August seems to always come with a slight twinge of melancholy that we've now entered the third and final real month of summer. Oh, sure there can be some balmy beach days in early September, but for the most part this time of year is when you want to make good on summer-fun plans. Along with this pursuit of one more perfect beach day comes a new batch of music releases from various corners of the globe. While hometown New York City counts for half of what's reviewed here, there are still two others hailing from continents ranging over the most extreme northern and southern locales.
There is a distinctive quality to the rock and roll that rises out of New York City. From 50's era “doo wop” through the late 70's punk rock and beyond, the feel and vibe of building front stoops, electric guitars, subway cars and crowded bars all permeate it's sound. Blues-rockers New York Junk evoke all of that and more on their latest record “Dreaming,” which is out now on Tarbeach Records. Recorded at Golden HIVE Studio in Prague, Czech Republic at the end of 2019, it was mixed and mastered in February 2020.
Primary vocalist, guitarist and songwriter Joe Sztabnik's history traces back to those mid-1970's punk rock days, emphasizing it's poetic and literary side (sometimes overlooked when referencing “punk.”) Bassist, backing vocalist and songwriter Cynthia Ross shares a similar historical timeline as a founding member of The 'B” Girls. That band toured with The Clash, The Ramones, The Dead Boys and Blondie, and Cynthia also provided back-up vocals on Stiv Bators' “Disconnected” and Blondie’s “Auto American.” Similarly, drummer Gary Barnett's roots trace back to legendary NYC clubs like CBGB's, playing significant shows there in the mid-70's.
Lead off track “Gutter Angels” developed through a collaboration between Joe and poetPuma Perl, who's lyrical writing serves as the inspiration for this gritty tome. Chugging along like a mid-70's east village classic, Joe's raspy vocals spit out the lyrics in Lou Reed/Jim Carroll hybrid fashion. “Angels on the subway train - Angels in the rain. Wings of fury in the street - Halos melting in the heat. Gutter Angels up in heaven - Looking down upon us all. Bless the homeless, Bless the dope fiends, Bless the sidewalks where they fall.”
The Jim Carroll “people who died” vibe intensifies as people who are no longer with us (angels up in heaven) get name-checked with this verse: “Danny’s nickname was “Guerrilla, Linda’s was 'The Stick,'
Tito climbed through windows, Minerva made him pay. Lenny popped the car trunks - All on Christmas Day.” It's a powerful opening track leaving no doubt about what this record is all about.
“She Don't Care” comes on like a long lost Johnny Thunders and the Heartbreakers rocker. Based around a tandem guitar and bass riff melody line, Joe sings out lyrics combining serious and somewhat humorous appeal. “Hey little girl – what'cha tryin' to do? With your dirty red hair. You little 2-bit whooore. Hey little girl – oh you're drivin' me wild. Cause you talk too much – with your 2-bit smile.” Chugging guitar chords lead into the head-bopping chorus “Everybody calls me up to say – you're insane. Everybody tries to tell me- you're deranged. Tell me tell me what do you want when you – feel the pain. The way you scream and shout so loud you know you – drive me insane.” Quick Thunder-esque licks snake between each section, punctuating the cool.
It's delta bayou 12 bar blues for the record's choice cut “Walk My Dog.” Well, “delta bayou” that's been run through an early 1960's Rolling Stones filter. “If you wanna, you can walk my dog – come on baby – put a leash on me. But if you want my love – girl you better run!” There's also a touch of The Cramps swagger-n-raunch with it's slithering bass-guitar driven rhythm, and lines like “if you wanna you can ride in my car, and if you wanna you can be my star.” 60's Fender guitar tone and steady shimmering ride cymbal emphasize the blues licks in-between verses.
“Don't Cry For Me” keeps that 60's Stones (by way of Chuck Berry) vibe going with double-time drive, self-descriptive lyrics and conversational vocal style. “Workin' real hard in that midday sun. I'm never slackin' off just to get my job done,” Joe sings with early Jagger feel. While “the boss man is sitting there, sippin his iced tea,” the workers know “you better hurry up if you want to leave at 3.” Over a bold rising bassline the chorus hook “don't cry for me baby” (with filligree guitar licks in-between) punches out on “until I'm gone.” The spirit of Berry's “You Can't Catch Me” and “Memphis, Tennessee” live on inside these grooves.
