Another full circle around the sun and a new year commences full of hope and promise for the days ahead. With that comes new recorded music from both trusted and previously unheard sources. Equal emphasis on both noisy experimental rock and more traditional singer-songwriter contributions occupy this early 2025 DaveCromwellWrites Feature. Plunge forward into these audio creations and the words inspired by them.
The motivating force of Philadelphia-based Patetico Recordings chief Tom Lugo offers a nearly endless stream of new music discovery. Having reviewed numerous releases of that labels various collaborations, prior full-length album by “From the ashes” Stellarscope stands out as a highlight. That pairing of Tom and drummer Bob Forman are now back with a new EP “All That Remains.” Written and performed entirely by the pair, Tom produced, mixed and mastered everything at their two studios in Middletown and Havertown, PA. The Cromwell force now digs into each track in search of it’s sonic core.
Opening track “As I Lay Dying” is introduced by a harsh buzzing riff that sounds like a swarm of bees. It’s urgent pace is soon shattered by a lumbering drum pattern that commences at seemingly half speed. It’s a deep, hammering pulse that creates a solid foundation for the “bees” swirling above. As drum fills intro an even deeper, slithering bass guitar line, Tom’s ethereal vocals begin and further amplify the mood. One minute in and a driving chorus is reached, combining walls of sheering guitars, voices and an overall sense of urgency. As the next verse progresses, those live-in-the-studio drums are a welcome change from much of the carefully digitize percussion heard lately. The bass guitar riffing is fast and furious, creating a subtle bouncing movement throughout. The pace quickens halfway through with a rising progression before reaching it’s crescendo and intro-mirroring fadeout.
Follow up cut “All There Is” builds off of multi-layered, downward stroked distorted guitar chords in that revered MBV style. Rough and tumble snare-roll heavy drumming also taps into the Colm Ó Cíosóig bag of rhythm for a pleasantly noisy trip in to the void. Tom’s sneering vocals sound as if delivered through a tin can, but that’s ok (in fact – perfect). Soaring musical passages glide through the middle as drums bash away to 747 jet engine guitars. Third entry “Some Other Day” keeps the buzzing guitar out front, with some unexpected chord selections in its progression. With the drumming still on the busier side, new elements such as clacking stick sounds enter the fray. Vocals are somewhat more intelligible, with references to “voices in my head” and the songs title line clear enough. Warbling effect runs parallel through some of this, adding a subtle, unsettling element. Halfway through, things align a bit more as a traditional guitar melody emerges over top of downward driving chords. Quick cut stop-start rhythms feature in the final verse, while the sludge takes over to its conclusion.
Next track “Devour all” captures Kevin Shields pitch-bend guitar chord churn on it’s opening flurry before low booming drums rumble in underneath. A sheering swarm of quick-strum rising guitars soon give way to single note melody lines as Tom’s vocals appear in a whispered, floating style. The chorus is big and bold, resembling the heavier output of a band like The Sisters Of Mercy. Headphone listening makes you aware of how well produced this wall of sound actually is. The separation of instruments is fully on display making for the perfect balance of controlled chaos.
A dramatic single pounding drum thump leads the way into final cut “Consumed.” With alternating cymbal crashes for emphasis, center melody guitar-churn flows forward, as fluid bass throbs throughout it all. Vocals are softer and near buried at some points, while harmony-doubled in other places. There’s an almost orchestral feel to the rising guitars, soaring above the heavier clatter below. While momentary quieter plateaus set up subsequent verses, a full force sonic assault “consumes” the tracks final minute.
Check out this blistering new EP here:
Follow Stellarscope and Patetico Recordings on their Website and Social Media
Mutual friends and associated bands are the frequent pathway to discovering new music groups. Such is the case with New York City based female rockers Killdeer. Having grown up in musical families that stamped early influences on them, these four women write, record and perform live music combining punk, pop, and alternative into an appealing garage-rock sound. With three EP’s already under their belt, the band has now released a new single “Generic Break Up Song.” The DCW audio-scope turns it’s focus on sorting out this songs contribution to the rock music canon of anti-love songs.
