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Showing posts with label night terror. Show all posts
Showing posts with label night terror. Show all posts

Friday, December 10, 2021

Best Of 2021: The New Music Year In Review

2021 featured a steady flow of new music here on this site, from both long-time faves and first-time reviewed artists. A return to live show coverage began mid-year, with recorded music still making up the bulk of detailed analysis. Compiled here in monthly chronological order are the most compelling features that represent “DaveCromwellWrites Best Of 2021.”

Early January dipped into the bottomless well provided by Shore Dive Records, with the stunningly beautiful album “Summerheads And Winter Beds” by The Raft. Conceived by songwriter and multi-instrumentalist Phil Wilson (who has been writing, recording and performing under the name The Raft since 2003), an elite group of dreamy female vocalists are employed throughout the album, providing necessary lush counterpoint to Phil's own voice.

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Another release at this time from Shore Dive Records was the debut EP by French duo Tender Tones. Cleverly titling this record “Youth Retirement Club,” Manon Deruytere & Maxime Pargaud delve into the nostalgic side of gaze, synth and dreampop. The Ep serves as a partnered co-release between ShoreDive and American label Somewhere Cold Records.

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The specialty music publicity brand New Dark Ages PR has also provided a steady stream of new and established artists to this site. Focusing on Gothic/Industrial, EBM, Black/Death/Heavy Metal and Hard Rock, there's always something compelling to dig in to. The January entry on DaveCromwellWrites radar was Goth-Industrial artist Night Terror, with their new full-length release “Freak On The Inside.” This solo work of musician Jeff Heveron presents a unique blend of deep goth-style vocals (straight out of the Peter Murphy school) with synth-driven industrial grooves.

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Full reviews on all of the above can be found on this site right here.

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Pulling together a collection of songs written and recorded over the past two years, Indiepop veteran Tom Lugo released the Panophonic album “AWAKENING” during the month of February.  The Philadelphia based musician has been running his own independent Patetico Recordings label for a number of years now, putting out a steady flow of albums, EP's and singles with a variety of bands and collaborations.

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Another album finding it's way into the DCW realm during the month of February was the retro psych-pop “A Dream Without Color” by Long Island's own The Crushing Violets. The record features six new original songs as well as a cover of the 1966 hit “A Groovy Kind of Love.” Placing emphasis on vocals and storytelling over any kind of extended instrumentals, most songs clock in under three minutes in length, with one each cracking three and four minutes respectively.

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Link through to the full feature on the above bands here.

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It's easy to see the appeal of Queens, NY-based edgy power-pop duo Yo Kinky. The duo of Laura Wight and Tom Unish created an enticing five song EP that came accompanied by a number of attractive, cleverly realized videos. Released at the end of February, a full track-by-track review lead off the month of March DCW Feature. With guitars, keyboards and drum machines providing the musical foundation for each excellent song, Laura's lyrics and vocals helps to set them apart from many other male/female duos.


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A much needed (now more than ever) new organization called Freedom Of Creativity connected this website with an excellent band out of Austin, TexasThe Dizzy Bangers. Fronted by guitarist and vocalist Jimi Dharma, the music combines rock and roll with grunge, blues and psychedelia. One of their releases at this time “Under The Sorrow” came complete with an impressive live-in-the-studio video, enhanced by animated effects, and garnered a complete detailed review.

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Rob Clarke and The Wooltones hail from the UK Liverpool suburban village of Woolton.  Among other things, the area is noteworthy for John Lennon's childhood home as well as he and Paul McCartney's first meeting place. Rob Clarke incorporates elements of this history into his music, along with a variety of other influences as well. On the bands latest album “Putting The L in Wootones,” a heady mixture of 60's psych, UK/Mersey and American West Coast vibes permeate the album's eclectic tracks.

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Follow this link for complete reviews of these artists.

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The month of April saw three  separate recorded works receive this sites distinguished individual track analysis.


Finding their way into the DaveCromwellWrites universe for the month of April was the Burbank, California music label Big Stir Records. Based out on the West Coast USA, the label features artists from all over the US, UK, Sweden and Germany. Label runners own band The Armoires released an 18 track full-length album, initially delivered in a series of mysterious single releases that culminated in the collection aptly titled “Incognito” received deep dive track analysis.


