As the summer month of August wind down and slouch towards Labor Day, DaveCromwellWrites heats up with reviews of exciting new releases. Long-time friends return with a brand new album, while more recently reviewed artists receive completed and updated focus. Full albums are analyzed with track-by-track priority, while adapted video releases serve to further heighten their associated tracks.
Fellow Sunshine State expats and long time friends of this site The Stargazer Lilies have a brand new album they’ve just unleashed on the globe. Having covered their prior release here exactly 3 years ago (as well as numerous other features for the better part of the last decade) its always a cause for investigation when this bands new music arrives. “Love Pedals” now adds to their strong catalog of heavy ambient gazey psych-rock. A deep-dive review here will now uncover the treasures within.
Opening track “Ambient Light” comes complete with a dark purple-hued psychedelic video treatment. With the opening strains of John Cep’s distorted guitar bouncing around in a rubbery pattern, vocalist Kim Field delivers angelic lines as if floating above. The title line comes up quickly with the phrasing “we’ll drone in harmony, in the ambient light,” where they also “psych out.” Its associated video depicts the principal members arriving home and engaging in tripped-out activities. As the grunge-heavy groove trudges forward, the individuals can be witnessed dancing around in animal masks, pouring drinks and playing favorite albums. Noteworthy classics spotted include The Velvet Underground and JAMC’s seminal “PsychoCandy.” As John chokes out an acid-rock solo over that buoyant bass rhythm, cat familiars appear in appropriate places throughout the video, along with those “pedals” that are “loved.” The final ambient light act is to “do some bedroom pop,” and we’ll just have to use our imaginations as to what that actually refers to.
Follow-up track “Love Radio Show” (which also comes with a “radio edit” at the albums end) takes a romantic pop motown feel and immerses it in MBV “Loveless” elements. A nostalgic ode to radio signals both cosmic and real. “So tune in the magic hour, to the signal up above” is how the chorus begins. “Beaming from the broadcast tower, sending frequencies of love” completes that passage. There is even references to the albums (and record labels) overall thematic imagery via lines “transmitting with flower power.” Careful production avoids constant guitar camouflage as verse 2 opens space for bass and drums and lyrics “My world spins only for you.” The guitars make great use of phase shifting to approximate radio waves static.
Third entry “Perfect World” also benefits from an associated video that juxtaposes current colorful AI trend interiors with self-shot black and white performance images. The audio opens with a Spector-esque singular bass drum beat and similarly minimal bass guitar. As the chord progression continues its slow liftoff, you are soon plunged into a David Lynchian experience in both image and sound. Kim's goth-meets-breakfast-at-tiffany’s styling swirls as she delivers thematic lines where “poverty would be no more, as would disease and making war.” For now this “perfect world” only exists in our hopes and dreams, but perhaps someday it will come true.
Check out this Utopian dream here:
Digging deeper, “By Your Side” continues the stark, moody ambiance previously established with added twists. What sounds like muted French Horns initiate a subtle melody before Kim’s voice presents lyrics with measured pace. It’s a story of redemption where one goes from being “all alone,” “companionless walks” and “partnerless talks” to the “only one who needs to be found.” The drum beat is forceful, providing foundation for Kim’s vocal delivery. As bass guitar continues it’s steady pace, John’s guitars wax and wane, with occasional dive-bomb strikes. Midway things get weirder, with a total ambient foray of propulsive guitar textures, along with Kim’s angelic voice returning for a final chorus.
“Shining Yellow” delves into that easy mid-tempo groove and feel, giving off fellow-associates Ringo Deathstarr vibes. Big shuffle percussion, downward drive progression and soft sensual vocals complete an uplifting sentiment. “Looks like the skies are changing, the sun shining yellow. Now that it’s looking lovely, we’re both feeling mellow.” A modern suburban Alice In Wonderland meet Nuclear Armageddon inspired video comes along with this song, encouraging you to find your own “Shining Yellow” utopia:
Sixth cut “Heaven Knows” finds John Cep covering all the instruments and vocals on a dreamy, gazey confessional. It’s soulful progression and out-of-phase guitars underscore lyrics about a “bizarre life I’ve lead.” Creating his own high-register angelic vocals, the title line takes that often used expression and attaches the question “why it’s the path that I chose.” “Trans Med” builds off a slinky bass line, growly distorted guitars and Kim’s sugary vocal delivery. John provides a variety of squalling guitar textures, blurring the line between “Transcendental” meditation and “medication.”