Descending guitar note phrasing opens the track with alternating textures, before climbing back up the scale to start the downward spiral again. Cymbals woosh and bass guitar enters space before everything momentarily comes to a halt. That’s when the drums kick in and a chugging rock n’ roll progression takes off fully. The motion reverses to an upward rhythm, then another split-second halt before vocals commence with playful solo voice and harmony coated follow ups. As the song title implies, this isn’t a new story, but one of time honored tradition. “Seemed so fine” starts thing off solo before “boy I must have been blind” comes layered in harmonies, as trouble is revealed as “a storm rolled in – grabbed a bottle of gin – where’d our love go?”
You can’t help but chuckle at the cheeky lyrics “you walked away – saiiiiid you’d stay” (in full harmony) “now I’m broken wing – busted feather – thought we were forever!” One can’t help recalling the similar romantic angst referenced in Cameron Crowe’s feature directorial debut “Say Anything” and the still hilarious song “Joe Lies.”
However, Killdeer brings the guitar crunch, and drum pounding gets heavy on lines (thought we were) “forever together!” Quick-turn drum breaks and single cymbal accents are impressively built into the songs structure as are those multi-voiced harmonies. An anticipated fuzzy guitar solo hits just after the midpoint, accompanied by a driving melody-echoing bass pattern. The band is now in full charge forward mode, with slashing guitar chords, fluid bass and pummeling drums. One more pass through the “master of deception” and “you’re nothing but trouble” lyrical put-down, because “its plain to see, you were never meant for me.”
Friend to this site Phil Wilson has had a number of his brilliant The Raft albums reviewed here with much deserved accolades. His ability to compose, produce and perform songs with such a beautiful quality has always been impressive. Much of that production also included the lush placement of dreamy female vocalist who’s contributions lifted the track to ethereal heights. Now Phil is back with a more stripped down project called Indigo Twinn that is a duo partnership with vocalist Claire O’Neill. The four song EP “Someone Else” (titled after it’s lead off track) features Ms O’Neill as equal contributor with songwriting and featured vocalist on all four cuts.
The record opens with the aforementioned O'Neill/Wilson dual penned title track “Someone Else.” Gentle three-quarter time guitar chords lead the way with a lovely jangle. Claire’s clear, straight-forward vocals commence with a gentle sincerity and we’re on our way. The first chord change soon hits as the lyrics implore you to “come down and wash by the water,” and to “wipe the tears from your eyes – and cry.” Comparisons to the legendary band The Sundays once again come to mind (having made mention of that in some of The Raft’s earlier work). Claire take the emotion further with hook lines “cry like a baby – wish you were someone else.” After a minute and half, drums and bass join in giving everything a fuller band feel. The production is impeccable as is everything else leading to the songs emotional denouement.
Follow up cut “Supergirl” is the first of two solo written songs from Ms O’Neill here. Against a four chord acoustic guitar progression, lyrics question “why does it always seem to be that you’re on my right side, but not on my good side?” The bridge change comes on bolder with the lines “but you get wiser, when I get nicer” ultimately leading to “I’ll be eager to be your supergirl.” Fuller instruments once again enter the mix, with special mention to J Pedro on bass (+ entire EP production) and Paul Keelan on drums, playing brilliantly throughout. Along with Phil’s nuanced guitar work, there’s a strings sound of sorts adding one more dreamy sonic element.
The second solo penned track by Claire “Come Away” reduces the chord structure by half, with only two needed for it’s impact. Phil layers melodic electric guitar tones over top, while vocals implore you to “leave all your monsters” and “come away with me.” Vocals are doubled at key junctures, with harmonies placed for emphasis. “So let’s review the situation” begins a dramatic midsection that comes with well-placed “Ahh Ahh” backing vocals. It all builds to an emotional peak of voices and instrumental sections, until the final coda floats away on a cloud.
Final entry serves up the Phil written, sentimental and heart-tugging “Sarah.” With deeper bass notes marking out a counter-melody pattern against jangly finger-picked guitar, Claire delivers the vocals with equal aplomb. “Look behind our heel walking, didn’t mean that much to me back then” is how the innocent lines begin. The single word title is given it’s gravitas by repeating it with differing vocal emphasis and varying background enhancements. The story captures an innocence of place and time through everyday living, where the simplest things can become magical from a looking-back point of view.