Cynthia's audible “2-3-4” count-in and immediate heavy pounding tom-toms out front of a dirty low-down propulsive guitar rhythm introduces the Ave B side opening track “Scared.” Serving up graphic lyrics with impassioned vocals, Joe sings: “This is the way, which way the wind blows – learn something nobody else knows. I (ah I ah I) want your mind. When you hear the wind blow, yeah you know which way to go – when the guns are pointed at you. Blood all over my clothes, blood all over the floor. I'm fucked up – I don't care – I'm scared. Why wouldn't I worry? Of what I see in my tv set. Hey watch out, it's jumpin' out – it's trying to catch me.” Those levels of paranoia are understandable with everything that's going on (especially these days). However, the only way out of this state of mind is choosing to (as Joe sings) “let my heart and soul be free.”
Bright, angular guitar licks pierce the air, leading in to a sweet shuffle groove on deeper track “Passion.” Rolling out this lyrical tale emphasizing relationship challenges (both at home and on the road), the vocals exhibit a world-weary sincerity. “Well I've got the passion, but I ain't got the bucks, to fill my heart with another shot of your love. Hallways filled with your makeup on the walls. You got all the junk, so I guess I better crawl.” With all that going on (including “dirty hotel rooms”and “posters on the floor”) what holds it all together is the turn-around line “cause your love keeps me on the run.”
Title track “Dreaming” closes out the EP in grand style with a ballad penned by Joe back in 2008 (as detailed inside the record sleeve). Relying on basic guitar chords and a laid-back rhythm section, primary emphasis is placed on personal lyrics and raw vocals. “I'm dreaming of you – why you went away. The roads all turned blue – since you left me here. I'm all alone.” There's a folk-song quality in how the progression holds steady for a time while each new line is delivered. Ultimately there is a shift downward with an unanticipated chord change on the words “oh baby.” With the final words delivered (“as my world fades away”) a series of euphonious toned guitar lines begin, adding further musical emotion to the candid lyrics that precede it.
Carrion is an Industrial Rock band from the northern forest lands of Norway, coming together in 2014. Founded and fronted by the bands only constant member Adrian Kjøsnes (working under the moniker Hide Beliya`al) with additional contributions from musicians Dave Diamond and Sam Dusk. A new single has now been released titled "The Blood Ov Saints," which is the first new material since last years full-length album “Iconoclasm.”
Created on modular synths (no digital numerical presets here) one is immediately drawn into foreboding low register tones that introduce “The Blood Ov Saints.” Industrial music has always derived an element of it's defining qualities by recreating the sensation of being inside a factory surrounded by humming machinery. Even more mainstream rock artists like Pink Floyd (It's factory segment on the “Animals” album) or Iggy Pop and David Bowie's collaboration on “The Idiot” (the track “Mass Production” in particular) served to capture the hypnotic drone of mechanized assembly. Those impressions are here as well, along with other details like a slow chain-rattle percussion alternating with a deeper tone thump. It all serves to set up a dramatic lyrical reading that the artist describes as a “dark, alternative path to salvation.” To that end, there's thoughtful poetry in lines that state: “So cast the first stone, and watch their heavens fall - Into the maelstrom - Hear the trumpets call.” As the track progresses, audio textures of what sounds like high-pressure air driven manufacturing devices add to this dystopian imagery. More forceful tom-tom drumming emerges underneath significant moments with the ultimate lyrical declaration: “We'll wash away our pain – with the blood of the saints.”
Also included with the release is an acoustic version of “The Light,”which first appeared on 2019's “Iconoclasm” album. Here the track benefits from the spacial qualities open air strummed guitar chords provide. With a disquieting synth pulse running underneath, more poetic imagery emerges via the lyrics “holding on to the umbilical noose, I'll make my way back up.” The vocals are delivered in rough whispery style that evokes the work of a similarly like-minded artist like Mortiis. It all leads to the pivotal vocal refrain “give me your hand – I'll give you my heart – on my knees to feel your light.” An unexpected extended-note guitar solo (of sorts) arrives in the 3rd minute (of this 4 minute rendition) echoing the melody line and bringing the track to it's conclusion.
After 10 years with the influential NYC noise-rockers A Place To Bury Strangers, bassist Dion Lunadon announced he would be leaving to pursue a solo career. Truth be told, Dion had already begun his solo recordings while still with that group, releasing singles in 2016 and 2017, before putting out an 11-track full length record in '17 (fully reviewed on DaveCromwellWrites here). Now in these changing times and current social crisis issues, Dion is back with a new track “When Will I Hold You Again.” Released as a duet with vocalist Kate Clover, the track is dedicated to everyone whose been separated from loved ones as a result of this current worldwide pandemic.
