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.
The relatively mild weather here in New York this current month of February has been a welcome respite. Presently spared from backbreaking snow shoveling and near sub zero temperatures allows more time for music listening and writing reviews. Back with brand new music is a long-time friend of this site and frankly at this point a UK Legend. Another returning collective has also released stunning new material in that most-beloved hazy-gazey genre. New to the site finds the recent work of an LA-based artist also receiving the now world-famous DCW detailed analysis.
Back in 2019 this site did an extensive historical recap and review of English recording artist Sophie Ellis Bextor on the release of her orchestral “greatest hits” album “The Song Diaries.” That album and this review both did well and all was sailing along smoothly. Sophie even managed to work in a trip to Japan in early 2020, before as she says “the world tilted.” Pinned down in our homes as we waited out this crisis, Sophie kept us entertained with her Friday “Kitchen Disco” internet shows. We were welcomed into her home for these half-hour concerts. Looking back from our perspective in 2023, those shows were a delightful silver lining, allowing a view into her home life and a temporary reprieve from not being able attend shows.
When things began to open up again, Sophie started taking her “Kitchen Disco” shows on the road, much to the delight of live entertainment starved concert goers. In that time she also published a self-penned autobiography and cook book with her husband Richard Jones (which also pivoted off the “Kitchen Disco” theme, as in “Recipes From”). In addition to renewed print and tv appearances, Sophie continued her successful ongoing “Spinning Plates” podcast series, as well as spots as a DJ on BBC Radio. Now there is news of her next full-studio album “Hana” being set for release at the beginning of June this year. With this being her 7th album of entirely new material, an advance single “Breaking The Circle” has just been released and receives a detailed review below.
Deep, low-tone strings introduce the track before a cymbal swirl leads into the piano-driven progression. Sophie's vocals commence right away with her asking “do you want to know what I think?” Well – yes – indeed we do. “Do you want to hear what's in my head?” follows as a lively drum pattern thumps along in tandem with those hammering piano chords. “It's too early to go to bed” she continues. “Do you want to hear a secret? I think there may be a day when the sun doesn't rise!” Oh, my. She's posted how “it’s a song all about those philosophical conversations you have at 3am when anything feels possible,” and that may have contributed to its creation. However, one feeling here (along with the universal meaning of “breaking a circle” - ending some kind of cycle) is a reference to the current fears of a full-on nuclear war, where “the sun doesn't rise” because it's been the end of us all.
However, the mood switches to a change progression where she states how “I can see a new horizon in your eyes.” That pivots into the big chorus “here we go into the light of the great unknown” ultimately “soaring up into the twilight zone” to the resolution of “breaking the circle.” Moving forward there is a “crashing through” an “edge of destiny” calling out to “come with me and we can chase what the end might be.” Resolving with “and when the morning comes – will everything feel the same?” Late night existential musings indeed. The hard-edged piano rhythm and matched percussion continue to established a driving musical propulsion.
“Can you sit a little closer” she continues to ask. “There's a magic in the night time air,” with an uplifting rise in her vocals on that final word. Repeating the “night time air” again for good measure, the bridge-to-chorus cycles around once more, this time with an alternating background vocal line running parallel against. Additional vocal overlays include a celestial “here we go” and “come with me.” Other subtle sonic chances seem to have the hammered-piano motif morphing into a more synthetic keyboard sound. Sophie adds further vocal lines like “don't want to live like days gone bye” and “it's time to rip it up and let it die.” A quick-stop, dramatic pause momentarily punctuates – before the final Big Chorus takes the track out to its conclusion – ending on a final question - “and when the morning comes, will everything feel the same?”
Another musical collective having a bit of history here in the DCW metaverse are the Sydney, Australia new school fuzzpop and lofi gazer 5 piece band Trillion. After prior reviews of their EP's and singles here on this site, the group has now released their debut full-length album “So Soon Now.” Having previously waxed on about their “modulating glazed and gazey guitars,” “impressionist murk,” “blissful reverie,” “buoyant bass,” “billowy guitars,” - not to mention the “warbling” and “shearing” (oh, and there must be “shearing”), a head-first dive into these new tracks follow below.