The albums final track (before LRS radio edit) “Hold Tight” dips into the Beatles “White Album” era for sonic comparison. Open note arpeggio chords and its associated progression along with Kim’s whispered vocals conjure up the mysterious feel of a song like “Dear Prudence.” Guitar leads are pitch shifted and distorted in places, clean and unadorned in others. The final end-out is a series of vocal “ahhhhs” and wirey guitar lines over steady bass and thumping drums. As previously mentioned there is a “radio edit” of “Love Radio Show” included at the end, which shaves off about a minute and boosts the lead vocals a bit.
Previous Features on The Stargazer Lilies can be found on this site HERE - HERE - HERE and HERE.
* * * * *
Earlier this year DaveCromwellWrites revisited California visionary synth artist Matthew Nowhere’s work, reviewing his collaborative song “Transforming.” Prior to that was an in-depth breakdown of the track and video for “Love Is Only What We Are.” Both cuts are included on the recently released debut full-length album “Crystal Heights.” With this complete collection that includes 11 other tracks fully available to acquire and digest, DCW now dives in to these recordings for a thorough analysis.
The album opens with “Transmission (Intro)” which offers up a one minute plus ambient texture piece that combines pulsing synths with robotic voices and celestial elements. That leads into the previously reviewed standout track “Love Is Only What We Are.” Next up is the chime-bell enhanced, synth-pad and bass note driven “Echoes Still Remain.” This instrumentation serves primarily to support a lyrical story whose chorus states “Immortalize - A lonely whisper. I hear it now - where echoes still remain.” A touch of electric guitar on the outro provides further depth to it all.
An Official Video comes with this song that adds a nuanced visual element:
The albums title track “Crystal Heights” comes on with a triumphant feel, capturing what those of us (who were there) loved about 80’s alternative synth-pop. There’s bits of Duran Duran (the percolating synths) Flock Of Seagulls and Depeche Mode all rolled into one original composition. A lovely electric piano coda enhances the final 15 seconds. Another just over a minute instrumental follows with the arpeggio synth progression and percussive
“Aquatic Envelopment (Interlude).” From there its on to the also previously reviewed cut “Transforming,” featuring vocals and co-write from Lunar Twin’s Bryce Boudreau. Shortly after that review was published, an official video for the song emerged, and is well worth checking out here.
Moody bass and deep percussion provide foundation for the synth melody enhanced, singular mantra voiced “Have You Ever Known.” Alternately, guitar features prominently on the nostalgic romance of “Ruby Shards.” Tapping into the alternative rock vibe of twangy guitar and synth combos, the chorus hits home with the lines “I found the pieces of your heart - ruby shards of perfect art - and I can only stand in wonder.” It’s a perfect homage to an era that gave us songs like Modern English’s “I Melt With You.”
Check out this beautiful sand and sea video that accompanies this song:
Another minute and change instrumental serves as a bridge link between fully formed tracks with “Stellar Enfoldment (Interlude).” Despite it’s relatively short length, a complete melody emerges by the end. This leads into the piano augmented, lyrically optimistic “Everything’s True.” With pacing and tone moving closer to a David Bowie/Peter Murphy precept, the chorus declares “Lovers and mystics sigh -
raising our hands up to the sky - everything's true.” Thirty seconds of meticulously crafted synth and guitar figures just past the 3 minute mark elevate the track further. “Silver Glass” comes on more gentle, with tubular bell keyboard textures providing audio appeal. There’s a subtle Caribbean Island feel to its underlying rhythm, as Matthew sings “O midnight sky, burning with electric light - but no one seems to see.” Additionally, the hook line “seven years have passed - pieces of silvered glass – rejoin - bringing us together at last” add focus to the songs title and overall intent.