With Dion playing all the stringed instruments (guitar and bass) along with drummer @griffin_kisner, the track thunders open on a crisp percussion figure, throbbing bass line and melodic guitar riffs. Duet vocalist Kate Clover and Dion share a sense of urgency on opening lines “TV television New York shut down. I’ll hold you closer again. All alone I’m in the dark.” A palpable level of intensity can be felt in the aggressive guitar riffs slashing in and around each vocal passage. Kate's vocals move up in the mix on the Covid influenced lines “Freezing cold I feel the sweat. Filled with fear as I disinfect. I can’t see the enemy I can’t see it come.” As the track careens forward with increasing ferocity, each vocalist repeats the title line in alternating call-and-response style. It all culminates with a final 30 seconds throttle like The Stooges “Fun House” era mayhem.
The track is now available at Dion's bandcamp where you can name your price.
All donations will be split evenly between City Harvest (who help feed New Yorkers in need of food) and CampaignZERO. Dion will match all donations up to $1,000.
Previous DaveCromwellWrites Features on Dion can be found HERE and HERE.
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Returning to the DaveCromwellWrites universe are Sydney Australia's gazey, dreampop and psych-rock collective Trillion. Their previous six song EP “When I Wake” received an extensive track-by-track review this past November here (which immediately garnered “Best Of” placement in the following month's year-end accolades). The band is now back with their recently released current 5 track EP “Move To You,” and a debut video for the single “Soft.” Recording their individual parts separately as one might suspect during these harrowing times, the end result shows a determined creativity in spite of those challenges.
Opening track (and single) “Soft” (along with it's accompanying video) immediately explodes off it's quick drum cue-in. No longer content to envelope all with 3 guitar layers (as was their previous incarnation) we now have four (4!) guitarists doing their very best to fill in every inch of the sonic spectrum. It certainly makes for a powerful buzzing wall of down-stroke strummed mayhem, while somehow allowing the throbbing bass guitar and whip-crack drumming to penetrate and be heard. With images of sparklers overlaid on top, close-ups of each instrument is afforded their feature moment throughout the video. Male and female vocals are blended together as a melodic force withing this Spector-sonic wall of sound. Hard pummeling percussion emerges as intensity levels rise, with voices, and guitars inserting melodies inside the overall structure. The video is a total trip that occasionally breaks up into digital cube blocks looking like previous decades media (VHS tape?) and other elements, like floating amoebae. Kudos to the bassist for wearing an adorable cat-themed t-shirt stating that “The End is Meow.”
The EP's second track “Out of Your Mind” initially emerges at a more measured pace, with guitar shimmer rising up as if out of the mist. Soon enough a dominant bass-line and solid drum pattern begins, accompanied by wah-wah guitar textures. A series of intricate guitar melodies weave in and around each other before a solo female vocal begins. Those voices come at the track from different angles, blending in seamlessly with the instruments melodic forays. There's a hypnotic element to the rhythms and things get quiet in places, allowing for dramatic focus via those layered voices. As the track progresses it blows up into a full-on psych-rock tableau,before falling back into that hypnotic groove.
Third cut “Don't Be Sorry” develops out of a tom-tom driven drum pattern and distant swirling guitar embellishments. As the full progression establishes itself with sheering guitar chords and buoyant bass-line over top, male vocals appear in a contrasting effects-free manner. The 4 guitar formation allows for plenty of background wash while one plays a distinctive hooky melody line, paired against the bass guitars low-end harmony. Vocals return with previously established clean delivery, while another guitar melody snakes its way over that. The title line ultimately materializes with female voice enhancement and billowy guitars.
Rising up out of swelling atmospherics and faded in drum pattern, “It's All I Need” serves as the first of the final two longest tracks [6:01 each] on the EP. Returning to that buzzing-bee-wall-of-sound, the multiplied tandem guitars would surely evoke a nod of approval from Rhys Chatham. With an ever-steady bass guitar once again holding its structural center, the drums are free to explore a variety of accents off of the primary beat. Male vocals with ethereal female harmony evoke that 90's-era MBV/JAMC/Slowdive style. Sonorous guitar riffs abound in-between vocalizing, impressing how an “orchestra” of guitars can produce an appealingly controlled noise. The final minute injects an intensifying step-up before pulling back to a dreamy spacious conclusion.
Final entry “When it Comes to You” appears to begin mid-progression, as if fading the mix in as the recording rolled. There is a decidedly different element to the guitar sound, as slightly off-kilter “warbling” tones appear. Shearing, pitch-bended guitar chords soon make their way up front while the ever-present driving bass and percussion lock it all down. A distinctive guitar melody surfaces over top of combined “shear,” “warble” and rhythm-section. More paired boy-girl “Halstead/Goswell” vocals arrive, blending in seamlessly with (and sometimes submerging under) the roiling instrumentation. Momentary quieter plateau's serve to set up another round of explosive turbulence. It's all adds up to a brilliant composition of dreamy-gaze bliss, and a fitting closer for this excellent EP.
