As the year 2025 comes to a conclusion, the time to reflect on the music reviews composed and compiled on this website is once again upon us. Each month's entries are covered here in chronological order, featuring the best of the best artists who put out compelling new recordings. Significant live shows attended and associated interviews conducted are highlighted here as well. Before we move on to a new year, dig in to the 2025Best Of DaveCromwellWrites Features.
The above June review included two more song reviews from Sueno con Belugas album "Ataque con rayos electronicos." Reviews here added "Love Evolves" and "Flying High" to the previously covered "Velocidad" and "Mil Recuerdos." Now four wonderful new tracks "Portal," "Sombra," "Colores" and "Trasciende" complete the album. They continue the ambient spirituality of what came before on this dreamy collection. The link below will take you there.
Since the release of Sophie Ellis Bextor’s album “Perimenopop” in September, there is now a Christmas remix of the track “Time” re-imagined as “Christmas Time” (so appropriate for this time of year!) Adding gentle touches of jingles and bells, it also arrived with an emotional official video. In it we see Sophie and her family through the years in Christmas photos, including images of that one period when Sophie hair was entirely blonde. The video closes with a home movie of her grandpa leading the family through the Christmas pudding song and conga line tradition. Very British and all so wholesome.
As the summer month of August wind down and slouch towards Labor Day, DaveCromwellWrites heats up with reviews of exciting new releases. Long-time friends return with a brand new album, while more recently reviewed artists receive completed and updated focus. Full albums are analyzed with track-by-track priority, while adapted video releases serve to further heighten their associated tracks.
Fellow Sunshine State expats and long time friends of this site The Stargazer Lilies have a brand new album they’ve just unleashed on the globe. Having covered their prior release here exactly 3 years ago (as well as numerous other features for the better part of the last decade) its always a cause for investigation when this bands new music arrives. “Love Pedals” now adds to their strong catalog of heavy ambient gazey psych-rock. A deep-dive review here will now uncover the treasures within.
Opening track “Ambient Light” comes complete with a dark purple-hued psychedelic video treatment. With the opening strains of John Cep’s distorted guitar bouncing around in a rubbery pattern, vocalist Kim Field delivers angelic lines as if floating above. The title line comes up quickly with the phrasing “we’ll drone in harmony, in the ambient light,” where they also “psych out.” Its associated video depicts the principal members arriving home and engaging in tripped-out activities. As the grunge-heavy groove trudges forward, the individuals can be witnessed dancing around in animal masks, pouring drinks and playing favorite albums. Noteworthy classics spotted include The Velvet Underground and JAMC’s seminal “PsychoCandy.” As John chokes out an acid-rock solo over that buoyant bass rhythm, cat familiars appear in appropriate places throughout the video, along with those “pedals” that are “loved.” The final ambient light act is to “do some bedroom pop,” and we’ll just have to use our imaginations as to what that actually refers to.
Follow-up track “Love Radio Show” (which also comes with a “radio edit” at the albums end) takes a romantic pop motown feel and immerses it in MBV “Loveless” elements. A nostalgic ode to radio signals both cosmic and real. “So tune in the magic hour, to the signal up above” is how the chorus begins. “Beaming from the broadcast tower, sending frequencies of love” completes that passage. There is even references to the albums (and record labels) overall thematic imagery via lines “transmitting with flower power.” Careful production avoids constant guitar camouflage as verse 2 opens space for bass and drums and lyrics “My world spins only for you.” The guitars make great use of phase shifting to approximate radio waves static.
Third entry “Perfect World” also benefits from an associated video that juxtaposes current colorful AI trend interiors with self-shot black and white performance images. The audio opens with a Spector-esque singular bass drum beat and similarly minimal bass guitar. As the chord progression continues its slow liftoff, you are soon plunged into a David Lynchian experience in both image and sound. Kim's goth-meets-breakfast-at-tiffany’s styling swirls as she delivers thematic lines where “poverty would be no more, as would disease and making war.” For now this “perfect world” only exists in our hopes and dreams, but perhaps someday it will come true.
Check out this Utopian dream here:
Digging deeper, “By Your Side” continues the stark, moody ambiance previously established with added twists. What sounds like muted French Horns initiate a subtle melody before Kim’s voice presents lyrics with measured pace. It’s a story of redemption where one goes from being “all alone,” “companionless walks” and “partnerless talks” to the “only one who needs to be found.” The drum beat is forceful, providing foundation for Kim’s vocal delivery. As bass guitar continues it’s steady pace, John’s guitars wax and wane, with occasional dive-bomb strikes. Midway things get weirder, with a total ambient foray of propulsive guitar textures, along with Kim’s angelic voice returning for a final chorus.
