Scholarly Musings on Laudable New Audio Releases

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.

A previous DCW feature on this artist can be found here.

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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.

Facebook     -     Instagram     -     Official Website
 
A previous feature on the band can be found on this site here.

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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)

Follow Sueño con Belugas and 3 Robots Records on their Social Media - Facebook - Instagram - TwitterX - Bandcamp - Linktree

A previous DCW feature on Sueño con Belugas can be found here (which includes links to many other of Hector's various collaborations).

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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.”

Experience this multi-layered sound design here:

Follow this artist on Social Media:

Facebook   -   Instagram   -   Bandcamp   -   YouTube

A previous feature on this artist can be found on DCW here.

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Penetrating Observation of Recent Singles, EPs and Album Releases

Another full circle around the sun and a new year commences full of hope and promise for the days ahead. With that comes new recorded music from both trusted and previously unheard sources. Equal emphasis on both noisy experimental rock and more traditional singer-songwriter contributions occupy this early 2025 DaveCromwellWrites Feature. Plunge forward into these audio creations and the words inspired by them.

The motivating force of Philadelphia-based Patetico Recordings chief Tom Lugo offers a nearly endless stream of new music discovery. Having reviewed numerous releases of that labels various collaborations, prior full-length album by “From the ashes” Stellarscope stands out as a highlight. That pairing of Tom and drummer Bob Forman are now back with a new EP “All That Remains.” Written and performed entirely by the pair, Tom produced, mixed and mastered everything at their two studios in Middletown and Havertown, PA. The Cromwell force now digs into each track in search of it’s sonic core.

Opening track “As I Lay Dying” is introduced by a harsh buzzing riff that sounds like a swarm of bees. It’s urgent pace is soon shattered by a lumbering drum pattern that commences at seemingly half speed. It’s a deep, hammering pulse that creates a solid foundation for the “bees” swirling above. As drum fills intro an even deeper, slithering bass guitar line, Tom’s ethereal vocals begin and further amplify the mood. One minute in and a driving chorus is reached, combining walls of sheering guitars, voices and an overall sense of urgency. As the next verse progresses, those live-in-the-studio drums are a welcome change from much of the carefully digitize percussion heard lately. The bass guitar riffing is fast and furious, creating a subtle bouncing movement throughout. The pace quickens halfway through with a rising progression before reaching it’s crescendo and intro-mirroring fadeout.

Follow up cut “All There Is” builds off of multi-layered, downward stroked distorted guitar chords in that revered MBV style. Rough and tumble snare-roll heavy drumming also taps into the Colm Ó Cíosóig bag of rhythm for a pleasantly noisy trip in to the void. Tom’s sneering vocals sound as if delivered through a tin can, but that’s ok (in fact – perfect). Soaring musical passages glide through the middle as drums bash away to 747 jet engine guitars. Third entry “Some Other Day” keeps the buzzing guitar out front, with some unexpected chord selections in its progression. With the drumming still on the busier side, new elements such as clacking stick sounds enter the fray. Vocals are somewhat more intelligible, with references to “voices in my head” and the songs title line clear enough. Warbling effect runs parallel through some of this, adding a subtle, unsettling element. Halfway through, things align a bit more as a traditional guitar melody emerges over top of downward driving chords. Quick cut stop-start rhythms feature in the final verse, while the sludge takes over to its conclusion.

Next track “Devour all” captures Kevin Shields pitch-bend guitar chord churn on it’s opening flurry before low booming drums rumble in underneath. A sheering swarm of quick-strum rising guitars soon give way to single note melody lines as Tom’s vocals appear in a whispered, floating style. The chorus is big and bold, resembling the heavier output of a band like The Sisters Of Mercy. Headphone listening makes you aware of how well produced this wall of sound actually is. The separation of instruments is fully on display making for the perfect balance of controlled chaos.

A dramatic single pounding drum thump leads the way into final cut “Consumed.” With alternating cymbal crashes for emphasis, center melody guitar-churn flows forward, as fluid bass throbs throughout it all. Vocals are softer and near buried at some points, while harmony-doubled in other places. There’s an almost orchestral feel to the rising guitars, soaring above the heavier clatter below. While momentary quieter plateaus set up subsequent verses, a full force sonic assault “consumes” the tracks final minute.

Check out this blistering new EP here:

Follow Stellarscope and Patetico Recordings on their Website and Social Media

Facebook     -     Instagram

A previous DCW feature on this band can be found here.

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Mutual friends and associated bands are the frequent pathway to discovering new music groups. Such is the case with New York City based female rockers Killdeer. Having grown up in musical families that stamped early influences on them, these four women write, record and perform live music combining punk, pop, and alternative into an appealing garage-rock sound. With three EP’s already under their belt, the band has now released a new single “Generic Break Up Song.” The DCW audio-scope turns it’s focus on sorting out this songs contribution to the rock music canon of anti-love songs.

