Friends old and new plus their independent labels provide the incentive for this months extensive DaveCromwellWrites reviews. The artists covered here have provided ample amounts of inspiration, allowing sentences to flicker and discharge from a rewarding listening experience. Newer, still-emerging artists creating work that fascinates find their way into this month's feature as well. With some of the tracks out now, fuller length releases are expected within the next few weeks.
Returning to the DCW fold is an artist and musician who’s previous full-length album received a detailed review at the end of 2021. Nick Frater is now back with his twelfth studio album titled "Oh Contraire!" While possessing the talent and skill to write, perform, record, mix and produce his own work here (masterfully one would add) additional musicians for select enhancement are also included. The sheer weight and detail of all the instruments used (and played mostly by Nick) is an eye opener, yet all sounds necessary on the final output. Guest guitarists play essential leads and licks, and the array of drummers and bass players used all make indispensable contributions. With that we dive into a detailed track by track review of this new album.
The album opens with the brief minute and a half “Fanfare” showcasing a number of instruments featured throughout the entire record. Opening piano chords are quickly met with French Horn and lush strings wrapped in a melancholy forward march. Once the percussion arrives you can’t help notice a “Sgt. Peppers” influence. That segues into the album’s first full vocal track “My Heart’s In Stereo.” A chugging straightforward rocker, guitars featured prominently on this no-frills, concise (once again) under two and a half minute offering. “Call up the radio, wake up the world” is Nick’s opening salvo. Desiring a “song with the name of a girl,” it fast progresses to a background vocal enhanced change into the repeated song title line. Moving on to “calling in favors and falling in line” eventually gives way to “eyes are telescopes as we search horizon skies.” Notable sonic additions like oddball synth twiddles in places add to the overall fun.
Third entry “I Know You Know I Know” comes with an official video release that plays on vintage video game imagery. With the words “Welcome to Teletext” showing in simple pixel writing on the screen, a full-on powerpop song commences. While intro verses leading with “Love is a line,” and “Love is a time” set the stage, it’s the first change “Happenstance will find yourself a second chance” that drives home it’s rhythmic cadence. When the hook chorus with all those “I know’s” emerge, one can’t help think about songwriter Gregg Alexander’s explanation as to why he included multiples of those same words on Sophie Ellis Bextor’s smash hit “Murder On The Dance Floor.” Having been told you should never repeat words, he defiantly did the opposite (and proved them all wrong). Nick appears to be successfully taking the same tactic here. The video amusingly poses the question “more cowbell?” at the exact moment that famed percussion instrument is being employed. All good pop songs needs a smokin’ guitar solo and one emerges here at the 2:10 mark of this perfect 3 minute instant classic.
Check it out here:
A booming drum intro and descending electric guitar progression leads in next cut “Song For The One Eyed City.” Vocals commence stating “there’s no trouble” and “no bother,” that there’s “no worry” and even “no money” as key reference points. “No telling as I’ve heard it allll (in pure Beatles elongation) tonight.” The immediate change is magnificent as the lyrics “on the hill” draws the same emotional impact as The Kinks “it’s your life” segment in their classic “Tired of Waiting for You.”
There’s a near doo-wop vibe in the progression and background voices on next cut “Final Reminder.” Once again eschewing the songwriting “rule” of not repeating words, Nick doubles down with repeated “yes I know’s” and “yet again’s” for hooky rhythmic balance. A seemingly sad song about being reminded of someone you lost, is kept afloat by it’s driving melodic guitar hook. With vintage telephone sounds introducing “Seraphim Called” (seems appropriate) a classic “stroll” progression gets right underway. Those familiar 10CC/Supertramp reverberated electric piano chords serve as primary instrumental force behind Nick’s questions-to-the-universe vocals. A tasty repeating electric guitar melody riff emerges just past the midway point, adding grit to the proceedings. Running behind that is a distant “celestial” pad of seemingly “angelic ahhhs” and locked-on-rhythm drumming. One more alternately descending/rising guitar figure emerges later on within the mix as well.