“Shining Yellow” delves into that easy mid-tempo groove and feel, giving off fellow-associates Ringo Deathstarr vibes. Big shuffle percussion, downward drive progression and soft sensual vocals complete an uplifting sentiment. “Looks like the skies are changing, the sun shining yellow. Now that it’s looking lovely, we’re both feeling mellow.” A modern suburban Alice In Wonderland meet Nuclear Armageddon inspired video comes along with this song, encouraging you to find your own “Shining Yellow” utopia:
Sixth cut “Heaven Knows” finds John Cep covering all the instruments and vocals on a dreamy, gazey confessional. It’s soulful progression and out-of-phase guitars underscore lyrics about a “bizarre life I’ve lead.” Creating his own high-register angelic vocals, the title line takes that often used expression and attaches the question “why it’s the path that I chose.” “Trans Med” builds off a slinky bass line, growly distorted guitars and Kim’s sugary vocal delivery. John provides a variety of squalling guitar textures, blurring the line between “Transcendental” meditation and “medication.”
The albums final track (before LRS radio edit) “Hold Tight” dips into the Beatles “White Album” era for sonic comparison. Open note arpeggio chords and its associated progression along with Kim’s whispered vocals conjure up the mysterious feel of a song like “Dear Prudence.” Guitar leads are pitch shifted and distorted in places, clean and unadorned in others. The final end-out is a series of vocal “ahhhhs” and wirey guitar lines over steady bass and thumping drums. As previously mentioned there is a “radio edit” of “Love Radio Show” included at the end, which shaves off about a minute and boosts the lead vocals a bit.
Previous Features on The Stargazer Lilies can be found on this site HERE - HERE - HERE and HERE.
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Earlier this year DaveCromwellWrites revisited California visionary synth artist Matthew Nowhere’s work, reviewing his collaborative song “Transforming.” Prior to that was an in-depth breakdown of the track and video for “Love Is Only What We Are.” Both cuts are included on the recently released debut full-length album “Crystal Heights.” With this complete collection that includes 11 other tracks fully available to acquire and digest, DCW now dives in to these recordings for a thorough analysis.
The album opens with “Transmission (Intro)” which offers up a one minute plus ambient texture piece that combines pulsing synths with robotic voices and celestial elements. That leads into the previously reviewed standout track “Love Is Only What We Are.” Next up is the chime-bell enhanced, synth-pad and bass note driven “Echoes Still Remain.” This instrumentation serves primarily to support a lyrical story whose chorus states “Immortalize - A lonely whisper. I hear it now - where echoes still remain.” A touch of electric guitar on the outro provides further depth to it all.
An Official Video comes with this song that adds a nuanced visual element:
The albums title track “Crystal Heights” comes on with a triumphant feel, capturing what those of us (who were there) loved about 80’s alternative synth-pop. There’s bits of Duran Duran (the percolating synths) Flock Of Seagulls and Depeche Mode all rolled into one original composition. A lovely electric piano coda enhances the final 15 seconds. Another just over a minute instrumental follows with the arpeggio synth progression and percussive
“Aquatic Envelopment (Interlude).” From there its on to the also previously reviewed cut “Transforming,” featuring vocals and co-write from Lunar Twin’s Bryce Boudreau. Shortly after that review was published, an official video for the song emerged, and is well worth checking out here.
Moody bass and deep percussion provide foundation for the synth melody enhanced, singular mantra voiced “Have You Ever Known.” Alternately, guitar features prominently on the nostalgic romance of “Ruby Shards.” Tapping into the alternative rock vibe of twangy guitar and synth combos, the chorus hits home with the lines “I found the pieces of your heart - ruby shards of perfect art - and I can only stand in wonder.” It’s a perfect homage to an era that gave us songs like Modern English’s “I Melt With You.”