Descending guitar note phrasing opens the track with alternating textures, before climbing back up the scale to start the downward spiral again. Cymbals woosh and bass guitar enters space before everything momentarily comes to a halt. That’s when the drums kick in and a chugging rock n’ roll progression takes off fully. The motion reverses to an upward rhythm, then another split-second halt before vocals commence with playful solo voice and harmony coated follow ups. As the song title implies, this isn’t a new story, but one of time honored tradition. “Seemed so fine” starts thing off solo before “boy I must have been blind” comes layered in harmonies, as trouble is revealed as “a storm rolled in – grabbed a bottle of gin – where’d our love go?”

You can’t help but chuckle at the cheeky lyrics “you walked away – saiiiiid you’d stay” (in full harmony) “now I’m broken wing – busted feather – thought we were forever!” One can’t help recalling the similar romantic angst referenced in Cameron Crowe’s feature directorial debut “Say Anything” and the still hilarious song “Joe Lies.”

However, Killdeer brings the guitar crunch, and drum pounding gets heavy on lines (thought we were) “forever together!”  Quick-turn drum breaks and single cymbal accents are impressively built into the songs structure as are those multi-voiced harmonies.  An anticipated fuzzy guitar solo hits just after the midpoint, accompanied by a driving melody-echoing bass pattern.  The band is now in full charge forward mode, with slashing guitar chords, fluid bass and pummeling drums.  One more pass through the “master of deception” and “you’re nothing but trouble” lyrical put-down, because “its plain to see, you were never meant for me.”

Check out this clever take on a universal theme on their Spotify right here:

Follow Killdeer on their Official Website and Instagram.

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Friend to this site Phil Wilson has had a number of his brilliant The Raft albums reviewed here with much deserved accolades.  His ability to compose, produce and perform songs with such a beautiful quality has always been impressive.  Much of that production also included the lush placement of dreamy female vocalist who’s contributions lifted the track to ethereal heights.  Now Phil is back with a more stripped down project called Indigo Twinn that is a duo partnership with vocalist Claire O’Neill. The four song EP “Someone Else” (titled after it’s lead off track) features Ms O’Neill as equal contributor with songwriting and featured vocalist on all four cuts.

The record opens with the aforementioned O'Neill/Wilson dual penned title track “Someone Else.” Gentle three-quarter time guitar chords lead the way with a lovely jangle.  Claire’s clear, straight-forward vocals commence with a gentle sincerity and we’re on our way.  The first chord change soon hits as the lyrics implore you to “come down and wash by the water,” and to “wipe the tears from your eyes – and cry.” Comparisons to the legendary band The Sundays once again come to mind (having made mention of that in some of The Raft’s earlier work). Claire take the emotion further with hook lines “cry like a baby – wish you were someone else.” After a minute and half, drums and bass join in giving everything a fuller band feel.   The production is impeccable as is everything else leading to the songs emotional denouement.

Follow up cut “Supergirl” is the first of two solo written songs from Ms O’Neill here. Against a four chord acoustic guitar progression, lyrics question “why does it always seem to be that you’re on my right side, but not on my good side?” The bridge change comes on bolder with the lines “but you get wiser, when I get nicer” ultimately leading to “I’ll be eager to be your supergirl.” Fuller instruments once again enter the mix, with special mention to J Pedro on bass (+ entire EP production) and Paul Keelan on drums, playing brilliantly throughout. Along with Phil’s nuanced guitar work, there’s a strings sound of sorts adding one more dreamy sonic element.

The second solo penned track by Claire “Come Away” reduces the chord structure by half, with only two needed for it’s impact.  Phil layers melodic electric guitar tones over top, while vocals implore you to “leave all your monsters” and “come away with me.”  Vocals are doubled at key junctures, with harmonies placed for emphasis.   “So let’s review the situation” begins a dramatic midsection that comes with well-placed “Ahh Ahh” backing vocals.  It all builds to an emotional peak of voices and instrumental sections, until the final coda floats away on a cloud.

Final entry serves up the Phil written, sentimental and heart-tugging “Sarah.”  With deeper bass notes marking out a counter-melody pattern against jangly finger-picked guitar, Claire delivers the vocals with equal aplomb.  “Look behind our heel walking, didn’t mean that much to me back then” is how the innocent lines begin.  The single word title is given it’s gravitas by repeating it with differing vocal emphasis and varying background enhancements.  The story captures an innocence of place and time through everyday living, where the simplest things can become magical from a looking-back point of view.