Reaching the penultimate track, “Persist3nce” features Lunar Twin band and The Antonio Family Singers. With lyrics and lead vocals from Bryce Boudreau, additional synths are provided by Chris Murphy. Those keyboard swells compliment bass and percussive pulses, as Bryce presents his lyrical themes with familiar soft-sandpaper delivery. Extolling the virtue to “give into art” in “isolation,” the additional background singers enhance lines “into the night . . . stars . . . sun” and “sky.” A lively drum pattern comes forward under later lines where “the midnight sun” becomes “midnight lust – after the rain.” Final entry “Crystalline Emergence (Outro)” closes out the album with a buoyant keyboard melody over bubbling arpeggio notes and steady whip crack percussion.
Previous DCW features on Matthew Nowhere can be found here and here.
An in depth Feature on Lunar Twin can be found on this site here.
* * * * *
At the beginning of this year DCW reviewed the introspective, slide guitar infused Sueño con Belugas track "Mil Recuerdos" (A Thousand Memories). Audio only format at that time, a brand new video has dropped for this dreamy song with an amusing take on two people and they day they are having. One is experiencing frustration at all the challenges and pitfalls being thrown their way. The other appears to be sailing along in a happy state of mind, enjoying their good fortune.
The best recording artists put as much creative effort into every song they choose to include on their album. While standout tracks may appear, there is a consistent quality to each track on it. Those full-length albums deserve to be carefully listened to, from first track to last. This site makes a point to review those albums track-by-track, leaving no stone unturned. It's the deep dive and detailed analysis that sparks creative exploration and new experiences. Two full albums for a total of 19 songs receive the DaveCromwellWrites focus here. Finally, the loss of a beloved animal companion is never easy, and celebrating their influence on all those affected helps keep their spirit alive.
Burbank, California based music label Big Stir Records provides a seemingly endless amount of wonderful new music. With their reach expanded internationally, there is a treasure trove of high-quality recording artists there, well worth checking out. The latest to find their way into the DCW sphere is the album “Earworms” by Croydon, England's Nick Frater. Scheduled for full release on November 19, a complete track-by-track review is given the CromwellWrites treatment right away.
Opening track and the album's first single “It's All Rumours” comes with an official video expanding on the cover collage image approach. The audio jumps out of the box immediately with rough-edged guitar riffs over a powerful rhythm-section progression. With visual images showing classic memories from days gone by (“get the BIG SOUNDS with Sears Instruments” and “give the new, big Sound Of Now”) fresh faced youngsters behind drum kits and winking gals with guitars at the beauty parlor double-down on 1960's-1970's nostalgia. As the vocals commence (an instantly likeable voice in that Nick Lowe/Dave Edmunds mid-range) key lyric punctuations like “hit the ground” and “run-around” are displayed in bold type over more eccentric video images.
The rhythmic vocal cadence and lyrical delivery share similar qualities with the Paul McCartney and Wings 1975 back-end hit single “Rock Show,” further adding to the songs appeal. “She sells her story to the Daily Hell” (surely a reference to British Tabloid “The Daily Mail”) - “don't trust a word it's only kiss and tell” provide clever lyrical turn, with graphic emphasis in the video as well. “Did I stay? That's what they're starting to say” commences a perfectly constructed bridge. It all leads in to the falsetto sung, wonderfully hooky sing-along-chorus, appropriately centered around the songs title-line, capped at the end with a Beatles-esque “Ahh!” (or is that an homage to Freddie Mercury/Roger Meadows Taylor's combined voices in Queen). Embedded inside all of the lyrical examination is a basic romance story (of sorts) where “staying the night again” ultimately leads to “they don't know what to believe,” because – well – “it's all rumours – lying in your arms tonight.” There's even one more change section two-thirds of the way through serving up additional sonic elements (moving into 10CC piano territory) along with more curiously amusing found and reassembled imagery, with Mick Jagger showing up multiple times.