Trillion's tunes and more can be found using the link tree below:
Two distinct musical styles get the feature treatment here this time around, showcasing a wide spectrum that inhabits this genre we define as “rock music.” Alice Limoges is a musical storyteller combining pop, jazz, rhythm and blues with rock and a healthy dose of soul, while the hard rocking SickWalt pushes the boundaries of rock and punk, both creating their own unique hybrid sound.
Presented here on DaveCromwellWrites is the premiere of Alice Limoges brand new video for her latest single “Yellowstone.” Released today SaturdaySeptember 14, 2019, the song and video rolls out a gorgeous blend of dazzling sight and sound wrapped around a strong lyrical message of setting yourself free. Initially inspired by the bold adventure taken via a Himalayan mountain expedition in India last year, the enlightenment gained from that extreme and difficult undertaking served to inspire this song and video's creation.
Originally hailing from the Northeast coastal state of Maine, Alice now calls New York City home. While the city that never sleeps might be the place to further your musical career, there's something to be said for the wide open spaces and natural beauty of places outside busy urban centers. Disconnecting from electronic communication devices and focusing on our planet's undeveloped beauty is an important message in these high tech times.
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Recorded at Right Angle Studios in NYC, the song (and videos initial imagery) focuses on Alice's piano chords and melody, immediately creating the sensation of an unfolding journey. The destination of Yellowstone Park is quickly shown, followed by quick cuts of car travel and then Alice herself singing the song in recording studio style. “Lets go out to Yellowstone - Drop it all and drive tonight and on through the morning” she sings as her accompanying musicians on drums, bass and guitar are shown in quick succession.
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Those three instruments provide a solid underpinning combining a light-touch indie-rock backbeat to the softer feel jazzy guitar and piano chords. As for the vocals and lyrical content – while recent comparisons to Fiona Apple and Sarah McLachlan are certainly in the ballpark, Alice's hybrid sound of pop, jazz, rhythm and blues, rock and soul bring to mind the talents (and vocal tone stylings) of legendary New York “folk singer” Laura Nyro.
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Like most quality songs residing in the pop realm, the track gets to it's dominant earworm hook in under a minute with the dramatic statement “If we leave right now - by what hour - Will they notice we went - That I didn't pay my rent - I've got these city blues - Got myself to lose - And I'll get lost soon” resolved by the lovely turn-around (and back into the verses groove) “If I stay.” The video enhances all of this further with the most stunning natural images that is the everyday majesty happening outside of city life in big sky country USA.
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Check out this inspired song and breathtaking new video from Alice Limoges here:
New York City's SickWalt delivers a heavy, hard rock sound that fuses a similar energy and lyrical ethos found in the most influential punk bands. With Walt “Sick Walt” on vocals, and Matt Middleton on guitar, the band’s current lineup includes legendary drummer Eric Arce (who has played with notable punk bands The Misfits and Murphy’s Law) and bassist Rob Buckley (previously with the equally illustrious Cro-Mags). With two EP's under their belt, a full-length album “Shove n' Love” will be released on September 20th.
Opening track “Demand The Stage” comes out blazing from the very first note, with slashing power chords, locked-in bass guitar and drums, a riff straight out of the Angus Young playbook drives everything forward. “You're always whining on and on,” Walt sings - “yeah who you were and now you're gone.” Delivered in a vocal style that draws from dynamic front-men like Rollins, Danzig, Bon Scott and Brian Johnson, the lyrics burn at those unwilling to seize the day. “You're talkin' trash like you mean it – the saddest part is you dream it – when no one listens you scream it – and you don't know.”
Key Hook Line : “You don't know – you're a know it all” - which is repeated right through the end-out.
An aggressive syncopated drum pattern and searing precision guitar riffs kick off the barely over two minute “Die Like Belushi.” With those riffs initially placed between the vocals lines guitars are soon run continuously throughout. This early Stooges vibe takes a sharp turn midway with a slowed-down tempo change enhances by thundering drum fills and momentary bass guitar emphasis. While that heavy progression stomps along, quick-stop space is provided for Walt to drop in lines like “meet me on the corner of 8th and Avenue D.” The opening maniacal progression returns full throttle with the ultimate, sobering statement “when I die like Belushi, excess is what I bleed.”
“Song For Johnny” introduces a slightly western, cow-punk feel and lyrical content that brings to mind the work of a band like Social Distortion. It's still very much in the rock genre, while hinting at the twangy undercurrent often found in the now classic recordings of X and The Gun Club. An impressive chugging guitar and rolling drum mid-section eventually bursts into a searing guitar solo that would not sound out of place with any big time southern rock band. It ends on a triumphant note with the lyric “that train is mighty.”