It was exciting news to hear that frequent contributor to this site Andres Alfonso Lugo
was back with a new 8 track album “DRONINGUITARFEEDBACKS,” under his Los Dientes Hundidos en la Garganta name (the teeth sunk in the throat). Recorded at his Where are we going studio lab in Baltimore, MD, Andrés plays all the guitars, drums, programmed drums (with a little help from his AI friends), percussion, loops, and everything else. It is an experimental tour-de-force that garners an essential track-by-track reaction below.
The 54 second opening snippet sounds like a field recording of an outdoor jam percussionists often entertain themselves with. That launches into the 5 minute “Cosmicomics” which emphasizes motorik drumming and unnatural sounding wind-wooshing seemingly pumped down echo-heavy tunnels. Expanding track lengths, the 9 minute “Trantor Yuba” takes the initial drum-circle conga-fueled percussive elements and lays the groundwork for extended guitar drone over top. The patterns are consistent, yet move organically in subtle changing directions. A distant siren emerges as the piece slowly fades out.
Snare drum makes a prominent appearance on the six and a half minute dream-gazey meditation “Onoe Matsusuke.” Low end textures (sounding like cello’s) share space with higher-pitched ambient explorations. Moody floating movements are held together by way of the simple drum beat that fades in and out of focus. Pushing the sonic lengths further, an over 10 minute “Kebra Nagast” goes full-on slow, introspective dreamscape, emphasizing the twilight moments that exist somewhere between heaven and earth. A single drum thump appears at intervals throughout its continuous shimmering audio field.
Bandcamp featured track “Bene Gesserit” (the albums longest entry at over 11 minutes) emerges with full-throttle force. While the droning elements hover above everything, mad-crazy jazz-style drumming thunders, rolls and ride cymbals with frenetic energy. Droning elements slowly change patterns, marking out a recurring melody (of sorts). The combination of longer held ambient textures with the hold-on-for-your-life roller-coaster ride drumming creates a uniquely fascinating soundscape.
“Bezdomni” features an electronic hand-clapping like percussion, ominous long-held ambient backdrop and wailing voices that sound like what you might hear in a jungle. A subtle melodic movement emerges, adding another element to lock on to, between those recurring vocal outbursts. Final entry “Omni Poetics” leans into a rapid paced single snare drum shot, long held center drone and horror-style voices placed wide in the left and right channels (heard on headphones). It’s a fitting way to end this hallucinogenic album.
The month of July is always a reason to celebrate. Two important (personal) birthdays share this 31 day stretch with peak middle-of-summer enjoyment. Along with trips to parks, beaches and the pool, time has been allotted to critically examine the most compelling new music. While all the reviews here are of recent releases, more than a few tracks have been developing over a number of years. Trusted labels continue to support artists whose independent output are far more interesting than anything the current trends offer. DaveCromwellWrites does its part as well in this regard, with the below investigation.
When friend-to-this-site Shore Dive Records shows up with a new album to promote, it’s always a reason to take notice. When it’s a beloved artist previously reviewed here, there’s pretty much certainty it will receive a careful listen. Such is the case with the Phil Wilson lead project The Raft. The Liverpool, UK based musician’s full-length album “Summerheads And Winter Beds” was given a detailed review here a few years back. Subsequently Phil’s guest vocals on Xeresa album “IV” and the song “Fall Into Unknown” was given a thorough analysis as well. Now Phil is back with a new full-length “Look At The Patterns,” which receives a DCW focused review below.
Opening track “Save Me” starts immediately with Phil’s vocals, a cappella but layered and touched with processing. A single guitar stroke ushers following vocal lines, then finger-picked open note guitar figures fill in going forward. Fuller instrumentation joins in for the gentle, minor-chord enhanced chorus that states “I don't wanna change the world, it's not what I cling to. When love is failing . . . and fear remaining – doesn’t matter what I do.” The second verse adds clack percussion for change and depth, while lines “Stayed here for lack of anything else to do - And what you are is what I knew” is an insightful observation. Halfway through a whimsical guitar solo weaves around repeated vocal line “what I do” (as in it “doesn’t matter”). Following that are unanticipated heavy distorted guitar chords emphasizing lyrical thoughts “We've been praying lately for something to shape me -
Skimming books and papers - Looking for a clue.” A Trumpet plays for a bit and then back to the power chords on what has now become a powerful chorus.