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Another Big Stir release - The Forty Nineteens and their album “New Roaring Twenties” peaked a level of curiosity that continued incrementally, wading through it all. Forming the band while working in the San Diego courts, they landed on a name that is something said by every judge in every courtroom in the state of California. That term is "Forty Nineteen," and a 4019 credit is time off the sentence of a detainee who behaves in jail. Their music is pure form rock and roll, that illustrious hybrid sound encompassing the 1950's collision of Country with Rhythm and Blues.


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It's rare that too much time passes before another Shoredive Records release turns up in a DaveCromwellWrites review. This time a Russian collective calling themselves Secrets Of The Third Planet (which we all know from Jimi Hendrix's “Third Stone From The Sun” - is Earth) reissued a 10th Anniversary Edition of their EP “Lost In Reverie.” Originally recorded and released in 2011, the new-to-this-writer tracks encompass that timeless sound of all the great “gazey” bands.


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Sometimes the name of a band can provide a level of confusion that often undeservingly puts them on the backburner. Take Tashaki Miyaki for example (pronounced Tah-Shock-ee Mee-Yock-ee). Sounding like a singular Japanese solo artist, the images of a willowy red haired woman as their out-front focal point and dreamy sounding vocal music never quite seemed to match up. The periodic promotional reminders (mostly via email) over the years – with the latest coming for this month of May – finally put an end to all of this procrastinating. Simply put, attention to this band that makes the most wonderfully dreamy, melancholy music was long overdue.


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Once again trusted source New Dark Ages PR introduced another impressive artist from the depth of their diverse talent pool. The May entry, based out of Chicago as "one-woman industrial army" I YA TOYAH entered the realm via her EP, Out Of Order and video for the single, "Pray."


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The late April release (and May reviewed here) track by UN.REALSun Like Star” is a heady uptempo affair. Anchored by songwriter/musicians Hector Caolo (bass), Eden Cruz (drums) and Gardy Perez-Ruiz (guitars), lyricist and vocalist Bernice Cruz completes this dreampop quartet. The track bursts out from the first note in full bloom, with slashing gaze guitars in lavish expanse across the sonic field. The bass and drums are thoroughly audible in the mix (as they should be) pointing to impressive production values and recording techniques. Capping it all off are Bernice's deep and resonant vocals. A final minute of pure instrumental and vocal euphoria lifts this gorgeous track to it's ultimate conclusion.


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The recorded works of four new and innovative artists got the Croms-eye-view deep dive analysis for the month of June.


Every once in a while a band will jump out at you from the ocean waves of promotional material that comes through over the wireless here. Making note of an instant liking for a quintet with the curious name Spud Cannon, a double-back on subsequent promotional singles releases confirmed their “must review” status. The release of their album “Good Kids Make Bad Apples” shows every song exhibiting high-level vocal harmonies, catchy melodies and precision instrumentation.


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Contributing their track “Liquid Through My Hands” to Chicago, Illinois indie-pop label Sunday Records compilation Something Beautiful, Sheffield UK based indie-gaze band The Suncharms saw their work standing out amongst like minded artists.


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The always busy Tom Lugo continued to put out new music via his indie label Patetico Recordings under a variety of band names (both solo and collaborations). Already featuring his full-length Panophonic album “AWAKENING” here in this year-end Best Of, the June single release “The Last Time” has earned those honors as well.


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Big Stir Records introduced another Best Of entry in the form of accomplished psychedelic pop troubadour Anton Barbeau. Specifically his single “One Of Her Superpowers” which encapsulates this artists rare chemistry in a radio friendly two and a half minutes.


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The original full review writing on all of the above bands (complete with links or song embeds) can be found here.

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July is always one of the best months for new music. You are deep into the heart of summer yet still far enough from it being over to have any real concern with all that. For this month DaveCromwellWrites featured both new and returning artists, all with recently released material. Horizon's were expanded with this eclectic collection.



Perennial CromwellWrites faves GIFTSHOP returned with not one but two brand new tunes. The newer written composition “More Than That,” packs more into it's barely over two minute frame than most of the repetitious, overlong excess churned out on a daily basis. Backed with “Kewl With Me,” a song that's been around for a number of years but never quite found it's way into the studio for a proper recording until this point in time.


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Making their way onto this websites radar during this month were Brooklyn-based neo noire rock'n'rollers Toshio Band. Finding inspiration from a variety of film makers (Quentin Tarantino, Jim Jarmusch), poets (William Blake), jazz innovators (Charles Mingus) as well as literary rockers (Iggy Pop, Tom Waits) serves as a wide and disparate pool to draw from. Lead singer and bassist Tim Lavigne pilots the project through songwriting and sound design bringing all these influences together in a modern rock and roll format. Their recently self-released EP “Lock Your Doors” is a five song concept EP that explores themes of madness and melancholy in an unforgiving world.