Check out this beautiful sand and sea video that accompanies this song:
Another minute and change instrumental serves as a bridge link between fully formed tracks with “Stellar Enfoldment (Interlude).” Despite it’s relatively short length, a complete melody emerges by the end. This leads into the piano augmented, lyrically optimistic “Everything’s True.” With pacing and tone moving closer to a David Bowie/Peter Murphy precept, the chorus declares “Lovers and mystics sigh -
raising our hands up to the sky - everything's true.” Thirty seconds of meticulously crafted synth and guitar figures just past the 3 minute mark elevate the track further. “Silver Glass” comes on more gentle, with tubular bell keyboard textures providing audio appeal. There’s a subtle Caribbean Island feel to its underlying rhythm, as Matthew sings “O midnight sky, burning with electric light - but no one seems to see.” Additionally, the hook line “seven years have passed - pieces of silvered glass – rejoin - bringing us together at last” add focus to the songs title and overall intent.
Reaching the penultimate track, “Persist3nce” features Lunar Twin band and The Antonio Family Singers. With lyrics and lead vocals from Bryce Boudreau, additional synths are provided by Chris Murphy. Those keyboard swells compliment bass and percussive pulses, as Bryce presents his lyrical themes with familiar soft-sandpaper delivery. Extolling the virtue to “give into art” in “isolation,” the additional background singers enhance lines “into the night . . . stars . . . sun” and “sky.” A lively drum pattern comes forward under later lines where “the midnight sun” becomes “midnight lust – after the rain.” Final entry “Crystalline Emergence (Outro)” closes out the album with a buoyant keyboard melody over bubbling arpeggio notes and steady whip crack percussion.
Previous DCW features on Matthew Nowhere can be found here and here.
An in depth Feature on Lunar Twin can be found on this site here.
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At the beginning of this year DCW reviewed the introspective, slide guitar infused Sueño con Belugas track "Mil Recuerdos" (A Thousand Memories). Audio only format at that time, a brand new video has dropped for this dreamy song with an amusing take on two people and they day they are having. One is experiencing frustration at all the challenges and pitfalls being thrown their way. The other appears to be sailing along in a happy state of mind, enjoying their good fortune.
Genre defining artists from formative years still putting out high-quality new music is always a cause for celebration. While some musicians may be content to rest on their laurels and ride the wave of their greatest hits, the ones breaking new ground are to be applauded. More than just that (the applause) a close listen and detailed analysis of their latest efforts are a must. This site recognizes these already established “rock stars” for their drive and ambition in creating brand new works that rival the best of anything else they’ve ever done.
Peter Murphy is one of those artists who continue to defy the odds of remaining relevant throughout multiple decades. Having witnessed his early days fronting breakthrough gothic-rock band Bauhaus (barely of age, catching them in 1979 at a downtown NYC club), his development throughout the following years remained a priority. MTV’s heavy rotation of US No. 1 single “Cuts You Up” from his 3rd solo album “Deep” (1989) lead to catching a brilliant live show at the notorious Manhattan night club “The Limelight.” More recently attended was Peter’s live show at the East Village venue Le Poisson Rouge during his Tribute To David Bowie Residency (meticulously detailed here). With the recent release of select singles over the last few months, Peter is now ready to unleash his first new studio album in over a decade “Silver Shade” on May 9. Produced by the impeccable Youth (Killing Joke bassist Martin Glover), who did a wonderful job on this comeback Jesus and Mary Chain album here, we now dive into Peter Murphy’s latest.
The album opens with one of three previously released singles, the driving bass and drums propelled “Swoon.” Relying on groove and mood over literal storytelling, ornamental lines like “I talked to the water loom” serve end-of-line rhymes along with curious thought. Well placed ‘Wa-Chung’ guitar chord bursts amplify the pre-chorus bridge and lyric “Preachers up to taste the fruit.” However it is the single word song-title chorus that emerges as the most creative studio sonics. Using his voice as an instrument, extended vocalizing under each repeated single title-line generates an additional hypnotic effect. More upfront and intimate lyrics “I am whoever who” followed by “What else can I do?” sheds possible insight on Peter’s sense of self and continued motivation to create.
Listen to this mesmerizing track here:
Follow-up “Hot Roy” churns along rhythmic electronic pulses that mimic sweaty dance floor grooves while maintaining a sense of foreboding. Lyrically telling of an emerging leader to a group – “our boys game was on – soon would be killer sounds.” While this descriptive imagery may be personally direct, it’s universal enough to apply to multiple topics. It’s essential hook states “we’ll march from the hollow – from glitter to gold” and “we catch silver bullets – we’re saving our hero!”