“One Minute” also comes with a video treatment for this instantly appealing pop song. Opening with the image of that little girl staring into a TV screen from iconic 1982 film “Poltergeist” who famously says "They're here" (and cleverly displaying the labels logo on there). Quickly moving to another room where vintage 80’s stereo equipment and shelves of vinyl albums are showcased as the song kicks into gear. As one might expect, Nick himself (with his band) shows up on a TV playing in an elaborately wallpapered “grandma’s” living room. Professors explaining scientific equations appear, as do a group of 4 men looking into a bag with a small cute cat in it, which suddenly morphs into a giant feline killer! The song itself is a forward charging guitar chugger that ponders the passage of time as each minute goes by. The essential vocal hook goes “Godspeed my deadbeats - could it be we’re in luck again?”
Check out this fun video (and song) here:
A twangy guitar riff sets the initial tone for mid-tempo groove “Steal Away.” With a sentiment centered around making time for yourself, the lines “I know – said it all before – I think it’s time to smile” ring true. Clever wordplay on the chorus rhymes the album’s title word with common household appliance “Frigidaire.” Additional points given for the buzzing and clinking percussion instruments running throughout. “All Roads Lead To Home” is a McCartney-esque piano ballad in that “Long and Winding Road” form. 60’s style castanets add a Phil Spector vibe to the production as do steady synth/string section running throughout. The universal sentiment “I guess it’s now or never – been way too long” as always, rings true.
“Welcome to Hollywood – welcome to looking good” are the opening sugar processed vocal lines of “Dreaming Of A Wonderland.” The vocal production and lyrics themselves seem to both be celebrating the joys artificial pursuits. References to “Xanadu” and “Shangri La” drive home the quest for beautiful imaginary places. An ear-tickling tambourine-focused percussion track and well-placed guitar riffs add counterpoint to the overall vocal smoothness. The ultimate reveal is this “wonderland” is actually about becoming a big time arena rock star. Welcome to the show, indeed. If you write song titled “Goodnight, Goodbye” it only makes sense to end your album with it. One more piano ballad, this time enhanced by what sounds like real violins and such. “This lullaby will send you on your way” serves as the perfect close out to this meticulously detailed record.
Héctor Caolo Alvarez runs indie label 3 Robots Records which focuses on music delivering ambient, ethereal, dreamgaze, pop, electronic, and psychedelic styles. Many of their releases have been reviewed here on this site over the past few years. Always producing high quality material, the output delivered is never disappointing. A new release by the project Sueño con Belugas (Spanish language meaning “I dream of Belugas” - which are white whales) shows the band exploring interesting new directions. Two tracks are currently available, and will be included on an upcoming fuller release “Ataque con rayos electrónicos EP” (“Attack with electronic rays”).
First single release “Velocidad” (“Speed” in English) comes with a full video treatment, which (as often does) enhances the overall listening experience. With gently strummed guitar chords shifting from major to minor, the image of an eye (up close) is overlaid with floating effects and band members at their instruments. The lovely voice of María López (Malow) begins, singing in Spanish “Cielos yo me quedo” which translates to “Heavens, I'm staying.” Hector’s chiming guitar work fills the audio field and is impressive, since his previous work reviewed here emphasized his bass playing. The rhythm section of drums and bass guitar are fully locked in, providing accents and emphasis on the vocal story being told. All about those Cielos/Heavens, and not wanting to leave, but to stay and laugh. The vocals continue to rise with intensity and emotion as overall meaning reveals a pursuit of truth, of my and in your “Velocidad” (speed). The tracks final two minutes is an epic instrumental sequence of two synchronized guitars, powerful bass and drums (with an ambient coda for good measure).
Check out this emotionally dreamy song and video here:
A second track released from the EP is the introspective, slide guitar infused "Mil Recuerdos" (A Thousand Memories). Slowly strummed acoustics and extended note slide guitars conjures up the sensation of floating on a lazy river. Hector takes the lead vocals this time, calling out to the universe with lines “Hola como haz estado” (Hello, how have you been?) Malow returns to provide backing vocals on the essential line “Tu y yo mil recuerdos” ( You and I, a thousand memories).
Follow Sueño con Belugas and 3 Robots Records on their Social Media - Facebook - Instagram - TwitterX
A number of previous DCW features on Hector and his various collaborations can be found here, here, here, here and here.