Listen and check out this wonderful song and video here:
The album's second cut “Buggin' Out” blends more Beatle-y inspiration, establishing a similar vocal cadence to the Paul McCartney penned “Wait” (from 1965's “Rubber Soul”) on the verse, along with “doo wop” background vocals on the chorus. “We could be breaking out – making out – staying out way too late” encapsulates the enthusiasm that chorus imparts. “What's with Your Heavy Heart?” chugs along with pop earnestness, propelled by some particularly whip-crack drumming. Another dip into Beatles vocal stylings (at least to this writers ear) comes on the “always rolling thunder and hiding undercover” change section. There's even a George Harrison-style slide-guitar hook fill for good measure.
Syrupy strings and bonkers synth twiddles introduces fourth cut “Lucky Strike.” Keyboards stab out the chord progression while up-in-your-ear vocals establish this lullaby tale. Soon enough the full band is engaged along with sugary background vocals to enhance the proceedings. “Making the same mistakes – over and over and over again” eventually gives way to “maybe soon we'll see happy endings on the horizon.” Impressively blistering tandem guitar soloing adds a near prog-rock tip to the whole proceedings.
The album's longest track (at 5:10) is also arguably it's best, with the heart-tugging ballad “Star-Crossed.” The smooth 70's am radio vibe is immediately apparent with it's soft “ooooh” background vocals, again bringing to mind the genius of band like 10CC or even Fleetwood Mac. Cool lounge electric piano and a powerful rhythm section of prominent bass guitar and drums provide the musical force for unfolding lyrics. “I would like – to leave in the morning. I won't ask – to know where your going. Alll night – you keep yourself together – I won't ask again.” A song about personal relationships for sure – but listening can also furnish comfort and emotional release for anything you've ever loved. The rising background vocals behind lyrics “and I would like – to know where your heart IS – star-crossed once again” bring the title-line into focus. Piercing lead guitar riffs as bridging interludes echo both melody and sentiment with equal measure.
Questioning dogma is never a bad thing (regardless of whichever side it's coming from) and sixth track “Not Born Again” does that well. Embedded within a driving pop-rhythm is the lyrical refrain “you say that we never can play, 'cause baby you're not born again. But I pray we can make it this day, 'cause baby I'm not born again.” Much like Pete Townshend's “Won't Get Fooled Again” and his ultimate declaration “I'll get on my knees and pray - We don't get fooled again” we all eventually embrace our own “hypnosis.” Discovering that seventh cut “Desert Ships” is based (at least partially) on legends of treasure ships buried in the California desert, a bit of research was in order. It seems there is some evidence to bear this out. The globe is a fascinating place, especially when digging deeper in it's rich, historical layered past. The the track itself is a piano driven, bright guitar-lick enhanced chugger, lyrically presented as a date stamped travelogue. “Palm Springs '75,” “Cat Walk '73,” “Fat Chance '71,” “Short Shrift '74” are all referenced, while a quick-delivery guitar solo supplies agile musical interlude.
A buzzing violin approximation and strong piano chords sustain dominant musical accompaniment on the sentimental, Paul McCartney-esque “The Unbroken.” Primary hook “cross your heart another day, holding on for us to stay – I heard you say” evoke the spirit of classic Beatles ballads, like “The Long And Winding Road.” The synth-driven “Who Says I Need A Plan At All?” elicits David Bowie's “Space Oddity” vibe, with that particular mellotron sound riding high throughout the mix. Doubling up on the ¾ waltz time to a steadier rock 6/8 allows the track to stand out from the album's previous, more pop oriented cuts. Closing entry “How to Survive Somebody” builds around that room-echo piano sound so prominent on Supertramp songs like “Goodbye Stranger.” This track moves at a slower pace – a true piano ballad – before ultimately bursting into full band and background accompaniment. Exploring the eternal subject of “knowing someone well” the title line turns the table from 'you' to 'me.'