Static electronic pulses, tom-tom drums, angular synth notes and crunchy guitars lead in next cut “Sherpa.” Most know that single word to mean someone who guides people on mountain-climbing expeditions. Since Peter is a known world traveler and has been a resident of Istanbul, Turkey for some time now, it’s not surprising for him to delve into this type of subject matter. “Workers looking for the day, looking as they say – looking for the mountain” are the opening lyrics. The rhythms are driving and straightforward, with Peter’s dramatic vocals exquisitely placed.
A slithering, near menacing groove provides the undercurrent for album title track “Silver Shade.” Also mirroring the name Peter calls his own personal record label, created last year to release rare live performances and previously unreleased material. “You got me throwing glitter in the lake” the singer implores. “Time to take a chance to jump and float” he continues, ultimately declaring “you’ve got me in the glitter river.”
Another advance single release is the bass-synth pulse and percussion driven “The Artroom Wonder.” Autobiographically revealed as inspired by “mysterious” and “cool intelligentsia” at school, “pretenders apart” give way to the “super smart.” Peter’s vocals are nuanced on each recited line, morphing from intimate delivery to full throat howl. With guest musician Justin Chancellor of Tool contributing to it’s deep bass undercurrent, well-placed guitar figures between individual vocal lines adds melody to mystery. Synthesized Orchestral movements add a grand scale in the middle, while references to “The server the Prophet- peace be upon him” suggests something more spiritual. Ultimately the song tile itself is briefly broken out as “the art of wonder” summing up this journey of self-expression.
Listen in right here:
A middle eastern rhythm runs through the electronic throbbing “Meaning Of My Life.” Triumphant crunchy guitars, icy synths and advanced-level drumming contribute significantly, as Peter passionately sings “I want to tell you!” The contrast between controlled verses and emphatic chorus creates a satisfying tension and release. Elongated voice-as-instrument segments coupled with otherworldly ambiance lifts everything further.
There’s a sense of foreboding and menace on the albums seventh entry “Xavier New Boy.” Continuing with less pop oriented song structures and extended lengths (with the last three all well over 5 minutes long) subtle piano notes add new sonic elements. Along with it’s bold, orchestrated chorus, protracted movements away from the main structure allow for experimentation, before returning to the dominant progression.
“Cochita Is Lame” moves away from the electronic based instrumentation for what sounds like a 1970’s era rock band. The synths used appear more as topical enhancements, again mimicking those classic late 70’s recordings. With it’s structure and vocal delivery, it’s as if Peter brought back Bowie’s Spiders From Mars bandmates for one more go at it. Lyrically touching on themes similar to Mr. B’s “Jean Genie,” a creative use of the studio pits voice against crunchy electric guitar for maximum effect.
Now fully into the albums deep tracks, “Soothsayer” shares a similar musical approach with the previous track. Coming on as a traditional guitar, bass and drums hard rocker, Peter’s vocals play along with a more shout-y, raspy style. Hooky background “whoo whooo” voices underscore Murphy’s warning to “never turn your back on” the oracle of the songs title.
Classical flamenco acoustic guitar opens the albums penultimate track “Time Waits.” Middle eastern strings and rhythmic percussive claps lay a bed for Peter to present his vocals over. “You’ve heard that time waits for no man” he sings with deep, elongated vocals. The combination of those hypnotic strings blended with elevating vocals and inspired drumming make for a truly gratifying listening experience.
Reaching this studio records final (and longest) song, all attempts at concise pop song are cast aside for the grandiose “Sailmakers Charm.” Moving from gentle piano driven chords to full dramatic presentation, there are parallels to Mr. Bowie’s later period work. Such as the adventurous song design and delivery of “Bring Me The Disco King,” Bowie’s “Reality” album closer. “So you get to the core,” Peter sings – “to show that you know – your eyes are blizzard – no white rain, no snow – as you tear apart – the sailmakers charm.” It’s poetic – mysterious – both understood and misunderstood as well, and fitting closure to this ambitious album.
Included on the album as a bonus track is the surprise duet with Boy George, “Let The Flowers Grow” which was released as a single at the end of last year. Written in collaboration with Boy George and Producer Youth, Peter imbues the song with a spiritual nature in both lyrics and soaring orchestration. “I’ve been changing” they both sing in harmonious tandem – “and mama don’t know. Let her tears fall, and make the flowers grow. I am changing, now daddy can see - his reflection, in the mirror of me.”
Listen to this majestic composition here:
With those three previous singles mentioned out now, the full album will be released on May 9 via Metropolis Records. Order the album here.