Listen to this gorgeous recording here:

Find out how to acquire this EP here.

Follow the band on their Social Media  -  Instagram   -   Bandcamp

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It was exciting news to hear that frequent contributor to this site Andres Alfonso Lugo was back with a new 8 track album “DRONINGUITARFEEDBACKS,” under his Los Dientes Hundidos en la Garganta name (the teeth sunk in the throat).   Recorded at his Where are we going studio lab in Baltimore, MD, Andrés plays all the guitars, drums, programmed drums (with a little help from his AI friends), percussion, loops, and everything else.  It is an experimental tour-de-force that garners an essential track-by-track reaction below.

The 54 second opening snippet sounds like a field recording of an outdoor jam percussionists often entertain themselves with.  That launches into the 5 minute “Cosmicomics” which emphasizes motorik drumming and unnatural sounding wind-wooshing seemingly pumped down echo-heavy tunnels. Expanding track lengths, the 9 minute “Trantor Yuba” takes the initial drum-circle conga-fueled percussive elements and lays the groundwork for extended guitar drone over top.  The patterns are consistent, yet move organically in subtle changing directions.  A distant siren emerges as the piece slowly fades out.

Snare drum makes a prominent appearance on the six and a half minute dream-gazey meditation “Onoe Matsusuke.”  Low end textures (sounding like cello’s) share space with higher-pitched ambient explorations.   Moody floating movements are held together by way of the simple drum beat that fades in and out of focus.  Pushing the sonic lengths further, an over 10 minute “Kebra Nagast” goes full-on slow, introspective dreamscape, emphasizing the twilight moments that exist somewhere between heaven and earth.  A single drum thump appears at intervals throughout its continuous shimmering audio field.

Bandcamp featured track “Bene Gesserit” (the albums longest entry at over 11 minutes) emerges with full-throttle force.  While the droning elements hover above everything, mad-crazy jazz-style drumming thunders, rolls and ride cymbals with frenetic energy. Droning elements slowly change patterns, marking out a recurring melody (of sorts). The combination of longer held ambient textures with the hold-on-for-your-life roller-coaster ride drumming creates a uniquely fascinating soundscape.

“Bezdomni” features an electronic hand-clapping like percussion, ominous long-held ambient backdrop and wailing voices that sound like what you might hear in a jungle.  A subtle melodic movement emerges, adding another element to lock on to, between those recurring vocal outbursts.   Final entry “Omni Poetics” leans into a rapid paced single snare drum shot, long held center drone and horror-style voices placed wide in the left and right channels (heard on headphones). It’s a fitting way to end this hallucinogenic album.

Check out this creative recording here:

Follow this artist on Social Media:

Instagram   -   Bandcamp   -   jakjonsontapes   -   YouTube

A previous DCW feature on this artist can be found here.

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First-Hand Dissection and Insight on New Audio Music Releases

The month of October is well-known for Autumn leaves and Halloween parties. As some contemplate what costume to wear, or to simply prepare for trick-or-treaters outside their homes, the diversion of a new DaveCromwellWrites music review is now present. Familiar electronic artists who work in the synthetic realm are featured here alongside similarly situated creators. While some are equally focused on thoughtful lyrics and their vocal presentation, others opt for sprawling ambiance of epic proportions. The universal line connecting them all is the ability to make inspired tangible recordings.

It's been a year or two since new Lunar Twin music has entered our universe. The enigmatic west coast duo are now back with “Beyond The Sun,” the first single release from their upcoming album “Aurora.” Bryce Boudreau (vocalist/songwriter) and Christopher Murphy (multi-instrumentalist/producer) continue to expand on their sonic vision with this new material. A full nine track album will be released on the first of December. Until then we have this wonderful new track which receives a close listen and complete review below.

Regimented electronic synth-bass pulses kick the track off with Kraftwerkian aplomb. Modulating through a distinct progression, subtle explosive hiss leads in to the opening lines. “I watch you fly away” is delivered in that now familiar Lannegan-eque sandpaper rasp. “Shadows stay the same” continues the vocals, cycling the intro line once more before capping this time with “our love with never fade.” A mixture of electronic and traditional sounding drums enter the mix, expanding sonic parameters. Vocals become more expressive through elongated diction, phrasing and apparent sharp-edge layering. All of that creates a psychedelic sensation to the floating/flowing voices and instruments of synths and percussion. A plateau break of sorts emerges midway, pared down to only drums and voice, with those vocals extolling the virtues of “sun” and “sleep.” Trippy-somnolent voices continue on, and bass-heavy synth throbbing returns the full sonic palette. There's a Nine Inch Nails feel to it all, who have also been known to rely heavily on bassy synth-lines and obscured, whispered vocals.