Other cuts like “Million Dollar Man” chug and stomp like the best of AC/DC. There's that Bon Scott/Brian Johnson hybrid level again in the way Walt's vocals drop between crunching Angus Young style chords. Straight ahead 4-on-the-floor drumming on the verses gives way to slithering bass, leading into a sinewy guitar solo. “My strength come from the inside” Walt sings, indicating the necessary component for the confidence needed to “strut like a peacock.”
Tapping into the aggression that served The Sex Pistols so well on their “Never mind The Bollocks” debut album, “Punk Almighty” is unleashed with similar force. “Rebellion is your nature. Attitude is the norm," Walt sings. "Adolescent uprising. Spitting in the face of danger. . . . now a poster on my wall. Wasn't always clear. The truth hurts sometimes. DIY is the mantra – violence is the guise. Anarchy the common theme, a wicked mind arise. So much more than the music, we keep a state of mind." The Chorus delivers a triumphant statement: “All hail the punk almighty, you gave us a place to stand. Turning children in to men. All hail the punk almighty, you took me to the promised land. All hail the punk almighty, you gave us everything you can.” A roll call of influential artists get name checked with Joe Strummer, Wayne Kramer and Iggy Pop earning special mention.
Ten songs in all, the full-length long-player comes out on September 20th.
SickWalt will play an album release show on the 20th at The VNYL- Vintage New York Lifestyle
100 Third Avenue
New York, NY 10003. Find out all the details about it HERE.
With the rising temperatures and associated humidity making air conditioning and frequent trips to the beach a necessity in this the mid-point summer month of July, evening live shows in airy venues become choice entertainment locales. While one noteworthy NYC venue threw a party for music fans before it shut down for renovations, most others continued to roll out that nightly flow of performances we know will go on ad infinitum. The occasional collaborative partnership has been known to develop at some of the more celebrated events, with one of those perfect storm shows meticulously captured below.
In anticipation of an eight-month shut down for renovations, Irving Plaza hosted an Appreciation Night for all the fans that have attended shows at this storied venue since it was converted to a rock music house in 1978. The amount of shows this writer has been at (and a part of) this space are far too numerous to mention, but it spans all the decades that follow that very New York City Punk Rock (and New Wave) year of '78.
Robert Gordon is one of those artists that came to recognition for many of us (who were young and coming of age at that time in NYC) through the 1976 “Live At CBGB's” album as the lead singer of the band Tuff Darts. After making everyone aware of his distinctive vocal style and frontman presence (including influential songwriter and record producer Richard Gottehrer), RG quickly moved on to a solo career and pairing with rockabilly guitar extraordinaire Link Wray. They did two critically acclaimed albums together in 77 and 78 that produced early hits, including the first (and best) Springsteen cover of “Fire.”
After parting ways with Link Wray in 78, a British guitarist of near equal acclaim in Chris Spedding joined Robert for a series of albums on the prestigious RCA label. That pairing produced a prolific run of records including “Rock Billy Boogie,” “Bad Boy,” and “Are You Gonna Be the One.” In the time passed since then, RG has continued to tour and put out an assortment of live albums as well as a collection of new studio work titled “Satisfied Mind.”
Warming the audience up for Robert's imminent arrival, Rob Stoner lead the three-piece band through a raucous introductory rocker before the man himself took the stage for a classic rendition of his 1981 (Marshall Crenshaw penned) hit “Someday Someway.”
Re-connecting with previously-established mutual professional-admiration friends, emerging live show photographer Clutterhead contributes a number of compelling shots from her manically enthusiastic lens (like the one above) here, adding close-up portrait-like detail.
Moving right on to “Lover Boy” (from 1981's “Are You Gonna Be The One”) the spirit of “Sun Sessions” Elvis Presley chugged along like a train out of Memphis.
A brilliant rendition of the Graham Gouldman penned, 1965 Yardbirds hit “Heart Full of Soul” followed that. Along with RG's uniquely faithful rendition of that classic, Rob Stoner's background vocals single-handedly carried the weight of those counter-melodies.
Photo by @Clutterhead
Something of a legend in his own right, multi-instrumentalist Rob Stoner also enjoyed feature artist notoriety with two solo albums in the early 1980's. His debut “Patriotic Duty” was released on MCA Records in 1980, with 1983's “If You Want It Enough” on the iconic Sun Records label. That noted, his value as the perfect bandleader, backing vocalist and side-man foil is unparalleled. Among all the big name artists he's provided this support for, working as Bob Dylan's right-hand man (bandleader, opening act and bass player) for his Rolling Thunder Review tour from 1975-78 bears this out.
Kicking in to one of his more recent recordings, RG and his band delivered a low-down chugging version of the title track from his 2014 album “I'm Coming Home.” That particular song (and especially it's arrangement) embodies the spirit of what original country-roots rockers like Jimmie Rodgers were doing in 1957.