"Earworms" by Nick Frater is out November 19 on vinyl, CD and all digital platforms.
Previous Features about Big Stir Records on this site can be found Here and Here.
* * * * *
EEP is an alternative rock band out of El Paso, Texas that plays a varied style of psychedelic dream pop and gazey indie music. Their latest album “Winter Skin” was released earlier this month, and features nine original, wide-ranging songs. Released on the local Hogar Records label, the tracks were produced and engineered by the band themselves, with recording and mixing done at Brainville Studios in Sunland Park, New Mexico.
Opening cut “Hanging On A Wire” makes clever use of muted ambient textures as it's sonic introductory point, before the clear, undistorted vocals begin. “You left me hangin on the rebound,” begins the pointed story of a one-sided affair. As deep level drumming kicks in, off-kilter tones share space with guitar power chords, leading into a soaring cascading vocal chorus. The dynamic flow is impressive, moving from elevated multi-layered vocals to spacious interludes with extended note guitar structures. A rhythmic shift develops under subsequent vocal passage “do you even care - why am I am I am I am I am I am I am I am I,” as forceful snare drum shots and buzzing guitars drive it all along.
Follow up track (and single release) “No Inbetween” sprinkles extra percussion on top of a decidedly rock solid drum beat and out-front bass guitar progression. The vocals commence in full shimmer mode stating how “you always compare something to everything.” A solid background sheen of voices creates an angelic halo around the singular lead vocal lines. As the essential change presents itself, a subtle downward shift can be felt on the lines “lay your judgement down for once - let it fly away from you.” Points must also be given for the cool “wah-wah” guitar solo and the coining of new word “inbetweenin'.”
Third entry (and also a single) “A Message To You” takes a clearly defined song structure and blankets it with pummeling rhythms, shearing guitars and wall-of-sound vocals. It's more than simple dreamgaze (although including the lyric “story in your gaze” is a clever touch), packing much more punch overall. While the opening chords emphasize a softer jangle, triumphant drums and buoyant bass guitar fills point the way to a coming force. This explosiveness hits in full motion, with stomping percussive beat, enveloping guitars and multi-layers of elongated vocals. A minute in and right to the bridge, “it's so hard to explain” sparks those pleasure sensors in your brain as it should. That arousal is extended further with a Chorus that takes one single line and turns it into an uplifting celebration of hope. With the primary voices ringing that out, a chanting background vocal call-and-response approach heightens sensations further. A final beatless, ambient coda emphasizes the songs overall message of honest revelation, and that sometimes “it's ok to cry.”
One more single release, Ángeles is delivered entirely in the Spanish language, and features two guest percussionists playing the Djembe. According to the Bambara people in Mali, the name of the djembe comes from the saying "Anke djé, anke bé" which translates to "everyone gather together in peace" and defines the drum's purpose. Fifth cut “Today I Woke Up” employs the ¾ (or is that 6/8) time signature for that alternative 1-2-3 waltz effect. The guitars are jangly, and the descending progression benefits from a dominant bass guitar pattern adding counter-melody movement. Inventive lyrical turns “the powers of my weirdness” and “crocus bulbs of irrepressible audacity” add psychedelic insights.
“Stubblefield” pivots deeper into the psychedelic realm, utilizing backward playing, reverse instrumentation effects, hypnotic repeating drum pattern and bold extended guitar notes. Additional psych-rock elements include inward-trip lyrics “if we turn around and go back to where we started, we just might understand all of the reasons why we parted - if we turn around and go back to where we parted, we just might understand all of the reasons why we started.” Sharing a similar auditory experience with The Beatles “Tomorrow Never Knows,” the sequence-shifted layering of voices and periodic submergence under guitars pitches this track closer to true gazey-rock.
“Stargazer” surfaces via otherworldly repeating bleeps and patterns before being joined by elastic-bending guitar textures. A full minute of this outer-space ambience flows until measured bass guitar and light-ticking percussion eventually joins in. Making lyrical references to “death,” “En plein air”(French translation: “in the open air”) and “Auvers,” the songs title (and content) appears to be referencing Vincent van Gogh's work and ultimate tragic end. A distinct tempo shift downward occurs at the songs midway point, emphasizing spacious ambience. The repeated closing mantra “life's for shooting man,” ultimately morphs into stark piano chords and a gentle floating away.