Follow-up cut “Far Away From Here” bursts out of the box with a joyously bouncy groove driven along by off-kilter “wobbly” guitar tones. It’s a peppy pop song for sure, with Phil enlisting a back-up vocalist that adds emphasis to key vocal line. The single-phrase song title line chorus hits hard with near-gazey guitar chords and throbbing counter-melodic bass. The vocals punctuate it all with a catchy “Ah-Ah-Ah” end cap. With declarations to “hang on to my health,” the goal is still to find “a new start” – where? Well, “far away from here.” 2:15 in and a gentle picked guitar solo presents itself against that wonderfully churning warble backdrop. Additional lyrics “If I could only be around instead of underground - I could see you shine. It's hard to be a better man - Living up to all you can” add insight into the desire to get “far away from here.”
Check out this amazing track here:
Third entry “Calling Out” makes full use of that three-quarter time 1-2-3 waltz progression as beautifully as any Sundays song. A pair of Claire’s contribute female vocals in a primary way, adding further credence to the Sundays comparison. The chorus flips to a male dominated vocal blend, with dreamgazey guitars washing over it all. A tasteful blend of plinking guitars, throbbing bass and deep textured drum sounds complete the audio spectrum. A final 30 second coda appears with an a cappella vocal of the lyric “you don’t even know me.”
A slightly funky bass and drums groove serve as the initial underpinnings for “Memory Of A Day #7.” Blended vocals come on tweaked and textured as one is encouraged to “feel the breeze, see it in the leaves” so that “for a while we are free.” Soft female vocals join in for the second verse (the two Claires) “What a scene - We're a dream - Moment to moment - And for a while we are real.” All of that leads to a lush, dreamgaze chorus that reveals the albums overall title. The second pass through reveals the song title with “into the soul the memory goes.” The track is a brilliant blend of almost folk-music (quiet guitar picking) single brass elements (trumpet) and heartfelt emotions. “Windows reflect back two souls. Look at the patterns. Memories or dreams?"
A precisely syncopated drum arrangement and chiming Robert Smith style guitar tones guide fifth track “Wanda.” One more trio of backing vocalists are engaged on a sensuous chorus that implores “you can always smile.” Bass guitar and it’s six string counterpart create just the right length bridge to immerse yourself in yet-another luscious chorus.
Celestial angelic folk is taken up a level on the Jon Anderson and Vangelis sounding “Next September.” While the lyrics may be more earthly than those two aforementioned spiritualists: “You were lips you were eyes . . . You were hips you were thighs . . . Spent the night every night - Held on tight,” that sonic impression remains. A song of desire – to rekindle something once had - “Maybe I'll see you in Manchester next September. I'll come and stay the night re-live our nights in paradise.” The male-female tandem sung vocals are nothing short of gorgeous.
Heavy bass guitar plod and similarly paired drum stomp supply framework under the 2/4 time parable “The Boy Lives On The Wind.” It’s a marching progression with that bass guitar reminiscent of Paul McCartney’s inspired playing on “The White Album.” Interesting chord changes deeper in allow for a sonic respite and prevent repetition fatigue over it’s five minute length.
Check this one out here:
Reverberated guitar chords chime from multiple directions on curiously titled “The New Brighton Witch.” A previously unheard female voice adds a response melody in counterpoint to Phil’s primary lead vocal. In fact, the apparent actual subject of the song’s title turns up to convey a spoken word incantation at the tracks end.
Quick chime guitar strumming and precise counterpoint bass notes introduce the dream-folk tinged “She Gave Me A Crystal.” A trio of background vocalists are carefully synthesized into key sections, the first being a rising step “I can never tell you what you are – the sun and the stars.” A minute and a half in on this over 5 minute track has fuller instrumentation filling everything out. In particular, a buoyant bass guitar creates figures between the more grounding drum beat. The harmonies are lush, ethereal and utterly exquisite.
