments – like on the final introductory “stylish” before the first verse. As for that verse, Damian's lyrics juxtapose fashion sense and drug-fueled decadence, with lines like “where do you find the clothes you wear?” and “Tiny Monkey, has you passing out on the 5 – how do you even stay alive?” Again, the vocals are doubled and harmonized on key hook “Stay Alive!” which also benefits from crunchy guitar chord placement.
Understanding the general lightness of pop music, room is allowed for a touch of humor and clever word-play with the lyric “ Fashion Victim, you put the outer in underwear.” Much like anthems Pat Benatar served up to the MTV generation throughout the 80's, key vocal passage (and lyric) “You belong to the night” proposes nocturnal outcast cool. “To the night” is repeated with multiple vocal inflections (and harmony layers), as sonics swirl with more dense layers now churning underneath.
The final minute pairs vocal lines “I'm feeling too high now” against “I wanna come down now” in a layered tour-de-force that revisits Bowie's tragic protagonist in “Space Oddity.” However, where Bowie's character quietly drifted away, an intense culmination of passionate vocals, shearing guitars and forceful rhythm-section advocates an alternative outcome here.
As the year 2020 advances towards it's ultimate conclusion, a select collection of diverse and eclectic musical artists have been hand-picked for feature review here. While the frequent and familiar rock styles of goth, dream-pop and gazey ambience are once again represented, so too is the work of an improvisational virtuoso. The essential commonality running through all of these works is a deep emotional commitment to their respective artistic styles.
New Dark AgesPR MaestroWilliam Z presents a variety of artists that fall within a visual mode often referred to as “gothic music.” This discernible aspect must be noted as the actual audio output of the artists represented cross over a very broad range of sonic styles. Extremely harsh and abrasive industrial on one end, and dreamy beautiful on the other. What ties them all together is a common visible style that emphasizes pale skin with dark, heavy makeup and similarly styled clothing.
One such artist is the glamorous Italian singer and musician Elle Noir. Trained in Opera and Music Composition, the skilled pianist spent time with a symphonic metal band, performed in cabaret shows as well as experimental music theatre. With a new EP “Like A Black Doll” slated for later this year, a video for one of the songs “The Day I Died” has now been released. Describing the track as “a metaphor of emotional death, it tells of a world where nothing has value anymore, which is also an - - inner world given by mental states like depression.”
Strong piano chords and gentle follow-up notes open the track, as lush symphonic strings quickly fill in open spaces. Soft vocals begin “One day you will come – on my grave” while video imagery of the darkly glamorous Italian model lies motionless on her back, tiny flowers all around her. Both visual and lyrical imagery come together with the line “and you will leave flowers just for me” while the photogenic musician assembles a crown of blossoms.
Reaching a chorus that states “I forgot to tell you the pain of the world is not there,” one notices stylized vocal diction that suggests English is most-likely not this artists primary language (adding another level of overall charm). As the chorus resolves and turns-around, poetic ennui is revealed with the line “beautiful words are meaningless – like – 'I love you'.” Follow that thought process, unencumbered vocals add “It's just a dream through my mind, my fear of you,” before full percussion accompaniment enters the mix.
A combined natural earth gothic imagery enhances the video with it's central figure carrying a dagger and slowly advancing towards an ominous body of water. Close-ups of a silver-ring-on-every-finger hand continues to place flowers in the intended's funeral crown. Poetry sustains audio symbolism with lines “the scars on my arms will just disappear - until someone touches the fresh ground -and he'll realize it's the day I die.” The chorus is now lush and full, with heavy string layers and active drumming throughout. Reaching an emotional peak both in video image and within the song, vocals are doubled on the (allegedly) “meaningless” words “I love you” while the funeral crown gets placed and the “scar cutting” dagger is dropped to the ground.
Closing images alternate between depictions of our tragic heroine walking into the lake, seemingly drown, but also very much alive and well on the shore.