Listen here:

The album is currently up for pre-order and you can get this new track now.

Previous Lunar Twin reviews on this site can be found HERE, HERE and HERE.

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Multi-disciplinary artist and singer-songwriter Ora Cogan is no stranger to the DCW review world. Having previously covered her psychedelic folk and ambient dream pop album “Crickets” a few years back, discovering a new EP "Dyed" has now arrived serves as welcome news. This latest music expands on her previously established hypnotic opulence and reflective elegance. These soundscapes touch on neoclassical themes, weaving together Gaelic folk, mantras and chant into unique art-rock compositions.

Commencing immediately in full falsetto-voiced motion (bypassing even a hint of slow-build instrumental intro), title track “Dyed” lyrically feels more autobiographical than fictionalized storytelling. “I woke up by the field, with a bee hitting the glass. You rolled your sequined eyes at me, as you pulled up your pants.” There's a floating sensation to the guitar and background voice elements, creating a dreamlike feel. A descending progression serves as foundation for the distinct chorus that goes “I am a fool in love and I’ve got nothing to prove.” Longer-held dive down notes and soft percussive flicks contribute further movement within this section. A brief twangy guitar interlude leads into the next verse. When the subsequent chorus section emerges, lyrics become more poetic, making comparisons to “love” as “an island forever losing its shore.”

A pleasantly surprising choice for the EP's middle track is a personalized reworking of PJ Harvey's 1995 song “To Bring You My Love.” While the original had only sparse instruments of guitar and organ, focusing predominantly on Polly's deeper vocal register, Ora adds percussion and a lively bass guitar to her higher pitched voice. Although the lyrical story is true to it's original - “I was born in the desert - I been down for years - Jesus, come closer - I think my time is near” - Ms. Cogan bathes it all in her familiar softly psychedelic sheen. Long instrumental passages between verse and chorus amplify the more musical qualities to this piece. Slight lyric changes appear in places, using “fell out” in place of “cast out” in both instances on the second verse. Ora speeds up the pace of the original somewhat as well, moving it away from Harvey's dirge-like progression to something lighter. Different too are the vocal ranges, with PJ's leaning more towards Patti Smith, and Ora falling closer to Joni Mitchell.

Final entry “Driver” is a lengthy 6 minute ambient meditation that stretches out time and thought processes for maximum introspective effect. Voices are flow in ethereal clusters, at first unintelligible like Gregorian Chants. A steady guitar churn creates a semblance of pace, as fragments of lyrical voicings emerge. “Black marble steps shining in the sun - And if anyone gave any reason,” can be made out through the undulating disquiet. “You’re growing out of your shadow. Every morning you hear It - So clear” the celestial story continues. An impactful rising guitar drone emerges near the midway point, providing a gritter element to the floating atmosphere. Layers of chanting are reestablished, infusing an avant-garde formation reminiscent of Lisa Gerrard's work with Dead Can Dance. Chiming guitar figures present snippets of melodies against a wind-rush field, enhancing the full sonic expression.

Info on how to acquire this EP and Listen can be found here:

Ora now embarks on month long tour of Ireland, England, Scotland and France, with all of her dates listed on her Bandcamp and other sites as well.

A previous feature on Ora Cogan can be found on this site here.

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Returning here for another review is the work of Baltimore-based recording artist Andres Alfonso, who makes solo music as Los Dientes Hundidos en la Garganta. While that phrase loosely translates to “the sunken teeth in the throat,” Andres composes his ambient works with guitars, bass and heavy looping. What comes out of that are wonderfully dreamy experimental ambient electronic soundscapes. The second single “Configurations” from upcoming album “Infinite Past” on Jak Jonson Tapes has recently dropped, and get's a full review below.

A dreamy ambience starts immediately in full flight, as gentle rising waves envelop a wide sonic spectrum. Powerful staring-into-the-void atmospherics create a sensation of awe, as if experiencing something otherworldly. With this initial glacially strong soundscape making a large impression, subtle movements ebb and flow inside of it. Higher pitched tones can be detected, elevating above the mass to create an almost-reverential quality. There's a depth to this audio composition that entices our mind to go on a vision quest. One in which hallucinations and/or dreams would have you flying over vast mountain ranges and deep unexplored oceans. A sensory experience that slows down time, affecting both the auditory and neural systems of mind and body. While comparisons to Harold Budd's “The White Arcades,” Brian Eno's “Apollo” and their collaboration on “The Pearl” all come to mind, a more obscure album by Vidna Obmana - “The Contemporary Nocturne” serves as a like-minded work as well.

Listen and be mesmerized:

This digital track can be acquired now on their bandcamp, as well as the artists entire discography.

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