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Good friends of this site the Kool Kat Musik label has been dedicating their energies towards spreading melodic pop music from around the world. They’ve marketed thousands of releases by bands and artists including over 160 releases under their own label imprint. The label has now announced an upcoming release, “Snowy Chloe” by the power pop band Bur. The album drops in full on February 28, with an advance listen inspiring a review taster down below.
Featured track “From The Top” kicks off with an ascending four chord progression via brightly toned electric guitar. Bass and drums join in after the initial pass through, leading into a steady revolving verse progression. Tandem voices in reedy, mid-range register evoke a power-pop urgency that is timelessly familiar. With well placed background vocal “ahhh’s” and quick-turn rhythmic accents, the spirit of MerseyBeat pioneers like The Beatles, Gerry and the Pacemakers and such can be felt throughout. Clocking in at a brisk under two and a half minutes, musical hooks are abundant. The opening rise chord sequence is mirrored via bold single note guitar riffs a minute in. The songs title eventually appears as a reference point for “where you should start.” More sinewy guitar riffs make their way into the mix, along with waves of cascading voices. The overall sensation is one of fast paced exuberance wrapped in pure pop joy.
New independent music labels and old friends provide the catalyst for this months comprehensive DaveCromwellWrites reviews. Heading down unfamiliar paths can often lead to surprisingly pleasant discoveries. At the same time, checking back in with previously covered artists whose work continues to burn at a high level confirms those original impressions. Taking all of that into consideration, we now dive in to the mid-February 2022 reviews.
Finding their way into the DaveCromwellWrites universe is Kool Kat Music label's new release “Wish I Could See” by Cheap Star. Fronted by Swiss-French musician Remi Vaissiere (who wrote, sings lead and plays guitar on all the songs) there is a distinct 'Americana/Powerpop' vibe running through it all. This is in large part due to the artists long-time relationship with seminal late 80's/early 90's Posies frontman Jon Auer. Brought in to produce and mix the record, Jon also plays a variety of guitars and keyboards on nearly all of the tracks. The Posies connection doesn't end there as respected drummer Brian Young (a member of that band during their major label years from 94-98, before moving on to The Fountains of Wayne and then The Jesus and Mary Chain) delivers outstanding percussion on every one of these new songs. The star cast doesn't end there however, with Brendan Benson (The Raconteurs), Gary Louris (The Jayhawks), Matthew Caws (Nada Surf), Roger Joseph Manning Jr. (Jellyfish) and the legendary Mitch Easter all contributing to a number of tracks. With that tantalizing introduction, what follows here is track-by-track commentary on each and every song.
There's an easy, slow shuffle groove on opening track “Lifetime,” with chiming guitar figures and prominent deep-thump drumming. Over that hypnotic pattern, Remi's sandpaper-soft vocals introduce a stream-of-conscious story recounting “looking for a sign,” being “happy as a child” alternately tempered against “love hurts” and how “you're gonna learn in your lifetime.” Precision harmonies emphasize and punctuate dramatic moments, as do additional layers of sonic enhancements that feel like strings (but could be keyboards or even extended note guitars). Follow-up cut “Flower Girl” comes on quicker right from the outset, with it's driving progression and orchestral FX'd guitars. Poetic lines surrounding the need for the songtitles subject matter, whether “in the dark” or “singing with me in the park” defines an elusive object of desire. Rhythmic changes emerge early and subsequently repeat, emphasizing a descending pattern that offsets nicely against the initial straightforward pattern. Additional lush vocal layers of “I want you” on the song's outro create one more romantic pop element.
“You Don't Want To Change” builds off a solid percussion backbeat with acoustic guitar and piano notes delicately intertwining over top. Remi's vocals come across in a more intimate manner, with less effects and a deeper level of sincerity. “Do you ever get that way?” he asks on the first change, followed by “I'm happier somehow.” The initial sentiment “I just want to take you back” ultimately morphs into a repeated “I just want to take it back.” Piano becomes more prominent as the song progresses, defining a rising melody leading out to the ultimate conclusion. Fourth track in and the album title piece, “Wish I Could See” launches off some heavily echoed tom-tom drums, twangy guitars and good-timey handclaps. “On another day, in another town” kicks off a story of searching curiosity, guiding towards a hooky chorus “I wish I could see - on the other side – I wish I could see.” While coming in at a brisk (and radio pop friendly) 2:21 in length, the artist manages to drop in an ambient instrumental breakdown before an unanticipated “will you marry me” choral vocal coda.