Introducing the band's new guitarist Jason Green (his first show with them on this very night) they launched into the mid-tempo chugger “Hello Walls” before stopping after a few bars. When Robert asked “is that really the key?” Rob replied with an emphatic “for sure, bro!” It was hard to tell if this was a-pre-planned part of the show, or just more of the joking around they did throughout the entire evening. The rendition was otherwise seamless, and no one sounded out of key or sync with each other.
Photo by @Clutterhead
Speaking of the band, RG's introduction of drummer Thommy Price had the audience chuckling when he said "We go way back. You know, Thommy and me - we got into a lot of trouble back in the day. In this very joint!" A prolific and in-demand session drummer, his rock solid beats have also provided support for a number of big time rock and pop acts.
Asking Rob if he'd like to do a duet, RG and band delivered that easy '50's-60's style stroll on the 1963 Dale and Grace hit (first written and recorded by Don and Dewey in 1957) "I'm Leaving It Up To You."
Engaging with the audience and chatting between songs, classic cuts like "Red Cadillac and a Black Moustache," Johnny Burnette's "Dreamin,'" and The Everly Brothers "So Sad (To Watch Good Love Go Bad)" were all played with the ease and precision of someone said right from the stage "has been doing this since I was 15 years old."
Photo by @Clutterhead
Re-introducing new guitarist Jason Green once again, RG complimented him on his ability to quickly learn the admittedly large amount of material so quickly. A 25 year professional musician, he specializes in blues, western swing, bluegrass, jazz and latin styles (and surely others). He nailed each and every song on this evening.
Holding up the set-list for the audience (and RG himself) to peruse.
And someone in the front row there taking that shot.
Other highlights included the shame-if-he-didn't-play-it "Way I Walk" (done to "shooby dooby" perfection), the Bruce classic "Fire" (Thommy gets a deserved hand-slap from RG at the end of that one) and "Walk On By."
While all-access revelers enjoyed the show from side stage (a point-of-view this writer had previously experienced, covered in this feature) the show continued to pick up steam with classic renditions of "Little Sister" and Gene Vincent's "I Sure Miss You."
Additional highlights included the Doc Pomus and Mort Shuman penned for Elvis (but was a hit for Terry Stafford in 1964) "Suspicion." At this point the pre-encore portion of the show ended and the band headed off for a quick break.
There's no way the audience wasn't bringing him back, and on return (and a few practice "brrrrr's") launched into his own classic tune "Black Slacks."
Sticking with that influential 1979 album,title track "Rock Billy Boogie" closed out the night on a rockabilly high-note and expected raucous fashion.
Taking command of the big stage spotlight just before the headliner, New York City's ElectraJets dazzled the audience with an inspired set of their forward-looking hybrid of early 70's glam and late-70's punk sound.
Built around the songwriting of literary musician Jeff Ward (who in addition to making music has published three novels), the overall feel coming from the stage updates the early glam-rock of Bolan, Bowie and even Nick Drake with an edgier NYC street sensibility.
Photo by @Clutterhead
That NYC street vibe can attributed in large part to the sonic contributions from Cynthia “B-Girl” Ross on bass, backing vocals and overall stage-front visual counterpart.
Photo by @Clutterhead
Sitting in with the band on drums for this show was veteran New York percussionist Bob Bert.
Much of the rock music ElectraJets makes has angular rhythms with rough-edged guitar punctuation's that tend to avoid more straight-forward chugging rock and roll. Poetic lyrical lines emerge providing glimmers of introspective thought. "Any day when the sun's out - try to make sense of our dark side - though it's better inside."
Coming together in NYC from two separate eras and regions saw the continuous lines between glam and punk draw Jeff and Cynthia together. Jeff initially came over from England in the 90's while touring with his band Gunfire Dance. Cynthia followed a similar route out of Toronto in the late 70's with her pioneering all-female punk band The B Girls.
Photo by @Clutterhead
With the downtown New York City music scene never really ever letting go of the spirit of CBGB's (even John Varvatos clothing store has tried to maintain some kind of respect for it) those still connected to it all have simply moved up the street a few blocks to The Bowery Electric, and over to similarly like-minded venues like Coney Island Baby and Berlin.
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Featured tracks from the coming album "Transatlantic Tales" like the T-Rex inspired "4.A.M. Strangeways" emphasize a descending melodic progression with locked-in chugging guitar chords, bass notes and rolling tom toms. While Cynthia holds down the rhythm, Jeff let's loose with some tasty high-register riffs in-between chunky chords and vocal lines.