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Another eclectic collective weaving it's way into the CromwellWrites universe are a San Diego, California-based duo that go by the name Corduroy Institute. Having recently released a new album titled “Eight/Chance/Meetings,” the creative members adhere to an “institutional methodology” emphasizing improvisation. Additionally, their lyrics were formed using the cut-up method (or technique), which is a type of found poetry that has its roots in the 1920's Dadaists but was popularized by writer William S. Burroughs in the late 1950's and early 1960's.


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Psychedelic documentary film-maker Matt Levin previewed a new project in the works on the life and times of influential musician, writer and painter Will Carruthers. Most psych-rock fanatics know him as an innovative bass player in seminal bands Spacemen 3, Spiritualized and The Brian Jonestown Massacre. With the clever title "Nobody Gets Fat Eating Music," Matt combined an informative live interview with brilliant animation and in-depth analysis for a uniquely immersive experience. The Cromwell breakdown on this Translove Airwaves production is fully notated.


This film received entry for showing during The Psychedelic Film and Music Festival.

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The ability to attend live music shows out in public with your friends once again had been a long time coming. After a soul-crushing shutdown / lockdown of 2020 that continued into early 2021, it wasn't until mid-year we finally got back to in-person appearances. Summer in NYC and adjacent Long Island has always provided many opportunities for mostly-free events in open park theaters as well as clubs and restaurants. Along with a variety of recorded music both new and vintage covered in this sites August feature, came a long-overdue return to live presentation recaps.


Among her many talents and accomplishments, Laura Schaefer is an impressive singer in the soft rock, country, adult contemporary, and pop music realm. Catching a recent run of live appearances both indoor and out in the open street festival environment showed the performer captivating audiences with her nuanced vocal interpretations. Appearing on Sunday night's during these summer months at the highly-regarded Westbury, Long Island restaurant Cassariano, the duo act of Laura and Bill (with the equally accomplished Bill Blais on keyboards and vocals) entertained patrons with a dramatic set of classic cover songs.


In addition to her current collaborators and bands frequently offering guest vocal spots, Laura co-wrote and released a number original songs as the lead vocalist in a band called Blue Mile. A full review of that record appears in the August Feature.


Street festivals are always a great place to check out live music on a warm summer night. A band Laura has been doing some guest vocal appearances with are the wonderful Americana Country Rockers Tri State Alehouse.


Core members Jonathan Crist, Jeff Schumacher and Mark Ambrosino wrote, produced and released 12 original songs (and one surprising cover) on their album “Open Here” with a variety of guest co-songwriters and musicians.
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Continuing their relentless quest for sonic excellence, Ottawa-based Paragon Cause released their third album “Autopilot.” Expanding on the auditory palette they've been building since their first two albums “Lies Between Us” and “What We Started,” (both meticulously reviewed previously here on this site) a bolder evolution in composition and sound design was delved into.

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Relationships are a significant driving force in much of what appears here on this website. Trusted record labels and artists who've previously shown appreciation for detailed analysis on recorded music meaningful to them are prioritized. Finding new composers and their unheard works within that framework will always continue to expand this overall field. Finally, losing a four-legged family member is heartbreaking, and celebrating the life-affirming years spent together is the best way to honor them.


There never seems to be too much time passing before another ShoreDive Records release finds it's way into the DaveCromwellWrites reviewing sphere. The independent Brighton, England based label provides a continuous supply of high-quality dreampop, gaze, electronica, post-rock and post-punk releases. Landing in the DCW mailbox in September was a six-song mini-album debut from Lyon, France residents Lunation Fall. Titling the collection “Near,” their mission to blend melancholic dreampop and explosive noise was fully achieved and given a full track-by-track review.


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This past June saw DaveCromwellWrites featuring a detailed review of England's The Suncharms first preview from their 30 years in the making (!) proper full-length debut album. With the release of “Distant Lights,” ten full tracks (with two bonus cuts on the CD release) were given deep-dive treatment.


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On September 13, 2021, beautiful boy cat Nicky crossed over the rainbow bridge after 14 wonderful years on this planet. He was the most perfect cat you could ever be so blessed to share this life with and will be sincerely missed.