Every once in a while a new album slips under the DCW radar due to a multitude of distractions. Such is the case with this sites already beloved band Night Crickets, who released their latest long player at the end of last year. Having previously written about them both here and here, there really is no good excuse for having missed their latest “How It Ends (?).” That omission is now being rectified presently, with a review of this latest recording. It’s well past time to see what this collective of David J (Bauhaus, Love & Rockets), Vincent DeLorenzo (Violent Femmes) and Darwin Meiners (mult-instrumentalist, mixmaster, manager) have been up to.
Opening cut “Red Mist White Knuckles” emerges out of an easy groove drums and bass guitar progression. Funky wah-wah keyboards and guitars layer on, followed by David J’s unmistakable vocals. Delivered in a spoken word, poetic recital manner, “your daddy was an angry man – you’re angry too” he begins. Leading up to the first song title reference “when they read the final will – a vial full of rest mist, and the urge to kill.” A bright tambourine rattles over 70’s soul keyboards as the story continues “you practice TM – it dials back the road rage.” The titles remainder comes in view, stating that “you tend to still white knuckle it.” Buzzy electric guitar power chords slash down as the thematic mantra is repeated.
Angular patterned tubular bells and subtle matched percussion introduce “The Story of War.” Spoken word sentiments spell out the grisly truth, with “rape of the innocents – plunder of riches – scorching the earth – dying in ditches.” It continues, “the oligarchs grow fat, and spit on the corpses. They fill their coffers with stolen gold, indifferent to fallen horses.” A well placed, mournful violin plays, as if at a funeral procession. Pointing out the atrocities going on in present times, “it’s richer to rich, and poorer to poor – the children are fodder – that’s the story of war.” An unexpected field recording coda is placed at the tracks end, describing one use for “crickets.”
Lively, vibrant drumming and descending guitar chord progression kicks off the quicker paced “Should Be Heaven.” With vocals sung out in full (moving away from the previous spoken-word approach) bass guitar joins in behind lyrics “should be heaven, but it’s only about the win.” Each subsequent title line is answered by changing follow ups: “but it’s only where to begin,” “but it’s all down to if and when,” “if we could only let it be.” A soaring orchestral chorus elevates the musical landscape, while voices overlay and cascade together.
The gentle acoustic guitar, violin and mandolin driven “Don’t Be Afraid” comes accompanied by a meditative video produced and directed by Ramzi Abed. You may recall his previous work with Night Crickets on their video for “A Free Society” (fully reviewed here). Depicting an initially relaxed atmosphere of rural life (cat strolling by, morning coffee in flannel shirt) prismatic images shift to military men as the songs dreamlike refrain “don’t be afraid” floats with surreal quality. With featured guest vocals by Jason Lytle of the band Grandaddy, the videos protagonist is seen staring at apocalyptic fireballs. Spoken word soon follows, and the heart of the matter states “the world seems like a sewer – an insane crazy place – with innocents names on bullets – and the executioners face, is that of a child.” Off-kilter synths provide a midpoint break, alongside more visuals of the man going about his normal routine in his home. Up against that come additional apprehensive words. “When the viruses are thriving – and hospitals are full – and the nurses burn from overtime . . . when the bells of your mortality – are ringing on a hill – the reaper and the weeper – two sides of the kill. Well all politics are divisive – never the twain shall meet - but the forests, they are burning – and all sides feel the heat – that’s cause for pause.”
Vibrant echo-y drums, electric piano and “Ohhhh” backing vocals set “Where’s The One?” in motion. “Love is just a word they say” the lyrics begin, “some will hear it everyday. I could hear it over again – maybe once or twice, I’d listen then.” Along with horns appearing under the chorus for added audio support, a tempo change occurs and bluesy organ riffing accentuates the essential “big, bright baby blue moon” lyrical hook.
Low buzzing bass tones, ticking time percussion, shaking tambourine and descending bass guitar notes roll out the mysterious “Like An Avalanche.” Verse lyrics are delivered in a quick linear cadence with a hint of knowing sneer. The title line chorus alters vocal tone and background ambiance, using guitars and drums for emphasis. The downward bass progression returns in a more dominant manner, accompanied by those now signature booming, sonorous drums. Creative spaces are carved out for inserting odd synth textures. The verse/chorus cycle repeats adding psychedelic layers on its final pass through.