A singular driving guitar riff ushers in eighth track “Time Crunch.” As the band kicks in, forceful propulsion comes by way of hammering drums, vigorous bass and crunchy guitar chords. The verses roll out with syncopated snare-accented percussion underneath, while a larger sonic wall of gaze explodes on the lyrical “I've been watching you go” repeated passages. There's a holding-level interlude where dual harmony vocals repeat “under your nose,” leading into an extended intensity segment focusing on “I've been watching watching - I've been watching you go” once again. A final synth accompanied segment conclusively states “you've surely returned from a dream to discover-
you've been dreaming your life away.”
Final entry “Slow Down” does just that, with it's measured pace and understated instrumentation. Focusing primarily on sincerely felt lyrics and vocal delivery, the album's title is revealed with the lines “Shed your anxious shaking Winter Skin - And let yourself be something new again.” A song of understanding and acceptance of the life cycle, it serves as a fitting conclusion to this truly inspired collection of songs.
On November 10, 2021 our precious baby girl cat Cherry crossed over the Rainbow Bridge to be with her twin brother, after 14 years of joyous life. She was the most perfect chubby cat that ever lived and she will be missed and remembered forever.
Cherry came to us as a baby kitten with her brother in 2007.
She was a sweet and gentle cat who would purr up a storm at a moments notice.
Like most sibling pets, or those that arrive together, the bond of snoozing in close proximity (or actually on each other) was a very frequent activity.
Donning a holiday appropriate festive hat was certainly not out of the question.
Paws and claws out for a good solid stretch.
Helping out with the computer or around-the-house decorations was one of her specialties.
An open box is always an endless source of fascination.
Gettin' a leg up and chubby snooze-a-thon.
The endless fascination with and secure feeling of a sturdy cardboard box.
Cherry was a beauty and a wonderful companion. We will never forget her.
Once again a significant live happening closing out 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 find their way into this 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.
The air was charged with an additional level of excitement and sense of gratitude being able to witness these performances after Peter's heart attack scare from last August (when these shows were initially scheduled).
On this night of January 23, 2020, Peter and his band played the first night of his Tribute to David Bowie.
That excellent rock and roll band included “the two Mark(c)'s” that accompanied him on his extensive 93 shows “The Ruby Tour: 40 Years of Bauhaus”(many with David J on bass) Mark Gemini Thwaite (Guitar), Marc Slutsky (Drums), this time with Emilio Zef China (Bass/Violin).
The original plan was for Peter to do a month long residency in August that would mirror a similar completed series of shows in San Francisco.
Completing all but the final (and penultimate) four shows in that late summer month, these latest shows represented the fulfillment of that commitment once recuperated.
An additional member was included with the band this time around, adding a richness to the sound with keyboards and acoustic guitar.
The venue (Le) Poisson Rouge first opened in it's present configuration in the spring of 2008, founded by former classical music students David Handler and Justin Kantor.
- - -
However this 158-160 Bleecker Street
location (as one might suspect) has a rich historical backstory to
it.
Located at the corner of Thompson and Bleecker Streets in Greenwich Village, the club was originally opened in 1958 by Art D'Lugoff calling the space “The Village Gate.”
- - -
Much like the current venue, it's primary performance space is both the ground floor and basement. The original 1896 structure known at the time as Mills House No. 1 served as a flophouse for transient men.
- - -
In its heyday, the Village Gate also included an upper-story performance space, known as the Top of the Gate.
- - -
Throughout its 38 years, the Village Gate featured such musicians as John Coltrane, Coleman Hawkins, Duke Ellington, Jimi Hendrix, Dizzy Gillespie, Bill Evans, Dave Brubeck, Charles Mingus, Sonny Rollins, Dexter Gordon, Art Blakey, Woody Shaw, Miles Davis, Stan Getz, The Velvet Underground, Edgard Varèse and numerous others.