The album’s final entry “In The Morning When You Rise” builds around finger picked acoustic guitar notes, strummed backing chords and subtle “ahh ahh” backing voices. Quick in pace and ¾ time (or is that 6/8?) soft opening lines ask “What can I do? What can I say to get out of the way? What can I do to be fully alive?” Exploding into a full-on dreamy-gaze rock production with stabbing guitar figures, a once-again soft plateau is reached. Tender male and female voices blend together asking “how can you shine?” before revealing the songs title line. One more lovely build up of cascading voices, full band and an emphatic chorus leading the track (and album) to it’s conclusion.
There seldom is too much passing between musical releases from Sheffield UK based indie-gaze band The Suncharms. Having reviewed their full-length album “Things Lost” here last October, the band is now back with a contributing track on Sunday Records recently released multi-artist collection “Beautiful Noise.” This isn’t the first time they’ve contributed to one of these collaborations, as their track “Liquid Through My Hands” on 2021’s “Something Beautiful” release was featured here at that time. Anticipating a glorious listening experience once again this time around, their track “Saddest Sound” is given the DCW analysis.
Beginning with ambient synth-like textures, open string guitar figures lay out the four chord progression. Secondary guitars enter in with subtle pitch bend counter melodies as drums, bass and jingle tambourine fill out the sonic spectrum. Lead vocalist Marcus Palmer soon emerges with his familiar sandpaper vocals offering a soothing delivery of the song’s title via subtle psychedelic layering. Rhythms pump back and forth underneath as extended guitar note melodies ride over top and ever-present tambourine-on-snare beat marking time. After minute and a half in, a second melody line emerges echoing the opening refrain via clean twangy guitar. The heartfelt vibe is easy-going, with a touch of bluesy greats like Knopfler and Clapton. The descending bass guitar pattern warmly ushers in another round of Palmer vocals. One more guitar line enters the mix two minutes in with a deeper tonal quality, ultimately blending in with those other guitar figures already in progress.
It was just a year ago when this site did an extensive review of SoCal pop rockers sparkle*jets u.k. and their indie hit covers collection "Best Of Friends." Trusting the recommendation of frequently reviewed Burbank, California label Big Stir Records, an over 800 word highlight analysis of that record was produced. The band is now back with “Box Of Letters,” their first album of original material in over 20 years. DaveCromwellWrites turns it’s audio-scope on these brand new tracks, searching once more for the continuing evolution of what is “pop rock” music.
It’s a bold move to open an album of new material with a cover, but that’s exactly what happens here with the purpose statement “This Will Be Our Year.” Tapping the ageless Zombies classic, it serves as a testament to the endurance of finally breaking through. Packed into a succinct 2:29, the core members of Michael Simmons, Susan West and Jamie Knight make their presence felt immediately. Michael’s lead vocal tone and register share the same reedy quality of those guys in Squeeze (either Difford or Tilbrook, I confess to blurring who is who), with a touch of McCartney as well. Ultimately it’s a celebration of something that “took a long time to come.”
As the band is know for alternating lead vocals, “Goodbye X3” becomes the first entry from Susan West. Written with fellow bandmate Jamie Knight, classic rock and roll keyboards drive the songs rhythm. Sung with a bratty, adolescent flair, the title line chorus brings to mind 80’s pop sensations Scandal and their hit “Goodbye To You.” It’s a breakup song of course, and a sending off of “yesterdays problems.”
An initially twee sentiment with playful piano chords and clacking-shell percussion introduces the ultimately scathing “Princess Needy.” Blending Burt Bacharach style songwriting with bigger faux-horns production, the lyrics hit the mark again and again. “How dare the rest of us make her sad? Don’t you people know the world revolves around her?” Two minutes in, there’s a sudden tempo shift into a funky progression where 70’s “soul” voices proclaim “She’s gonna tell everybody about it.” From that point on it morphs between the initial rhythm and what sounds like the orchestral band ELO, perhaps not so subtly referencing bits of their hit “Evil Woman.”