Mystical atmospherics and throbbing bass guitar lay framework for the spoken word “I Am Dead.” “I have levitated – floating through the forest at night. In the distance is the witch house – fading faces watching through the glass” are the primary poetic lines. An additional voice runs in tandem with these words, repeating them but doing so in a slower, more elongated cadence. Distant deep boom drums and reverse looped guitars further support what seems like a “Grimm’s Fairy Tale,” where the “house is approached as a full moon rises in the sky.” Those contrasting dual vocals (where the title line eventually emerges on that slower track) hearkens back to early Velvet Underground experimentation.
Mournful strings are used on the gentle dual voiced “What Is This Love?” Plucked harp notes and minimal percussion contribute to this meditation. “I smiled at you and you smiled at me, what is this love to you and me” is the universal question.
Opening with feedback and pitch bendy guitars, “Sunflowers And Starlight” tone poems lyrics “it’s dark outside – whether cold or bright, there’s pain out there.” Soon morphing in a more traditional song structure, vocals are now sung “still snow on the ground and now it’s raining.” A quiet pause happens at mid-point, before resuming with sparkling tambourine and the vocal sentiment “turn off the noise of the world for a while.”
Based around the phrase “The World I See Is Not The World I Want,” this co-write with actor Willem Dafoe emerges via measured tribal drums. Steady keyboard pads and fluctuating synths provide additional musical backing for alternating line “what in the world is the way of the world.” Midway the overall atmosphere seems to be floating away on clouds, before returning with defined drum beat and violins.
Previous DCW Features on this artist can be found here and here.
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It was the latter half of last year when this site became aware of recording artist Matthew Nowhere. Tipped off by Lunar Twin songwriter and vocalist Bryce Boudreau (whose own masterful work has been reviewed here numerous times) a detailed review was given to Matthew’s track “Love Is Only What We Are.” That cut was an initial taste of Matthew’s soon to be released debut full-length “Crystal Heights.” Another album cut has now been dropped in the form of a collaboration with lyricist/vocalist Bryce Boudreau with the mesmerizing “Transforming.” A deep listen and the thoughts that produces follows below.
Accompanied by a soothing YouTube visualizer, modulating synth patterns in that bright buzzy horn sound kick everything off. Percussion joins in alongside that recognizable Bryce vocal that name checks both the song *and* album title within the first 9 words. “Late at night” Bryce sings – “dreams alive – in crystal heights – transformed before our eyes.” The first instrumental break features synths echoing similar nostalgic 80’s sounds The Human League used on their hit “(Keep Feeling) Fascination.” The chorus continues to paint a picture of “palm trees bend the breeze” and “a child’s minds alive transformed before our eyes.” Everything pulls back leaving a standalone undulating synth pattern, soon joined by buzzing bass-synth running a counter figure, before percussion and thematic melody returns.
Bryce vocals continues “been awhile . . . the years go by – you know you can’t go back – or sooner learn to fly” he muses. A subtle shift in pace emerges here, with bubbling electronic backing and dominant guitar note strokes ushering in the next round of vocals. Bryce continues to croon “I’m not hypnotized….growing old to die… half awake the wind and waves late at night in crystal heights.” One more angular, cascading electronic note break leads to the lyrical resolution “to touch the heart … to touch the sky … we only seek … transformation … the highest peak … transformation … the highest peak.”
Listen in to this trance-inducing song here:
The “Crystal Heights” album - now available for pre-order - will be released digitally and on Limited Edition transparent blue vinyl on May 23.
This Edition of DaveCromwellWrites focuses on four new single releases from much beloved and/or highly regarded recording artists. While one continues their compelling resurgence by way of an expanding new audience base in the USA, others here stay the course with yet-another impressive release. Singer-songwriters are the primary focus this time, but there is always room for a bit of dreamgaze hazy goodness. Whether it’s higher-end glossy production or a grittier home studio offering, a few chords and a melody is always, it seems the right way ‘round.
What a whirlwind year 2024 has been for Sophie Ellis Bextor. As a result of having her over twenty year old single “Murder On The Dance Floor” featured in the widely viewed film “Saltburn,” the track took off again and became an enormous hit. Much like the way Kate Bush’s “Running Up That Hill” had a similar resurgence after being featured in the popular series “Stranger Things,” Sophie was suddenly popular for the first in in America. Long time fans of Sophie (this writer included) already knew how great she (and that song) was, but now all of the USA was singing along to MOTD repeatedly. A certain first daughter (mine) who already loved Sophie’s music from being fed all her albums over those 20+ years, was now saying how she heard it on the radio every hour. A first ever full headline US tour followed, along with TV appearances on the best late night variety shows. Now Sophie is back with a brand new single “Freedom Of The Night” and this sites review periscope digs down into it’s glorious details.