- - -
- - -
Founder Art D'Lugoff opened The Village Gate in 1958 and remained at the Bleecker and Thompson street location until it ultimately closed in 1996.
That rich history continues through to this day, with the current iteration having celebrated 10 years (and still going strong) in 2018.
Returning to the present (though ironically a show presented by a now historical goth-rock figure presenting the catalog from one of their musical influences referencing an even earlier period), Peter Murphy and his band delighted the audience with one classic Bowie song after the next.
- - -
Opening the show with “Suffragette City” (from his star making breakthrough 5th album, 1972's “The Rise and Fall of Ziggy Stardust and the Spiders from Mars”) immediately drove an already anticipating crowds intensity level right to “10.”
What's immediately noticeable is how comfortable Peter is with re-interpreting Bowie's voice. Multiple sources have stated there is probably no one else better suited to pay tribute to “the thin white duke” than the physically and artistically similar Mr. Murphy.
Moving next to the classic “Queen Bitch” (from his 4th studio album and 1st for RCA, 1971's “Hunky Dory”) Peter's rendition delivered the necessary level of camp called for, while drummer Marc Slutsky laid down an essential rock solid beat (which he would proceed to do all night).
Jumping ahead to the furthest recording he would go – the eighth studio album, 1974's "Diamond Dogs" and a rousing, sing-a-long (but they pretty much all were) “Rebel Rebel.”
Fun Fact: Bowie originally intended to merge the novel Nineteen Eighty-Four by George Orwell with his own glam-rock vision of a post-apocalyptic world. Initially wanted to make a theatrical production of Orwell's book, however the author's estate denied the rights. This explains why the Nineteen Eighty-Four theme was so noticeable throughout (especially on the second side).
Dipping back to sixth studio album (and first Bowie wrote and released after breaking through and becoming a star), 1973's "Alladin Sane" and a rousing version of "The Jean Genie."
Having been written and recorded during Bowie's first US tour in 1972, he described this first single from the album as "a smorgasbord of imagined Americana." However, the song title is a pun on the name of French existentialist Jean Genet.
Returning to the Ziggy album, a near perfect rendition of "Moonage Daydream" was presented - of which can be gloriously re-experienced in the video below:
"All The Young Dudes" and "Starman" sing-along's followed that, with clip captures of those (and clips of every song up to that point) accessible here.
Going once again to the Ziggy album (which would be the most referenced record of the set) an impassioned, intimate version of "Rock 'n' Roll Suicide" was played, with the below video representation capturing it perfectly:
Touching hands with an adoring audience, Peter and the band headed off for a quick pre-encore break.
Returning to the stage once more, the band launched into the song most everyone anticipated: "Ziggy Stardust." After all, Peter and his early 80's band Bauhaus (now doing big time reunion shows again) did a memorable cover of it in 1982. For comparison's sake a rare live version of Bowie and his band turned up a few years ago showing how they played it live a full decade earlier in 1972.
Here's how it looked an sounded by Peter and the boys at this current show:
More Fun Facts: The inspiration for Bowie's Ziggy character was originally based on leather clad rocker Vince Taylor who took too much LSD and went temporarily insane. Bowie once bumped into him outside a London tube station and Vince pulled out a map to show David where the spiders from Mars would land.
The final song of the night was truly inspired version of "Space Oddity" with Peter performing the entire lengthy, extremely moody piece lying on his back on the stage. It made for a surreal experience and a fitting end to the nights performance.
- - -
- - -
A superior quality rock and roll band.
Psychedelic "Blue Man Group" Friends In Attendance.
And catching a moment with the popular iconic image on bass drum head.
Special mention to guitarist Mark Gemini Thwaite who not only handles all the lead guitar work with Peter like a pros pro, but has been doing for quite some time with other legendary bands like The Mission UK, The Wonder Stuff, Gary Numan and others.