Watch and listen to this wonderful video and song here:
Elle has created a brand new trailer for her "Like A Black Doll" EP and you can view that here:
To find out more about Elle Noir, follow on Social Media here:
With social media now a big part of how we discover (and connect with) each other, you're never really sure how one winds up in a “follow for follow” situation. Noticing the Chicago-based, trans-continental duo Sally Haze turning up frequently on Instagram streams (both Main Page and the now quite popular “Story's”) an opportunity to hear what they do presented itself. This fortunate occurrence has brought to light (on this site) their second EP “Wet Dream” (and who doesn't like one of those?). Released earlier this month, the six-track record serves up a refreshing blend of DIY dreamgaze (and more) from couple Will and Jessica Wright.
It's something of a genius move to open your recording with a one minute instrumental called “Fade In.” With the feeling of lush orchestral strings (and their synthetic counterparts) floating into the mix, a trance-like state-of-mind is immediately established. At :20 seconds a new element emerges with shimmering guitars and high-hat percussion creating more defined movements. While those strings continue and other percussive clacks join in, a “cut-up” feel takes over, with a particular minor chord change providing what can ONLY be described as an intoxicating audio-orgasmic-rub. The :50 second mark drops to a more spacious, gentle pulsing for the final twenty seconds.
Immediately surging into the second track, “Be Mine” builds around a shuffling drum pattern, plucking bass and chiming guitar textures that give it all an early 80's The Cure feel. Jessica's vocals (and lyrics) are far more American much too content for anything the poetically despondent Robert Smith usually depicts (“Friday I'm In Love” notwithstanding). “Just make me feel good and make me feel fine.
Make me feel happy, and you will be mine,” is how the refrain goes. There's a busy, calypso feel to it's chorus that goes “this is what it feels like, to be all in – always.” Instrumental breaks lean on icy keyboard riffs which add to an overall jangle-pop mood. Against brighter keyboard stabs and Jess' upward diction on the word “hearts” (on the full line “all of the hearts are intertwined”) elicits a touch of Patty Smyth and “I am the Warrior” era Scandal sensation within those grooves.
Quietly rising up into the mix via insistent bass-line and steady drum pattern, “Pavilion” rides a plucky rhythmic guitar over ascending ambient textures. Long-held, deeply-echoed vocal lines emerge like a clarion call “don't try to hard – keep it going.” What feels like an extended holding-pattern (with subtle varying undercurrents) morphs into stereo-field angularity after the initial lines ”trying to keep up, faces come and go.” That chorus becomes more stable on the second pass through, repeating “reality starts to hit, I'm losing control.” Building tension once again through creative instrumental passages, a crescendo is reached as Jess sings “it's hard to let it be” and “I can't fix it all.” One more round of angularity leads this track out to it's conclusion.
“Don't Forget” surfaces ethereally via slow, undulating bass synths and fluttering pulses over top. Jess delivers the opening lines “it goes beyond – into a place” in deliberate, elongated voicing. Drums kick in on the next passage, creating a busier undercurrent to the prolonged vocal phrasing. Reaching the lyric “how long will I have you,” all background sound drop out leaving a lovely formed, emotionally-charged keyboard passage. Cymbal driven drumming returns along with this lyrical tale of devotion: “I'll always wait for you there,” “because I'm sure it's the real thing.” An unexpected buzzing-like-a-gnat melody (of sorts) is presented (is it guitar or keyboards?) adding one more level of curiosity.
Shimmering guitars and shifting rhythmic undercurrents mirror the fluid motion of EP opener “Fade In” on the previously released single “All That Matters.” Bass guitar serves as the driving force behind opening lyrical salvo: “it's coming up again, that familiar feeling.” For her part, Jessica's vocals are clean and straightforward, as FX and phasing (prominent on previous tracks) have not been employed to those levels here. The big chorus of “It's what we both want - we're both reaching for it” carries a similar emotional gravity and vocal tone quality of mid-80's, post-Sugar CubesBjork. Keyboards jump out from multiple locations on the fragmented change section “outside – it's gone” up through “I'm here – I'll hang on.”
Sixth and final track “Around The Corner” serves up a lyric heavy view inside the mind of someone taking stock of all they have while pondering what the future might hold. There's a slight 1950's vibe to the intro melody, even if the accompanying sound effects morph from nursey rhyme to futuristic clang. With each successive pass through a chorus that goes “this is where I close my eyes, and take a deep breath, just don't think about the past, live in here and how, I am loving every bit, it all goes so fast” the production evolves from very little backing music to fuller bass guitar and keyboard enhancement. A final segment has Jessica's vocals harmonized between close-up recitation and full-throated singing on the lines “maybe around - the corner - or in the next - next few years - look next to me - look and see - that it is all I’ll ever need.”