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October caught the Cromwell range of view fully engaged on new recorded works from artists either previously featured here, or first time entries to this site. All showed musicians taking their creative ideas - much of it developed by way of live show performances over the years, and forging it into high-quality studio recordings. Each artist exhibited true emotional commitment to their respective style of music.


A band this site had been keeping a close eye on over the last year or – The So Lows released a new album ‘Times Not So Weathered,’ and received a most-worthy DaveCromwellWrites track-by-track review analysis. Led by the singing/songwriting duo of Molly Miller and Ronnie Rael, the sophomore album is the first to feature Troy Krusz on slide and lead guitars, Barron Preuss on bass guitar, and Haven Willis on drums.

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Adam Lippman is an indierock singer-songwriter who's been close with the DCW world here for quite some time now. In fact, first contact was established nearly a decade ago. However, his long musical journey goes back much further as a member of various noteworthy bands from the mid 1990's up until recently. Inbetween he released a few solo albums and EP's, while playing well-known tri-state area clubs and festivals as a supporting member as well as fronting his own bands. Adam returned with his first new solo music in 15 years. Lead single “Sunblind” received a detailed in-depth review.


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Finding their way back once again into the DaveCromwellWrites universe, Sydney, Australia based gazey-noise-rockers Trillion released a new single “Sure” on the 27th of October. Having covered their work extensively over the last two years (with the band making “Best Of” in both 2019 and 2020) “Sure” received a full detailed review and makes the “Best Of” for the third year in a row.


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The best recording artists put as much creative effort into every song they choose to include on their album. While standout tracks may appear, there is a consistent quality to each track on it. Those full-length albums deserve to be carefully listened to, from first track to last. This site makes a point to review those albums track-by-track, leaving no stone unturned. It's the deep dive and detailed analysis that sparks creative exploration and new experiences. Two full albums for a total of 19 songs received the DaveCromwellWrites focus during the month of November. One more life-in-review memorial to a dearly departed animal companion closed out the month (and year) in a heartfelt manner.


Burbank, California based music label Big Stir Records continues to provide a deep catalog of wonderful new music. With their reach expanded internationally, there is a treasure trove of high-quality recording artists there, well worth checking out. The November release of Nick Frater's “Earworms” earned itself instant classic status and a complete DCW track-by-track review.


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Another November release that received a CromwellWrites full review (and now qualifying for end of the year “Best Of”) is “Winter Skin” by psychedelic dream pop and gazey indie music band EEP. Released on the local Hogar Records label, the 9 original tracks were produced and engineered by the band themselves, with recording and mixing done at Brainville Studios in Sunland Park, New Mexico.


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November also saw precious baby girl cat Cherry crossing over the Rainbow Bridge to be with her twin brother Nicky, after 14 years of joyous life. She was the most perfect chubby cat that ever lived and she will be missed and remembered forever.


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Friday, January 15, 2021

Fresh Analysis + Reviews in the New Year

 With 2021 now finally upon us, a fresh start to the year featuring brand new artists' material serves as the driving force on this January DaveCromwellWrites entry. While the records reviewed are recent, some of the creators have been honing their musical skills for a number of years. Trusted media brands continue to shine light on works most deserving by songwriters and sound designers worthy of the deep dive their music receives here.

Returning to a seemingly bottomless well of brilliantly formed dreamgaze artists, Shore Dive Records' January 1, 2021 release “Summerheads And Winter Beds” by The Raft is a stunningly beautiful collection of 13 tracks. Conceived by songwriter and multi-instrumentalist Phil Wilson (who has been writing, recording and performing under the name The Raft since 2003), an elite group of dreamy female vocalists are employed throughout the album, providing necessary lush counterpoint to Phil's own voice.

Opening track “Clear Water” features the multi-layered vocals of co-songwriter Claire O'Neill, who morphs between soft breathy and full throated operatic styings. It's all mood and majesty against Wilson's and co-writer/co-producer Jpedro's dramatic instrumentation. Follow-up cut “There's No Going Back” holds closer to the alternative rock format pioneered by bands like The Cure, Stone Roses and Ride. Bright guitar hooks, driving bass and Loz Colbert-style drumming (presumably played by a combination of Wilson and JPedro) has Ms. O'Neill returning to sing harmonies on Phil's storytelling vocals. Third track “So Bright” drops the pedal harder on what “gazey” music is all about, without ever losing sight of melody or rhythm. Sure, there are moments of shearing guitar, and a full chorus of blended female backing vocalist (the aforementioned Ms. O'Neill, joined by Red Shelly, Ellie Long and Milly Winter), however distinct instrumental hooks also play a substantial part.