Opening (and title) track “So Soon Now” wastes no time getting off the ground as it kicks in full-throttle from the opening note. It's aggressive stomp emphasizes the bands trademark 3 guitar approach over the deeper low-end of bass and punchy drums. Male-female tandem vocals echo the Mbv/Slowdive/Blonde-Redhead fractured cadence in both diction and mix placement. There's a touch of “romantic” feel with the swooning chords that also touches on what Ringo Deathstarr does so well. Follow-up cut “Lo-Fi Days” progresses at a more measured pace, with a delightfully muted clarion-bell guitar stroke standing out as an every-4-beat delineator. As the chorus explodes with guitars and voices all crashing together in a singular sonic meld, its impressive how the drums stay clearly defined within that fray. A momentary pause at the 3 minute mark serves as buffer, before the push to conclusion (which includes an enchanting :25 second ambient guitar coda).
Third entry “Atomic Sunshine” makes inventive use of echo and delay on the opening drum beats. That is soon met by a wall of dream-gaze guitars as a snaking bassline provides counter-melody underneath. Strong tandem vocals with the females voice mixed slightly in front sing out lyrics that can actually be heard. Extended passages of softer, easier-going sentiment connect with more dynamic bursts. The album's first video single release “Cherry Blossom” is a hard-driving, forward charging affair that is self-described as “a song about the judgement that comes with living life to the fullest.” An instant affinity was felt with this track as it's title is the same name as one of our beloved cats. Although we initially named her “Sakura” it was quickly translated to Cherry Blossom (and then just Cherry), symbolizing the ephemeral nature of life.
Check out this amazing song and video here:
Fifth track “Kusanagi” (also Japanese mythology referencing a sword that represents the virtue of valor) features classic gazey pitch-bended, down-stroke guitars, double-time drumbeat and brightly stated vocals. Strategic open passages of only drums and a single guitar give reprieve as well as setting up the explosive guitars and alternate chord advancement that follow. The single title word chorus matches seamlessly with it's associated progression. “Falling Down” clocks in at a mere 2:09 making it the shortest entry on the album. The shapeless razor-burn guitar churn and submerged vocals elicits recall of something Brian Eno said when hearing a particular MBV track – calling it “the vaguest song he ever heard.” That description would apply to this cut as well. Recently released second video single “Take It Slow” brings back the bass and drums rhythm support, anchoring everything under scorching guitars and subtle melody lines. Vocals float in and out with a multi-layered chanting cadence, and chord structures following clearly defined patterns. There's a bit more emphasis on the lower-end sonic hue cycle, as guitars pitch downward in a more blended form with the bass.
Check out this metaphysical video here:
“Close Your Eyes” comes on with that heart-tugging, gazey-haze that a band like the aforementioned Ringo Deathstarr frequently dabbles in. Vocals are appropriately submerged for maximum dreaminess, as those starry-eyed guitar chords churn away. Crafted melody lines emerge over the turbulent textures, exhibiting the power of a three guitar assault. “The Silent Sea” pivots off a backward-leaning guitar chord down-stroke before moving into four-on-the-floor structure. Pitch-bended off-kilter (or as they self-describe “offset”) guitars push the pace forward, while a singular unblended voice provide lyrics. A Sonic Youth-style breakdown emerges in an unexpected (but welcome) midpoint sequence. Final track “Sometimes it's Alright” is a symphonic tour-de-force of ambient experimentation. Beatless, shapeless and relying solely on texture, it is actually quite soothing in it's measured rise and equally gradual fadeout.
Check out this amazing album here:
Follow Trillion on all their Socials:
spotify.com/trillion
trillion1.bandcamp.com
facebook.com/trillionsydney
youtube.com/@trillionsydney6897
instagram.com/trillionsydney
twitter.com/trillionband
A Previous Feature Review of Trillion (which includes links to all the others on this site) can be found Here.
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The circular way an album or artist finds their way toward a review here on this site is a curious and fascinating one. In the case of accomplished recording musician Julian Shah-Tayler, the most-likely spotting of a recent Night Crickets write-up inspired contact regarding their own recent work. As it turns out, Julian has been making music in one form or another (both in bands and solo) for a substantial amount of time now. In fact, he's written over 300 songs, which is impressive by any measure. A full-length album of original songs titled “Elysium” was released a few months ago, which now receives a deep-dive review below.
Taking note of the vintage glamour cover image photo tribute (slyly recreating Roxy Music's 1973 “For Your Pleasure” which featured model Amanda Lear), we're already off to a great start. Opening cut “End Of The Line” combines electronics with funk-style bass guitar and deep-vocal stylings, immediately delivering on the Bowie/Prince hybrid influence promised in the liner notes. Catchy keyboard hooks after each chorus line and in-between verses serve up pleasing synth textures. A Robert Fripp-esque guitar solo and deconstructing end-out emphasize its unexpected conclusion. Second track “The Devil Knows” boasts the musical assistance from famous and accomplished friends in the guise of David J on bass and Mark Gemini Thwaite (henceforth referred to as MGT) on guitars. Having written about the famous David's latest output with new band Night Crickets just last month, it was 3 years ago when coverage of MGT's guitar mastery in Peter Murphy's live band first appeared here on this site. Both musicians add cachet to this intimate (yet danceable) lyrically driven song.