It shouldn’t be surprising the songs opening strains hearken back to Sophie’s “Make A Scene” era and two of that albums biggest songs “Bittersweet” and “Heartbreak (Make Me A Dancer).” Considering she co-wrote this with Richard ("Biffco") Stannard, who was heavily involved in those MAS tracks, the sonic qualities are instantly recognizable. Filling out the songwriting team here are performer/producer Shura and Duck Blackwell (and of course the ever present Richard Jones). Vocals commence within the first 10 seconds as Sophie commences to “wake up” and “put on confidence (like make up).” Bridge is arrived at almost as quickly (under 30 seconds) “I’ve heard dreams come true” with minimal backing of handclap percussion and upward fluttering synths – “come to the other side” she beckons (reminiscent of Familia’s “Come With Us”). Like the best great dance tracks it’s really all about the chorus and this one leaves no doubt. Hitting right at that 30 second mark, Sophie’s voice soars in “OhAh I can feel – Energy – I believe it’s healing me – OhAh All I need is sweet release” and the title line. Repeated again because that’s what these songwriters know works – how to make a dancefloor “banger.” The musical underpinnings are bubbling, bouncing bass synths and four-on-the-floor forward thump.
Sophie has already been quoted as saying it’s all about “that feeling you get when music gives you that lift, that empowerment.” That fits with the next (3 time repeated) hook line “Give in to what to do want.” Verse two mentions the “clock,” “time” and “a web made of moonlight” presented in a singular falsetto vocal register, against an animated heavy-funk bassline. That precise bridge to chorus returns to lock down that essential dance floor hook. This go round the “give in to what you want” comes with a repeated shadow vocal off in the distance. One more essential change with “ooooh – when the moon is high I feel this way” ultimately leading to “I Rise Again.” As an added treat, Team SEB brought in rising guitar superstar Chris Greatti (lovingly covered in this sites feature here) to play a blistering guitar solo. One final pass through the chorus (because it’s just so much fun) and then a sharp ending.
Check out this fantastic song here:
The Official Music Video has now arrived and it’s brilliant fun! Sophie decided to revisit the story of her original MOTD video, but now update it to years later (which of course it now actually is). However, this time she is a “stage mom/mum” and is coaching her own daughter in a similar dance competition. Bringing back essential people like video director Sophie Muller and central judge Colin Stinton, newer creatives like “Saltburn” Choreographer/Movement Director Polly Bennet were also involved. The biggest change (and delight) are Sophie’s adorable co-stars – the young dancers, which include a “Mini Sophie” (her fictional daughter here). The video opens with the mother/daughter team walking into the competition with their matching custom made “Team S E B” tracksuits. At the makeup table Sophie grooms her daughter and rehearses pageant smiles while glaring at the competition. Costumes are readied and the “en-er-gy” is commenced with swirling dancefloor moves. Amusingly, “mother Sophie” is caught peering over the judges shoulders and discovering the scores are not to her liking.
When the line “I’ve heard dreams come true” is reached, there is mom Sophie coveting the prized trophy of flower-adorned silver dance shoe. Sophie grabs a bag of candy and starts giving it to the other dancers, causing them to become distracted and ultimately blow their routines. As Sophie manically cackles, we now understand her comment that this was a “What Ever Happened To Baby Jane” moment. She stares down and confronts a photographer capturing the whole thing and the judges are appalled. Hitting the songs glorious bridge is where “Mini Sophie” has her shining moment. Real and Mini Sophie now in matching outfits take their star turn in quick cut succession, whipping a long ribbon around in triumph. Complete chaos ensues as all the other child dancers begin acting out in distress. As the judges loses control of everything, Sophie and Mini make a bee line for the trophy and award it to themselves with delirious glee! It’s such bad behavior but soooo good in this video.
A Previous Review of Sophie on this site (including links to all the other features on her) can be found Here.
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Earlier this year the artist releasing music under the name I’m The Villain received a detailed review of their latest single (at that time) “Something Is Coming.” Now Gianmario is back with a lyrically introspective, instrumentally lush new track “The Real Me.” The DaveCromwellWrites laser focus is now applied to this current release, detailing the essential elements that flow throughout the composition.