The truly gorgeous “Hold Back The World” serves up a heart-tugging, emotional tour-de-force of melody, rhythm and lyrics. As Phil sings in tandem and harmonies with his team of female vocalists (Liz Kramer the new addition along with O'Neill and Shelley), a perfect blend of keyboards, guitars, drums and tambourine lifts this track into the stratosphere. This song is so lovely, it can even melt the heart of the most cynical amongst us. “You're An Animal” pulls out the chiming acoustic guitar for this Mark Gardener and Ride-style vocal homage. While Phil's vocal timbre clearly resembles the aforementioned master, Ms. O'Neill's higher register harmonics continue to assist in pointing everything in it's own unique direction. “Skeletons” slows the pace down, as Phil and Claire present this unfolding story via tandem studio-sheen vocals. Eastern-influenced percussion dominates, while bright guitars and keyboards come carefully placed across the sonic field.

Jingle-jangle breeze runs through the sweetly sentimental “Another Day.” Acoustic guitars and electric melody lines are impeccably placed over keyboard pads in the just right measure, while Phil, Claire and Liz do that blended vocal thing so well. “Heavy Metal Eyes” comes on slow and deliberate, with Phil pitching his voice down lower into Jim Reid/JAMC territory. The female vocal tandem soon arrives with Liz Kramer, Red Shelley and newcomer Dani Mari providing their individual parts, and ultimately merged into sonic walls of bliss. “Thinking About You” pivots off a bass and percussion style most-often associated with “dance” music – without actually devoting any real time exploring that well-trod genre. Instead the lush vocal harmonies (Kramer, Shelley and Phil this go round) are complimented by guest keyboardist Mike Collings, who delivers an impressive organ solo.

The impressive Claire O'Neill takes the dominant vocal position on 10th track “Twisting.” With only an acoustic guitar backing for the songs first minute, Claire's lead vocals stand out, providing a “twist” indeed to what has come before. Phil's backing (and blended) harmonies fill out one more series of powerful melodies and lyrics. “This Is War” builds off the traditional 1-2-3, three-quarter waltz time signature. With a razor buzz sheen on Phil's vocals, Liz and Shelley are called in to provide harmonic depth. Clever layers of deep percussion and synthetic pulses are paired against more spacious, guitar-centric passages. Conversely, “You Need Me” chugs along like a straight-ahead rocker. Sung (mostly) in tandem with Ellie Long and/or Red Shelley, a strong guitar-bass presence matches Phil's vocal cadence. Concluding track “The Story Or The Song ?” returns to a ¾ time progression for it's epic length proportions. Claire appears one final time to join with Ellie and Shelly on backing vocals, adding the beauty and lift that is so apparent with every single track on this album.

Find out more about this artist, including how to acquire their album HERE.

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Another recent release from Shore Dive Records is the debut EP by French duo Tender Tones. Cleverly titling this record “Youth Retirement Club,” Manon Deruytere & Maxime Pargaud delve into the nostalgic side of gaze, synth and dreampop. The Ep serves as a partnered co-release between ShoreDive and American label Somewhere Cold Records.

Opening cut “In Dreamed Lives” puts the synths out front and center with a retro-pulsed fade in of arpeggiated brass tones. The percussion is clean and bright, leaning more towards the less-is-more scenario. Manon and Maxime sing in tandem with the lower male voice serving to support (in this instance) the female lead counterpart. Verse recitations come against fundamental percussive beats and individual keyboard stabs, which alternate against a return to the dominant opening hook and dreamy chorus. There's an intoxicating spacious minimalism to it all, luring you in with it's seductive calm.

Strangers From Ultra” comes on at a quicker pace, with guitars and bass pulses working their way into a busier percussive mix. Vocals are now presented in a least two formations, with the first in pure tandem, while the second reflects a similar audio separation found on the opening track. That second vocal passage comes enhanced by rolling tom-toms and throbbing bass guitar progression. Catchy hooks abound on a beguiling chorus that recites the English language song-title with charming French accent pronunciation.