“Holding On” turns up the nostalgic charm with it's descending guitar pattern, syncopated snare drum beat, tambourine rattle and Roger McGuinn/ByrdsRickenbacker-style chime. “You never tried enough – you never had the force,” serves up just one lyrical snippet pointing towards somehow falling short. Dual layered lead and sugary background vocals (especially on the chorus) create an idyllic sensibility. A tasty (if ever so brief) guitar solo emerges two-thirds of the way through, providing additional weight to the pathos running through this entire composition. “Move Away” leans more on a traditional chugging rock and roll rhythm, while pitching vocals down into lower, measured pace delivery. “I – never take it easy – never throw you away – for you I try” serves up the opening lyrical foray. Heavier guitars join in with subsequent passes, as do piano notes descending with gentle counter melodies. Ghostly background vocals emerge with a melodic purpose of their own, creating an almost soulful feel to the proceedings. The final ten seconds serves up guitar feedback and scratching noises for an unexpectedly odd closing.
More than one could hope to expect is packed into the one minute and 46 second “Under The Synapse.” Another impressive, straightforward drum pattern kicks it all off, as bass-heavy guitar rumble rides roughshod over top. While references to nerve impulses and neurotransmitters may have factored into some of the lyrics (and at the very least the song's title) an audible hook of the line “that's ok with you” is clearly discernible. Ten seconds (or so) of mandolin strumming on the outro adds a nice finishing touch. Home recorded acoustic guitar and distorted Rhodes keyboards figure prominently on “In Your Head.” With a tambourine rattle keeping time on each snare shot, an inverted, angular riff serves up the tracks primary melody line. The vocals are softer and more intimate, with background harmonies used more sparingly (though just as effectively) on the end of key words (“head, heart”) and over the outro guitar solo.
“Slow Down” opens with Remi's voice and acoustic guitar only, creating a pensive ballad effect. Once the drums kick in the track immediately morphs to power-ballad, with banjo accompaniment adding a slight southern country feel as well. “I've been dreaming that you were right – about the place I call my own – the things we've never shown” is how one key harmonic passage goes. The final half-minute features a blistering guitar solo from the iconic Mitch Easter, adding one more glorious element to this emotional piece. The albums final (and longest) track “What It's Like” builds off of a staccato drum pattern, shaker percussion and snaking guitar suitable for a detective story. “You don't understand, what it's like” serves as the essential harmonized vocal hook. The final minute lays out a tasty blend of deep bass, synths and electric guitars for a fitting coda to this wonderful album.
Listen to these songs and find out how to acquire this album here:
The music of Dead Leaf Echo is no stranger to this site, having covered their recordings and many live shows for over a decade. Notwithstanding some personnel changes one could hardly be surprised at over that length of time, the current lineup has been relatively steady the last few years. Recently completing their first Latin America tour, a new six track EP is now available. “Milk.Blue.Kisses.And.Whalebone.Wishes” is the mysterious and poetic title, serving as something of a hybrid to the songtitles on it. A full track-by-track review follows below.
Opening cut “Milk.Blue.Kisses (Foil in Motion)” dives right in with swirling guitars, hard-edged bass and deep-echo stare drum shots, forging the same impeccable slow-build pageantry The Cure so masterfully generated on their “Disintegration” album. While emotive vocals commence, the undulating wash of gazey ambience continues to swell, extending across the entire sonic space. Like most gazey dreampop, lyrical content tends to serve more as another instrument, rather than traditional storytelling vehicle. However, based on the overall songtitle, there's something romantic going on here, with the audible reference to “your body” being a “perfect foil in motion.” An icy, rising texture adds further weight to the overall measured pace, leading out to its conclusion.
Follow up track “Blue.Unto.You” applies echo-fx on single struck guitar notes to emphasize an initially angular pattern, while choruses wash all around. It's ambient, mysterious and delicate all in one, with a particularly engaging bending guitar tone for good measure. Those ethereal moments are soon met with harsher percussive strikes, establishing a center-point for additional higher-pitched intonations. The singular guitar textures return, this time with a three-note descending pattern, that shifts upward on the second pass through, culminating on a resonant full guitar chord. As one might expect on a fully instrumental composition over four and a half minutes in length, increasing amounts of subtle aural elements emerge.