Romance and sensuality are the driving forces on the dreamy lovesong “Melt.” With vocalizing morphing between the aforementioned deeper-toned Peter Murphy and David Bowie's mid-range tenor, impressive lines like “I have to make you love me tonight” (as opposed to the more de rigueur “I have to make love to you”) stand out. “Secret” pulls together throbbing synth-bass, chunky soul rhythm guitar and hand-clap percussion on verses displaying a free spirit. The chorus is lively and upbeat, with horns behind extended words for singalong emphasis. A tasty, wirey guitar solo adds a dose of rock and roll to this pop confection. “Evolution” comes on full electronica with it's bright synth melody line and pulsating machine-driven rhythms. While still maintaining rhythmic continuity, the chorus moves into a smoother aural state, utilizing multiple-voiced harmonies for dreamy effect. Irregular guitar textures emerge as the song progresses, adding counterpoint to the dominant synth-melody line.
Opening with the howl of a wolf, “Lupine” builds around plucking bass notes and repeated audio sample. Morphing into a chugging guitar-bass+drums rocker, an analogy of human desire as an animal hunger is fully explored through the lyrics. “All Good Soldiers” continues that simpler guitar-bass-drums blueprint further by stripping it down to the basics. Vocals are delivered with an uncanny similarity to Bowie in both tone and phrasing. A substantial instrumental section allows for buzzing guitar forays, leading into a gentle bass guitar and softer percussive accompaniment. “Head Up High” benefits from a solid drum track and richly textured keys (via Sam West and Nathan van Hala, respectively) along with its beautiful melody and finely crafted lyrics. One of the best produced tracks on the album, the positive message presented makes it an instant favorite.
“Kintsugi” featured another guest drummer, as Chris J Olivas (Berlin) lays down a raucous pattern underneath new wave guitars. Lyrical references to Japanese precious metals repair techniques serve as a metaphor for the emotional turmoil of the heart. “Earthquakes” combines ambient synths, a bold, rubbery, bouncing bass-line and heartfelt vocals that encapsulate the best 80's new wave singers. In this instance, Cy Curnin of The Fixx comes to mind. Additional lyrical points are given for working the thematic imagery of “shifting tectonic plates” in as an allegory for (once again) emotional devotion. “Bet Your Life” is an acoustic guitar driven composition that layers in elements of buzzing ambience, busily descending bass-lines and metallic percussion. It's extended coda rewards the listener with an enveloping instrumental dreamscape. Resolving all the themes laid out in the previous songs is final cut “Darkling U.” Syncopated electronic keyboards and percussion are met with an angular bass pattern, creating an otherworldly, futurist dance track. Elements of industrial emerge in the harsher tones and aggressive forward pace. While the songtitle reapportions something the aforementioned Prince would do (change “darling” to “darkling”), it feels more Nine Inch Nails in the synths and execution. Kudos once again to Nathan van Hala for the clarity of mix and to all involved in its brilliant production overall.
Check out this eclectic album here:
Connect with Julian Shah-Tayler/The Singularity via his Social Media here.
As the alarming year of 2020 comes to a conclusion, this annual year-end “Best Of” recap features an eclectic collection of musicians who've all earned inclusion. While live shows were still “a thing” in the first two months, the world took a sudden turn shortly after that. Recorded music became more important than ever, and this site continued with a steady flow of reviews on much of it.
Original writing on each artist placed emphasis on their respective creativity and craft. What follows is a chronological timeline of those individual singers or bands as they first appeared here over this past year.
It seems like so long ago, but 2020 started off with the ability to attend in-person live shows the way we always had, before this pandemic hit. Early January presented the opportunity to catch Brooklyn-based singer-songwriter Kira Metcalf in an intimate setting at NYC's Rockwood Music Hall. Additionally her single “Cheap Kind” received a deep dive analysis.
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Long-time e-friend Bill Dwyer came down from the more northern city of Boston to play New York's venerable nightclub The Bitter End on Sunday, January 5th. Filling that venue with a full set of his original music (capably backed by his electric band), his 'Americana' storytelling approach was enhanced by the more complex instrumentation.