Red Lovers” relies on deep rising bass-tones to apply sonic drama underneath higher-pitched synth swirls. Verses are then delivered against a sparser background, with dispersed percussion and airy open space. That allows for an alternating cycle of uncluttered passages followed by climactic resolutions. The overall feel brings to mind powerful 1980's recordings of bands like The Human League and their seminal album “DARE.” “Pay More Pray More” quickens the pace, while still relying on an electronic jungle-drum-beat, whooosing background synth-textures and blended male-female vocals in equal measure. With momentary levels of unsettling sonics building tension, a snaking synth-bass rumbles underneath vocal declarations. It's uncertain if the songtitle is meant in literal sincerity, or references continued propaganda of current times, and into some dystopian future.  

A singular drip-drop pulse introduces “Still White Noises,” which subtly mutates in pitch before giving way to fuller instrumental representation. Relying predominantly on a sinuous wavelike synth-bass motion, whispery vocals are accompanied by sharp percussion and otherworldly sonics. A strong melodic chorus is still the hook you hang your hat on, with clearly defined (and stated) structure. Final entry “Tournée Au Japon” emerges from a hypnotic, far-Eastern-style rhythm that would reflect the songs title. Full keyboard pads underscore French language vocals that presumably reference a tour of Japan. With female vocals taking the majority of delivered lines, male vocals provide deep harmony support at specific moments.

Follow these links to find out more about this band, and how to acquire their music.

Facebook -- Instagram -- YouTube -- Album/Youth Retirement Club

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The specialty music publicity brand New Dark Ages PR has also provided a steady stream of new and established artists to this site. Focusing on Gothic/Industrial, EBM, Black/Death/Heavy Metal and Hard Rock, there's always something compelling to dig in to. The latest to emerge on the DaveCromwellWrites radar is Goth-Industrial artist Night Terror, with their new full-length release “Freak On The Inside.” This solo work of musician Jeff Heveron presents a unique blend of deep goth-style vocals (straight out of the Peter Murphy school) with synth-driven industrial grooves.

Opening track “Wreck It” (accompanied by an official video release which can be viewed down below) bubbles up via arpeggiated low-register synths and complimentary rising singular note pads. Bass-drum thump lays down the steady heartbeat, before quick dropouts signal a percussive turnaround as the lyrics begin. As previously mentioned, there is a strong Peter Murphy vibe in vocal tone and inflection on what are autobiographical, yet poetic verses. Keyboard melody runs over percolating undertow make it clear this is a song you can actually dance to. However, frequent ambient passages and rhythmic divergence serve to avoid any sense of static monotony.

Addiction” begins with a cinematic “movie score” vibe, sonic atmospheres one could perceive accompanying tension-riddled scenes in horror films. Synth stabs and factory-sound percussion undergird busier keyboard lines over top. “Oh my God I've lost this purity” serve as a lyrical reference to the tracks overall theme. In interviews the artist speaks freely about how his path to sobriety has led to a more productive life. Those who've also lived this journey know all too well the truth in this life-enhancing choice. “Get back to the dream I had – build a life” are inspiring lyrics of positivity.

Go Now” builds off of an intriguing pitch-bended synth-texture. The combination of simple defined instrumental lines and busier rhythmic crosscurrents evoke similarities with synth-pop pioneers like New Order and Depeche Mode. “This darkness rises” serves as a lyrical tentpole for an unfolding internal struggle. “Maxxed out” combines spacious ambience, measured synth notes and distant spoken word “public service” announcements with more forcefully defined progressions. There's more urgency found on the mechanized advancement of “Get Out Of This Place.” Vocals come narrated more than actually sung here, which adds an ominous level the whole proceedings.

Viral Attack” tackles the top story of 2020 and the fear this pandemic has wrought. Referencing the confusion and disinformation surrounding it as well points to a worldwide problem still gripping everyone's lives. “Beloved” plays undistorted bell-like keyboard lines against harsh pummeling rhythmic structures. As Murphy-esqe vocals return in full form, those busy industrial sonics throttle underneath creating an abrasive dancefloor groove. Buzzing brassy keyboard tones are employed as melody-motion for the word-heavy, lyric-driven “Falling time.” “I find my life on the ground – it's falling time again” is the sentiment, set against engaging syncopated percussion. Close-out track “Twenty Twenty” is a moody, entirely instrumental piece that emphasizes steampipe hisses, thumping heartbeat bassdrum, hand-clap percussion, and giant empty iron vessel atmospherics.

"Freak on The Inside" by Night Terror is out now on Tigersquawk Records, and can be acquired via these links:

Facebook -- Instagram -- YouTube -- Bandcamp

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