Choosing to bypass any gradual introduction, the track commences in full motion with electronic high-hat ticking percussion and deep chiming The Cure style guitar. Chord progression and melodies are bold as they morph from major to minor key status with emotional sincerity. Vocals commence with initial lines that go “waiting for a real sign, I wash away the morning light. Find me - In your sweet song - and don't be sad, ‘cause you're alone.” As one would expect, the chorus is where everything comes together, with lyrics “I found myself in Dream and - I don't care if I'm still alive - I Just want to be the real me for this time.”
Extended note synth pads fill in the sonic space for a lush backdrop that enhances this reflective sentiment. There are subtle pitch bends on some of these synth textures that adds another level of melancholy and mystery, just lurking underneath. Just past the midway point an uplifting keyboard phrase provides a bridge to another round of vocals. A modulating pulse now repeats during this segment, combined with an additional descending sonic element. The beat drops out for an ethereal vocal passage accompanied by yet-another elevated keyboard enhancement. With full percussion kicking back in the chorus is repeated while that beloved Cure-sound guitar returns for an earnestly gorgeous outro.
It’s always a pleasure to hear from Lunar Twin songwriter and vocalist Bryce Boudreau, having covered a number of that bands releases here over the last few years. This time he’s tipping this site off to a previously unheard artist that goes by the name Matthew Nowhere. The promise that both Lunar Twin members (which also includes instrumentalist Christopher Murphy) are to make contributions to Matthew’s forthcoming debut full-length “Crystal Heights” is exciting news indeed. For now there is this current track “Love Is Only What We Are,” which receives the full DCW analysis.
Accompanied by an official video that opens with images of a swirling night sky, steady synth pulses are soon met by deeper bass, as the artists silhouette gradually comes into view behind floating overlays. A steady snare keeps the beat as melodic guitar figures join into the mix. As Matthew starts his lyrical journey. “right now I’m staring out a window - In a wall that’s made of ancient pain.
This life has turned me into ashes” with the final line “But I love it all the same” delivered with high-gloss multi-layered voice production. As the second verse doubles down on “changing feeling” and “heartache” its all on the chorus to “give it a name.” Which is does in an uplifting pop manner, relying on “la la’s” for vocal hook celebration, with the title line and ultimate resolve to “give this love away.” A noticeable bass line delivers full motion sensation throughout that chorus, before giving way to that steadier throb pulse on verses. Delving further inside the story, when you “have nothing left to say” then “I guess I can sing” is the answers. A moody synth-driven instrumental section populates the tracks mid-point, before returning to the primary rhythm. With images of flowers now filling the video screen, some tasty guitar licks are given the green light on the songs outro.
The always creative band The Suncharms are back with a re-imagined 2024 update on a shimmering “Things Lost” album track. Originally titled “Torrential Rain” on that full-length record (dutifully reviewed in its entirety here) this new version has been shortened to simply “Torrential.” Now featured on a brand new compilation “Aspirin Age Volume Four” (a shoegaze compilation), by Broken Sound Tapes, it it well placed inside this mammoth 48 track album. A full DCW review comparison between the original and now updated version commences below.
Where the original album track featured a less-distorted sound focusing on shimmering guitar, hard charging bass and drums, this updated version enhances those same elements with bolder emphasis. Lead vocalist Marcus Palmer always brings a coarse edge to his dreamgaze vocals, and one can only assume those references to an “overgrown cemetery,” “angels with moss faces” and “broken tombs,” still leads to a search for “something to make me feel alive.” What’s particularly lovely about this track are the inclusions of counter melodies descending behind the forward charge, back and forth two-chord progression.
When the chorus hits its all the feels you can imagine. “Knocked over by an arctic wave. Torrential rain, drenches my face. Something, to make me feel alive. A lost song, on a 45.” It’s no secret this website’s writer (yours truly) has had a long running admiration for The Jesus and Mary Chain. This track in particular seems to embody everything that is great about their influence. There’s bits of “Some Candy Talking” in the Spector-esque double stare drum shots and melancholy descending counter-melodies. The soul searching story continues “Sat in crystal seas with you. Feeling the warm breeze. Dark thoughts are haunting me. What can the broken tombstones teach me?” One more pass through the chorus, and then that oh so MaryChainy magnificent final minute instrumental end-out.
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.