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SINthetik Messiah is the working "band name" for the equally mysteriously named electro/industrial bass sound designer Bug Gigabyte. Based out of the bayous of Louisiana, he is the main composer, producer and engineer for all recordings under that moniker.
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The Carvels NYC play classic-era downtown NYC original roots rock and roll. Super fun song and video “Late Night Heart” received the DCW Feature treatment.
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Birmingham, UK based glam-rockers TREMENDOUS capped off the month of January with their unplugged version of single release "Like Dreamers Do." Since then their debut album “Relentless” has been released and can be acquired by checking out links via the bands social media.
A significant live show happening at the end of January serves as the opening salvo for February's DaveCromwellWrites extravaganza. An opportunity to catch one of our (newly re-energized) living legends (recovered from health issues) should never be missed, if at all possible. As far too many of our most influential musical heroes move on to the other side with unsettling frequency these days, a finite amount of chances remain to celebrate their work with them. Newer, still-emerging artists creating work that fascinates also found their way into that month's feature as well.
Goth/Glam-rock legend Peter Murphy returned to New York City for a week-long residency of make-up shows at the East Village venue Le Poisson Rouge. Playing an entire set of David Bowie music in the form of a Tribute show, the man and his excellent band delighted the audience with one classic Bowie song after the next.
Opening the show was New Orleans Drag Performance Art singer Vinsantos. Previous work includes touring with David J, who is also a founding member of Bauhaus.
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The seemingly boundless energy of Philadelphia-based creative force Tom Lugo re-emerged once more with the debut album from a collaborative project Cielo Oceano titled “The Space Has Always Reduced Me To Silence.” Partnering with like-minded guitarist and programmer Andres Lugo, astral atmospherics are blended together via keyboard and guitar textures while pulsing bass-lines and crisp piercing percussion provide sensory motion underneath.
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Puerto Rican gazey/dreampop ensemble Un.Real released a gorgeous, floating track ”Lovely one / Islands,” serving up mysterious places of wonder and reverential beauty.
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Heavy psych-n'-gaze-rock is well represented on a blistering track from Cardiff, Wales UK's Excellent Skeleton. At nearly 10 minutes in length, “Stop Waking The Sun” serves up epic proportions unleashed with unabashed sonic cataclysm.
The month of March introduced enough global fear of pandemics and economic turmoil to rival what were once considered too far-fetched to be true doomsday scenarios. It's as if the T-Veronica virus depicted in those outlandish Resident Evil movies were now with us all. With it came “social distancing” and the increasing concern to limit contact with others. As such, this month began focusing solely on musicians working in more self-quarantine surroundings.
Originating out of the Western Australian city of Perth, psych rockers Mystery Tapes released the digital single “Cold Habit.” Described by songwriter/producer/guitarist and vocalist Zack Yusof as an attempt at modernized blues/country-style lyrics enhanced through the sonic prism of today's pedal-board FX accompaniment, the track showed insight within their creative process.
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The mid-western US locale of Canton, Ohio serves as the home base for I Fight Fail, a three piece emo/hardcore-melodic-pop unit that released the single “All I Am.” Alternating instrumental spaciousness and fury is paired with lyrics focusing on the dream world.
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The Brighton, England independent music label Shore Dive Records is always good for a steady stream of intriguing new music. Specializing in limited edition releases, they provide a treasure trove of worthy material otherwise obscured by larger entities hammering away with oftentimes less creative (but more heavily financed) promotion. One such band that found it's way onto the DaveCromwellWrites landscape was the Russian collective COSme. While the announcement of Shore Dive reissuing the band's debut album came a month or so back (release number 34), the positive impression made on first (and repeated) listen(s) required deeper analysis.
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Canadian duo Paragon Cause released a single titled “Lost Cause” and DaveCromwellWrites lent an ear for analysis and words on the inner workings of this track.
Four new bands made their way into the April 2020 DaveCromwellWrites analytical universe, safely arriving via this modern day equivalent of a digital shield.
The continuing interactive relationship with niche label Shoredive Records and its steady pipeline of releases provided this site with London, England's Velveteen. Their EP “Bluest Sunshine” showed a clear affinity for the early 90's developmental years that brought us all those incredible albums from My Bloody Valentine, The Jesus and Mary Chain, Cocteau Twins, Boo Radleys and Swervedriver.
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With the release of their full-length album “Agitprop Alterna,” Peel Dream Magazine - the collective fronted by NYC musician Joe Stevens shared the single “Is It My Body” as an additional reference point to a sound that is both unique and appealingly familiar.