Bright shimmering atmospherics, jagged tom-tom rhythms and a driving bass-guitar undertow power along third entry “Kisses.Silence.” The contrast of higher register sheen against a pulsating bass and drum rhythm expand its auditory depth-of-field for maximum advantage. While some glistening notes are held for extended periods, other rising melodies emerge, while additional bass-guitar patterns snake off in other directions. A change section develops past the midway point, where electronic “voice” approximations accent rhythmic changes against cymbal-oriented percussion. With bass guitar tones emphasizing Simon Gallup-style “gothic rock,” instrumental passages are set free to float over top.
Tambourine shake, plucked bass and chorused guitars introduce center-album positioned “And.Projecting.Windows.Of.Ice.And.Misconduct.” Deep tom drumming commences on the second passage through, providing an alternate percussive rudder under distinct melodic changes. Moving away from above-reviewed tracks Cure references, the feel here is more early Cocteau Twins, and the extended vocal-less ambience of those recordings. Midway through, forceful snare drum shots and tom fills thunder across and lead into a ringing bell texture. More percussion is layered on with urgency, while a bassy counter-rhythm modulates back and forth. As things get more cymbal-heavy, it all rises to an celestial apex before a subtle tempo change advances to its conclusion.
“Whalebone” continues the frosty sonic luster, probing deeper into Robin Guthrie and Harold Budd-style atmospherics. A lovely melody emerges amid the roil as ghostly percussive clacks rise and fall inside of it. Majestic guitar chords are strummed slowly and with purpose, further advancing a haunting melody. It all adds up to an elevated sensation encompassing an opulent audio experience.
Check out these tracks, including how to obtain the entire Dead Leaf Echo catalog here:
Previous features about the band on this site can be found here - here - here - here - here and here.
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In March of 2021, Austin, Texas heavy-groove blues-rockers The Dizzy Bangers received a detailed analysis here on their current-at-the-time track and video for “Under The Sorrow.” Nearly a year later the band is back with a brand new song “Painted Bruises,” showing off an advanced level of musicianship and lyrical mastery within the heavy rock genre. Once again the DaveCromwellWrites audio annotator finds itself aimed directly at the heart of this creative release, for another worthy review.
Glistening guitar chord open the track with a gentle touch, before a busy melodic bass and cymbal accents join in. Those quieter moments are short-lived as fuller band instruments mark out a forward progression via syncopated full-trapset percussion, rumbling bass and snaking lead guitar lines. Initially hushed vocals convey lyrics depicting a manipulative seductress who can “hypnotize even the best of you.” Shifting into higher register for subsequent vocal lines suggest a level of mania encountered, and how there's “nothing you can do.” Hitting the first chorus is a powerful shot with all three musicians coming down hard on this hook that goes “no she'll never pay for anything she's done - yeah she'll get away with everything she's done.”
With additional verses unfolding, the story reveals a struggle with someone who “don't sleep for days” and is “hearing things again.” As friends implore you to “walk away man,” because you're dealing with an “evil one” who's “will be done,” the mind control takes hold “when it's all a blur.” An intense rhythmic instrumental break rolls out here at the song's midway point, with strident guitar licks alternating against drums and bass throttle. The rhythm section thunders hard as guitar leads soar over top. Classic blues-rock power trios come to mind at this point, with those guitar lines executing a fluid style, while adding a growling edge to the tone. The same qualities that legendary musicians like Leslie West and his band Mountain electrified audiences with back in the 1970's.
Reverting back to that initial soft-vocal style on the final verse lines “from a steel cage looking out, how could this ever be,” morphing once more to higher register harmonies and eventual song title line reveal. The final chorus explodes with a combined vocal passion and rhythmic intensity that brings to mind early-2000's era power-rockers Deftones (who are still going strong today). Specifically where heavy, locked-together shifting drums, bass and abrasive guitar rhythm provide accents, hooks and emotional center. Emphasizing superior chops with intelligent, thought-provoking lyrics.
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.