Susan returns as vocal protagonist on the lyrically cheeky “Love Burn.” Straightforward twangy guitars are joined by shorter melody enhancements for a fun reading. Comparing heartbreak to something that can be remedied by a “bucket full of salve” is an amusing take. Two minutes in and a mad distorted guitar solo (of sorts) commences, before ultimately giving way to the all-important cowbell. Wrapped around that is a rather melodic chorus featuring a somewhat perplexing repeated line “I’ve got a heart in my song for you tonight.”
The obvious Beach Boys musical reference (“Don’t Worry Baby”) on the intro to featured cut “I Can’t Wait For Summer” is a welcome touch. Michael Simmons immediately pivots to his own melody as his lyrical story unfolds. Taking some poetic license here (or perhaps this SoCal resident *did* experience “cold, snow, bare trees” at one point in his life) references to “sandals on” and “drive the coast” seem more appropriate. Lush harmonies fill the air on key moments “someday soon the sun will shine” and “when we take that magic ride.” There’s even a touch of Phil Spector on a brief “Be My Baby” sonic breakdown. As well as a harmonica solo that fits perfectly during the “A magic summer” outro.
It’s a deliberately measured pace “stroll” progression driving Michael’s existential view on “Little Circles.” Contemplating our importance in the world, and “hoping that someone will notice” is offset by the knowledge that “we’re nothing special outside of our own little circles.” Classic Beatles-y harmonies make it all sound lovely nevertheless.
Co-written by all three principal members, the Susan sung title track “Box of Letters” emphasizes quick rhythmic changes on story telling lines (“Way – back – I remember.”) Looking back in time on a lengthy relationship that produced a collection of physical correspondence seems quaint in this age of digital communications. Those “frozen moments” and “pictures too” are now the domain of Social Media. While Susan belts out each line with gusto, it’s still the little things – “a matchbook, flower, and a napkin of embarrassing poetry” that matter the most.
70’s era soft rock/r+b electric piano (with that very specific reverberation) creates the sonic territory for Michael’s “Where’s The Moment.” The feel is similar to Paul Carrack’s 1974 hit with his band Ace “How Long (has this been going on).” Wrestling with making plans and “trying to recapture something great” takes away from the joy of living in the “now.” That provides the impetus for pop hooks “Why can’t I stop and just be? Just tryin’ to shake anxiety,” and “but where’s the moment? I can’t find it, somebody tell me how.”
Susan’s voice is used for maximum pop potential on the bouncy, Michael penned “You Complete Me.” Built around brightly strummed guitars and electric keyboards, clever lyrical turns like “I’ve got 90 cents, you got a dime – you turn my change to dollar signs” is as playful as it sounds. There’s even a surprising Electric Sitar solo in the middle, giving it all a late 60’s feel. However the catchy chorus of “thing is youuuuuu complete me baby (with full handclaps) does that make us co-dependent or what?” is what sticks in your head.
Chunky, distorted rock n’ roll chords and slithering bass are featured on the lyrically clever office-worker anthem “I’m Away From My Desk.” Anyone who has ever had this sort of employment can totally relate to this running out the clock behavior. “Making copies, pourin’ coffees, killing time” leads to thoughts of “putting in for some Personal time.” Fellow label mate (and previously reviewed here) Nick Frater is credited with “Abbey Road Handclaps.” and their layered impact is felt. Additionally an 8 year old Julian Knight chips in on the soaring, harmony-laded background vocals as well.
An instantly pleasing guitar-drums trade off opens the vocal ladder climb “One Two Tango.” The Cheap Trick influence is strong here on the “one two three four five six seven ten” followed by “I’m counting on” background vocals refrain. Robin Zander would surely approve. In fact Rick Nielsen and Bun E. Carlos might nod approval as well on the tight rhythmic back-and-forth between guitar, bass and drums.
The album’s closing track is a cover of “Hey Grandma,” Moby Grape’s opening cut from their 1967 debut album. Showcasing the bands live sound, the track was recorded that way to show off their stage chops and dispel any illusions they can only play in a controlled studio environment. It’s a boisterous rendition, and a fitting send off for an album that has so much packed into it.
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.