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A discovery to this site at this time was the Toronto based Canadian acid-punk / post-hardcore / progressive-screamo band Pilcrow. Their most recent recording to date, “Fever Dreams” served up five tracks of hyper-charged aggression that is equal parts meticulous and chaotic.
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It had been a little over four years since Austin, Texas rockers Ringo Deathstarr put out a new full-length album, however the release of their latest self-titled effort offered up 13 new songs. Having featured the band 10 times here on this site dating back to 2011 (with live shows attended as early as 2009, and most recently this past November) the opportunity to dig into these current tracks provided it's own unique adventure.
Six must review features wound up in the ever-evolving (mutating?) DaveCromwellWrites pantheon for the month of May. This chosen path of descriptive analysis and “writing about music” remains a repeated selective process on what (and who) to write about. Once those decisions have been made (a non-scientific juggling act of purposeful choices and random chance taking), the actual joy of putting words together in a satisfying manner flows rather quickly.
Having previously explored the separate creative work of Gardy Perez and Tom Lugo on their recent projects with Cielo Oceano and Un.Real, the duo returned to team up under the name MAYU with a new collaborative track “Theia.”
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With the release of their latest full length album “What We Started,” Canadian ethereal alternative/electro-pop duo Paragon Cause delivered 10 new songs (and first single “Lost Cause” radio edit) less than a year after their “Lies Between Us” EP. Once again enlisting the Production (and now co-songwriting) skills of Raveonettes mastermind Sune Rose Wagner, a veritable treasure-trove of new ideas came to fruition.
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The sheer sonic overload and multi-genre appropriation of 100 Gecs combine a level of computer and engineering skills with DJ and gaming savvy. Like-minded genre bending disrupter Dorian Electra joined the Gecs on a remix of "gec 2 Ü" setting new standards for computer and autotuned vocal, cyber-pop.
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Making sure to check out recommendations from trusted sources more often than not opens your ears to something new and interesting. Such was the case with dream-pop duo Drab City, who combine an intriguing mix of dub, hip-hop and jazzy vibes into their aforementioned dreamy vocal sound.
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With the release of their three-years-in-the-making first full-length album “Ghost Moon Ritual,” moody pacific coast duo Lunar Twin shared their electronic dream vision with the world. Over the course of that 3-year time period, Bryce Boudreau (vocalist/songwriter) and Chris Murphy (multi-instrumentalist/producer) crafted 13 songs in all, working from their respective locales of Hawaii and Salt Lake City.
New and innovative artists in their respective genres had the Cromwell periscope focused on their work in the month of June.
The balancing act of humorous lyrics with quality music is exactly what you get on Ian Lockwood's EP “Nasty.” The five tracks cover a variety of subject matter, with emphasis on the internet life we all now live.
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Shore Dive Records comes through once again, with their momentous 50th release rolling out the debut EP “Shades And Whispers” by Polish emo-dreampop band Waterville.
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Japanese trio mouse on the keys released their four song jazz piano EP “Arche.”
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SINthetik Messiah returned with a new release “Split Damage,” serving up two tracks exploring and reinventing that 90's trip-hop sound. Savvy PR Company New Dark Ages did their part in helping to spread the word about this release.
The one thing we can all count on is the need for creative types to continue making their art. Musicians who spend a lot of time writing and recording as part of their ongoing routine continue to focus on new songs and videos as their primary outlet. The joy of deep listen analysis and the words that flow from that once again featured in the month of July here at the DaveCromwellWrites global consortium.
Julian Kerins is a musical tour-de-force and frontman for his own sophisticated indie rock power trio. He is the complete package of songwriter, virtuoso guitarist and polyphonic vocalist with a 6 octave range. Accompanied by bandmates Michael Vetter on drums, and Michael Schuler on bass, a full 10 song album “To Solemn Maia” serves as the current full-length release.
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Internationally acclaimed extreme metal band Lamb Of God released their eighth studio album and first in five years, choosing to go with no title other than the bands name. Now two decades into their explorations of brutally aggressive rock, this Richmond, Virginia conceived quintet have taken their place alongside contemporaries like Metallica, Slayer and Pantera. An official video for the track “Gears” comes along with the album, serving to add a visual element to the lyrical and musically intense storytelling.
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Back in late April the electronic-music and fashion-forward duo Turbo Goth released a new song at the height of this world pandemic. Calling the track “Quarantine Dreams,” it was referred to it as “a groovy love song” created for interpretation and reflection on applying your dreams through positive actions going forward once this crisis is finally over. That original track received remix treatment by three creative entities, all given the Cromwell review.