Check it out here:
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Photos by @Clutterhead
“Bomb Bomb Bomb” comes on like an easy rolling, in-the-pocket groove, wrapped in chunky guitar chords shot through with acid-electric riffs. “Shoo wop and shooby doo's” serve as introduction to the songs vocals that carry a lyrical message on the dangers of war. The conversational style is fascinating, with lines like “I go to work I'm an honest man. I come home . . . play with the kids I'm uncle Jeff. I'm from a family that has right and left.”
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There's an element of Daniel Ash/Love and Rockets playfulness (who also admired the T-Rex model) on the poppy “Morphic Resonance.” With concise and clever rhymes like “elevation through electric skies, makes my heart go my oh my!” ultimately leads to the catchy payoff “you're morphic resonance, breaks down on my defense.”
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Photos by @Clutterhead
ElectraJets will be hosting a NYC Record Release Party for their upcoming album "Transatlantic Tales" (to be released on Walter Stewart's Tarbeach Records label) on Saturday, September 7th at Berlin - Under A. UK Record Release Parties are set for November 8th in Birmingham and Saturday, November 9th at The Unicorn in London.
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A wild and furious trashy-glam punk-rock show throttled the stage just prior to the above as New York City's The Trash Bags got down and dirty with multiple forays over the railing and into the audience by front-man Chuck Bones.
Seemingly conceived in the mold of The Cramps, a similarly styled edgy guitarist evoked memories of Poison Ivy, while the leather-clad lead vocalist channeled Lux Interior energy throughout much of his performance.
Photo by @Clutterhead
Fleshed out with bassist Tito E and drummer Lyla T, the band ripped through a hyper-charged set that had the audience hanging on to their every move.
There is also an element of the Stooges in the way front-man Chuck Bones physically throws himself around. Like a taller, lanky version of Iggy Pop, a similar level of reckless menace keeps the audience in a 'what's-he-going-to-do-next' state of anticipation.
Photo by @Clutterhead
Within the first :40 seconds of “Hot Mess” Chuck has already dropped to his knees once and fallen on his back in a heap on the floor. The rhythm is closer to Ramones style with the rest of the band delivering tight “hot mess” backing vocals in a similar “hey ho” manner. Shrieking like a banshee as the band throttles along, Chuck ultimately winds up (where else?) writhing on the floor. On getting back to the mic stand he tenderly states “love you Grandma.” While still adjusting the mic on the stand adds “not really my grandma, but she's pretty good.”
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Photo by @Clutterhead
An Ennio MorriconeSpaghetti Western rhythm serves as the basis for another reflection on the edgier side rock and roll with “Trash.” “Who's making that noise – who's making that racket? Black leather boots – black leather jackeeeeeeet” (elongating out that last word). Growling and pointing an accusatory finger to the crowd, the declaration “we're all trash!” is made abundantly clear. With Chuck wading deep into the audience, the band morphs over into a more B-52s-like groove before the final verse is delivered from deep inside the crowd.
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Photos by @Clutterhead
Other Trash Bag ditties came in rapid fire succession, including one one about "a pocket full of illegal white stuff." Call and response vocals between Chuck and Elisa - "Johnny, Johnny, Johnny" provided just enough diversion inside the forward driving, four-on-the-floor punk rocker.
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Photos by @Clutterhead
Coming closest to the downward driving amusement park horror of The Cramps on “Too Bad,” Chuck sings: “Walk down the street – I got this feeling inside. I'm feelin' kid of weak. I got nowhere to hide. Too bad – too late – tonight You're gonna cry – you're gonna die!” Special props to drummer Lyla who's backround vocals on the chorus completes the carnival ride sensation.
The Trash Bags also have a show at Rippers in Rockaway on August 4.
Between set conversation with poet, author, performer, producer and all around creative person Puma Perl (always a pleasure) and caught live getting an earful from Chuck Bones.
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Arriving at the venue just in time to catch a full set from the young and exciting Beechwood saw this still emerging band exhibiting a more experienced and confident stage presence.
Having previously caught a most impressive live show by this relatively new on the scene band (covered here) as well as review writing done on both this site and The Deli Mag (both on the Web and in Print) an even more dynamic show was expected in this larger room.
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Photos by @Clutterhead
Those expectations were met and surpassed as the band made the most out of the big concert lighting, sound and additional space to move around in. Playing tracks from their recorded works on Alive Natural Sound Records, an expected emphasis was placed on latest album "Inside The Flesh Hotel."
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Photos by @Clutterhead
“Flesh Hotel” chugs along bold power chords, matched bass root-notes, whispery-to-shout vocals and guitar counter-melodies galore. Encompassing a blend of dinosaur stomp and Raveonettes-style twang, there's even a tempo change midway through that packs a lot into a three minute song.