Find out how to acquire this recording here, where you can sample all the tracks as well.
Long time readers of this site will know that along with the dreamy, gazey, rock, pop and punk music, an affinity for more sophisticated prog, jazz and extended instrumental jam bands has seen those artists work reviewed in detail here as well. New York-based guitarist and composer Oz Noy has now found his way on here, with an exhilarating new track “Looni Tooni” off of his soon to be released new album “Snapdragon.”
The full recording will contain six original compositions, plus a cover of the Zombies’ “She’s Not There” and two Thelonious Monk pieces. Accompanying Oz on his musical journey are a who's who of world renowned musicians that include Vinnie Colaiuta, Dave Weckl, Dennis Chambers, John Patitucci, James Genus, Will Lee, Brian Charette and Special Guests David Kikoski, John Sneider, Chris Potter, Jason Lindner, Adam Rogers, and Wallace Roney.
The track and video for lead track “Looni Tooni” opens with drummer Dennis Chambers shot from multiple angles, overhead and straight on. He lays down a syncopated pattern as Oz first appears playing a blonde Telecaster, chunking out a funky rhythm. Next shown is bassist Will Lee – so well know from his work with Paul Schaffer and his own Beatles cover band The Fab Faux – playing seated and immediately locked in on the groove. A side shot of Brian Charette's double-tiered organ focuses on his hands and a quick cut view of percussionist Danny Sadownick's conga work also reveals an “Art Ensemble of Chicago” framed poster on the wall.
Cutting quickly to John Sneider and his trumpet - complete with a rack of guitars on the wall behind him- making it look like the sales floor of Manny's Music [RIP]- is the first time the songs signature, extended riff is unloaded in unison between John and Oz. A sweet, rising bridge is then rolled out for the first time, before that impossibly long riff returns – this time with Brian's keyboards joining in for the ride. There are soon slight variations on that riff – subtle key changes -and quick cut breaks where bass and drums will drop a single note punctuation point in-between the extended runs.
Another cool element are easy breezy rhythmic cruising sections, where the organ textures combined with those congas inspired one commenter to accurately describe it as sounding “like a futuristic Santana.” With percussionist Danny briefly switching over to tambourine, a clearly defined, rising note passage creates a momentary Big Band feel. On each turn-around back into the main groove, variations on that lightning quick riff serves as the essential bridging link. At the 1:45 mark Oz takes off on his first solo, playing clean, fluid lines that begin on the top low note strings and work their way up the neck, all through the higher register strings down below. Then goes off on a musical “conversation”, morphing between Carlos Santana-like riffs (with the background organ tones enhancing that vibe) before taking off on an all out John McLaughlin-style free jazz flight.
As Will Lee is now matching the guitarist in intensity (and increasing number of notes), another astute commenter amusingly states that “Oz has gone mad @ 3:15.” It truly is incredible playing, and the video split-screening with images of the other bandmembers now overlaid, drives home the power of this ensemble cast. The 4:06 mark sees trumpeter John Sneider taking a solo turn, delivering cool jazzy lines while the video screen overlays soft-edged splits of the six principal musicians. As the funky rhythm continues to flow, Dennis adds more fills inside of his steady drum beat before the band returns once more to multiple variations of that intoxicating extended signature riff – up to the eventual punctuated ending.
"Snapdragon" will be available on all digital platforms and through Noy’s label, Abstract Logix, and can be pre-ordered here.
Check out a preview visualizer of the whole album here:
Previous Features covering like-minded artists and events on this site can be found here:
Dave Cromwell has been writing about music since the dawn of the internet age. In addition to the steady flow of features here on this site, he has been a regular contributor to The Deli Magazine (both Print and Web) since 2010. With numerous Print Issue cover features and weekly contributions on the Deli website, scores of artists have received the Cromwell point of view. Along with ongoing contributions to this site and The Deli Magazine, Dave has written for Dingus, My Social List, The Waster, Spin and Rolling Stone magazines.
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