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Darkwave artist Cat Hall (aka DISSONANCE) released a new single and visualizer clip for her song "Precipice." Described as a lament of personal struggle, her ability to transcend emotional pain and physical scars has ultimately produced this beautiful work of art.
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Documentary filmmaker Matthew Levin shared a new episode of his “Translove Airwaves” series titled “Krautwerk Umarmt Liverpool” in a limited run preview setting. The psychedelia motivated producer presented an immersive look into two German musical pioneers who have teamed up under the moniker “Krautwerk.”
August seems to always come with a slight twinge of melancholy that we've now entered the third and final real month of summer. Along with the pursuit of one more perfect beach day, a new batch of music releases from various corners of the globe were reviewed as well.
Blues-rockers New York Junk evoke the streets of NYC on their latest record “Dreaming,” released 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.
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Carrion is an Industrial Rock band from the northern forest lands of Norway, founded and fronted by lead member Adrian Kjøsnes (working under the moniker Hide Beliya`al) Single release "The Blood Ov Saints" was the first new material since last years full-length album “Iconoclasm.”
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After 10 years with the influential NYC noise-rockers A Place To Bury Strangers, bassist Dion Lunadon stepped out to pursue a full-time solo career. He released a new track “When Will I Hold You Again” as a duet with vocalist Kate Clover, dedicating it everyone whose been separated from loved ones as a result of this current worldwide pandemic.
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Sydney Australia's gazey, dreampop and psych-rock collective Trillion released a 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.
Mid-September 2020 had this site rolling out a number of compelling new releases that receive detailed reviews, along with an exclusive in-depth interview. With live shows still on hold, recorded works become even more paramount in the audio artists creative life. The opportunity to conduct direct a one-on-one interviews via phone and email still provided a formidable option for the music writer to gain insight into an artists latest project.
Jody Porter released a brand new album "Waterways" and offered up insightful answers to questions about this record, as well as his entire career so far.
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New York City's The Carvels recorded a new full-length album live in one of the city's better equipped music venues. “Live At The Cutting Room” serves at the band's debut long player, released on Die Laughing Records. Originally set to be recorded in front of a live audience during a show back in March, those plans came to a halt due to lockdown closures of the city's music venues. Creatively regrouping with a revised approach, the band got the nine track album recorded two months later at this legendary (now empty) venue.
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Indie rock/dreampop band Just Like Honey released their gorgeous full-length album “Into The Wild” on the now very familiar Shoredive Records.
A select collection of diverse and eclectic musical artists were hand-picked for feature review during the month of October. While the frequent and familiar rock styles of goth, dream-pop and gazey ambience were once again represented, so too was the work of an improvisational virtuoso. The essential commonality running through all of these works is a deep emotional commitment to their respective artistic styles.
Glamorous Italian singer and musician Elle Noir released a new EP “Like A Black Doll,” which emphasized poetic lyrics, strong music composition and exquisite piano.
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Trans-continental duo Sally Haze released their six-track second EP “Wet Dream,” serving up a refreshing blend of DIY dreamgaze (and more).
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New York-based progressive jazz guitarist and composer Oz Noy released his latest album “Snapdragon.” The full recording contains six original compositions, plus a cover of the Zombies’ “She’s Not There,” two Thelonious Monk pieces and the exhilarating track “Looni Tooni.”
A combination of innovative original instrumental music focusing on keyboards and guitar served as the primary entry point for the November Feature. A greater appreciation for musicians composing and recording more sophisticated works of art shared space with a quality pop song.
Keyboardist Brian Charette released his full-length album “Like The Sun” earlier this month. Featuring 13 mostly new original compositions, it was recorded during the first months of this years lock down. The instrumental tracks forge a new hybrid sound that combine electronic beats with the richness of traditional organ textures.
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Musician Afonso Dorido is a Portuguese artist who creates instrumental music under the name Homem em Catarse (which translates to “Man In Catharsis”). Earlier this year he released a 10 track album titled “sem palavras / cem palavras” (in English - “without words / hundred words”) that delves into a heady mix of dreamgaze, ambient, slowcore, classical and emotional musical styles.
Punky pop rockers GIFTSHOP released a brand new song and video homage to pink and pastel 80's era MTV video lore with their track “Stylish Junkie.” Recorded and shot with safety protocols in place, the slick and professional sounding track fits seamlessly along with it's accompanying video.
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.