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Photos by @Clutterhead
A more anthemic vibe emerges on Daniel Ash inspired, breathy tandem vocal “Boy Before.” An appealing call-and-response vocal segment that goes “I used to hang out in the sun – and keep away from everyone” leads into bold rhythmic strokes and triumphant melody lines.
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Photos by @Clutterhead
Elements of gazey psych-pop can be felt in the dreamy “Over on Everyone.” Amid the noisey backing haze, ear-pleasing melodies emerge through seemingly both descending and ascending figures. The nihilism contained in lyrics stating “let's try to get over on everyone. That's why you'll always be the one,” point to an opportunistic level of survival skills.
A few days earlier The Bowery Ballroom featured an enticing show pairing two distinctly different, yet ultimately complimentary touring partners. New York folk chanteuse Hannah Cohen and Canadian storytellers Foxwarren made a stop at that popular Delancey Street concert venue.
Touring in support of her third album "Welcome Home," Hannah Cohen presented her light and airy acoustic guitar driven music supported by a combo of guitar, bass and drums.
With Woodstock, NY serving as her actual home base, most of the album's tracks came to fruition in Brooklyn (just across the bridge from where she was performing on this evening).
Additional motivation to experience how this singer had evolved both on record and live came from catching her a few years back when she was touring her second record "Pleasure Boy" (a review of that live show can be found here).
Her onstage banter and interaction with both her fellow musicians and the audience was cheerful and endearing, like when she decided to start over centerpiece song "This Is Your Life" because she wasn't happy with the initial notes and because (as she said) "it's cool like that."
That elicited a loud, positive response from the audience, which also served to bring those listeners in closer to the musical world she's created.
That world is calm, dreamy and intimate. With lyrics that question at first, provide answers next, before describing the state of flux it all seems to be. "This is your life . . what's your move? I'll telly you what it is - the moment you see it, you want it, take the risk. You're out of your mind and that's alright. Out of your mind, it is what it is or it is not."
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Other highlight numbers like the gently R and B soul-tinged “All I Want” explore levels of intimacy (“you're all I see – don't look at me like that. Right from the start, you were playing with a broken heart”) while establishing a big enough hook for anyone to latch onto: “All I really want is you – play your records all the time.”
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"Welcome Home" is a gorgeous album that combines lyrical introspection with just enough auditory ambiance to satisfy anyone looking for something new to dig into. All of that was on full display in this live setting.
Hannah will play Brooklyn next with Sam Evian on August 18th at Union Pool for a Summer Thunder show. That will be followed by a European Tour together that will take them into early September.
Mirror selfies wearing the T-Shirt of a band you love are always acceptable.
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Formed more than a decade ago, headliners Foxwarren brought their Canadian prairie manner and thoughtful collaborative music to an eagerly anticipating downtown New York City audience.
Centered around singer/songwriter Andy Shauf (who has enjoyed success as a solo artist for a number years now), the band served to support that storytelling with spacious arrangements on electric guitar, bass, drums and pedal steel guitar.
For his part, Shauf employs a unique vocal style, where his pronunciation and diction on the words he sings is like no one else. It's singularly unique and serves in part for his appeal. Having recently cut his hair (all the promo photos show very long hair) one audience member shouted out "nice haircut!" whereby Andy quietly replied "yeah, I threw all that in the trash."
With the band comprised of childhood friends (two who are brothers) guitarist/backing vocalist Dallas Bryson and especially bassist Darryl Kissick (who's brother Avery plays the drums) lead the band through a number of tracks from their long-awaited, self-titled debut album. A pedal steel guitarist also provided an important level of textures in this live setting.
The band's name comes from the Kissick brothers' family home in Foxwarren, Manitoba. However, most of the album was recorded in Regina, Saskatchewan in a rented house where the members all roomed together.
“Everything Apart” builds off of an angular bass-line with syncopated percussion and a singular humming note running through it. “Everything would be exactly according to plan, if I could find someone who can” Shauf sings as a vocal mantra in his uncommon vocal phrasing style.
“To Be” comes on at a measured pace, with it's acoustic guitar and sturdy drum pattern rhythm enhanced by searing lead guitar interludes. While his phrasing is like no one else, the tonal register of Shauf's voice is similar to Paul Simon.
Stunning imagery can be found in the video created for “Lost on You,” a song that emphasizes two distinct progressions. While the views bring together footage from Nevada's Death Valley to the Pacific Coast of California (enhanced by creatively placed LED tube lights) the song moves from dreamlike ambiance to a descending beat driven rhythm, before giving way to Shauf's ruminations on our nightly dreams. “Oh patient day, bring the idle night/Do we live with it if we close our eyes.”
Check out that video here:
Items to acquire at the show
The Foxwarren tour continues with these shows still to come:
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.