Opening the show was New Orleans Drag Performance Art singer Vinsantos. Previous work with David J (also a founding member of Bauhaus) and support on last year's “The Ruby Tour: 40 Years of Bauhaus” extended onto these shows.
The expected flamboyant performance of this artist gains credibility via introspective lyrics and playing their own keyboards. Making yourself available to meet the audience afterwards is always a winning move.
* * * * *
The seemingly boundless energy of Philadelphia-based creative force Tom Lugo re-emerges once more with the debut album from new 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.
With opening track “Hard to Breathe” clocking in at 6 minutes in length, there's plenty of room for beat-less spacial exploration. “Moth To A Flame” ambles along on floating waves that create an impression of unattainable longing. Deeper percussive elements and throbbing bass emerge on the title track where vocals are presented in that style William Reid used on those early Jesus and Mary Chain recordings. Over 7 and a half minutes of “Nada mas que decir” melds those droll JAMC vocals with the early drum machine sounds that seminal band admittedly nicked from bands like Suicide. Lugo + Lugo masterfully capture the vibe running through so much of “Barbed Wire Kisses” on this one.
“Seasons”is a 4 minute atmospheric interlude that suggests the ambient work Brian Eno has spent his entire post-pop career exploring. “The possibility of only one answer” introduces a level of menace for the first time, conjuring up early Sisters Of Mercy vibes. “Woven” adds subtle effects to carefully enunciated vocals as a steady bass-line and guitar washes all contribute to an air of mystery. Clocking in as the longest track on the album, the nearly 8 minute “Distant Memories” place emphasis on deliberate vocal phrasing with introspective ambient interludes in-between. A bonus track of an earlier single release “Emptiness” is included, coming full circle with it's Jim Reid-like slow drawl vocalizing.
Previous features on this site that include Tom and/or his music can be found here, here, here and here.
For more information on Tom's entire Patetico Recordings music catalog, go here.
* * * * *
There is an unmistakable floating quality to the new release ”Lovely one / Islands” by Puerto Rican gazey/dreampop ensemble Un.Real. While a distinct four chord melody is clearly audible (although passed through rather slowly) the sheering textural quality to those synth and guitar driven sounds emanates from mysterious places of wonder. Bass and drums soon enter the mix and the wall of atmospherics is then layered with additional soaring melody lines. Musicians Gardy Perez-Ruiz (guitars, synths) Hector Caolo (bass) and Eden Cruz (drums) are the trio responsible for much of these sonic forays. The final element arrives via sweet and gentle female vocals from Bernice Cruz (who also contributes synths), providing a next level of reverential beauty. There are certainly reasonable Cocteau Twins parallels here, not only via Robin Guthrie-like guitars and Liz Frazer vocal similarities, but even a distinctive Simon Raymonde-esque bass-guitar hook. A rising, hammering riff emerges at the two and a half minute mark lifting the entire proceedings to celestial heights. Three minutes of gentle guitar picking and soft synths create a sense of sitting by calm waters to close everything out here.
Heavy psych-n'-gaze-rock is well represented on the latest 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.
Opening with a :45 second repeated title line vocal intro that soon floats behind guitar progression figures, the band kicks in with a heavy stoner rock groove. Everything from 60's psychedelia up through J Mascis-level doom-riffs permeates through a heavy fog atmosphere. With all that, there are elements of that Manc-Manchester feel on the verses, with it's long vowel vocal phrasing. At four minutes in, a momentary guitar chord driven ambient interlude sets up the big vocal hook that follows.
“Sometimes I can feel – the sun washing through your face. Sometimes I can feel the death of the human race.”
The drums slash hard with dynamic cymbal crashes and the bass and guitar double down with that timeless drop-d groove that appeals to lovers of hard rock far and wide. At 7 minutes in a cosmic bubbling sonic element takes over, driving momentum upward to the stratosphere. As the dominant progression continues to unfold with bold guitar chords, throbbing bass and stomp-down drums, the rhythm section ultimately drops out for a final minute of pure aural mayhem.
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.
