Sune Rose - Exclusive Interview

Ever since it was announced that Sune Rose Wagner would be returning to New York to live and work, the goal to conduct an up close and personal face-to-face catch-up interview with the man became an accessible reality. The long-time Raveonettes visionary has recently re-branded himself by dropping his last name, presenting new works as simply Sune Rose.

Arranging a time and location for an early Tuesday afternoon, I met up with Sune at his favorite local cafe in New York City's Chelsea neighborhood (Le Pain Quotidien on 7th Avenue) on one of those extremely hot and humid days we've been having for the entire month of August.

D:  So, why the move back to New York, after all that time in Los Angeles?

Sune: I know – it's a really good question. I believe I have what's called 'seasonal affective disorder' – but in reverse. Meaning that – most people get depressed if it's too grey or when the days are too short. But I have the opposite where I get depressed if every day is always bright and sunny out.

D:  Well you are from Denmark and were raised in cooler climates where seasonal changes occur through the year.

S:  Yes, I very much like seasons and the feeling that the year is rolling, and that can be a big blow when it's Christmas and it's hot out like this. The whole palm tree Christmas can be a bit confusing. So that was one of the reasons for the change. Another reason was that I do have a lot of old friends here that I missed and wanted to reconnect with them. But to be quite honest with you, I'm not completely enjoying the move, and I don't see myself living here for a very long time.

D:   Were some of the reasons for the change so you could get involved in different aspects of music? Perhaps other opportunities for more production work, radio, tv, film or things like that?

S:  Everytime I make a move I hope and assume that there will be other people you can meet and other jobs becoming available – and maybe other people that can inspire you.

D:   I understand you had been doing a bit of acting recently.  Tell me about this work you've done for Kansas Bowling and a film called “Cuddly Toys.”

S:  Kansas is a girl that I met right before I left LA. I wish I had known her for all the years that I was there, but unfortunately I only met her a few months before I left. She's a young budding actress, screenwriter and film director. I have no doubt that she is going to be huge one day.

D:  Has the film come out yet?

S:  I think she's still working on it. I wrote a song for the movie for a Russian young woman who is also in the movie named Sasha. Independent from this film, I'm also writing songs with Sasha right now.

D:   There's been a number of in-progress posts covering this activity on your Instagram account.

D:  Are those clips and pictures from your studio?

S:  Yes, that's my home recording studio. That's where I do everything.

D:  I did some research on Sasha Belyaeva and see that she's interested in numbers and economics, along with being an accomplished violinist.

S:  She's a great violin and piano player and a really good singer too.

Listen in to this clip here

D:  And you are currently co-writing material with her?

S:  Yes, we have quite a few now. There's no target date for releasing any of these at this time as of yet, however. We want to make sure we like a specific song first. She also travels a lot working as a model, and is presently back home in Russia visiting her parents.

*  *  *

D:  Anyone who has followed your career is aware of the inspiration American “Beat Generation” writer Jack Kerouac has provided you.  Have you read all of his books?

S:  Actually, no. I still to this day have never read his very first book “The Town And The City.” I've read all the others, though.

S:  One way that I used to draw inspiration from him was, I would have a pen and paper next to me, and every time there was a word or sentence – or something that evoked some kind of imagery in me - I would just write it down. I would just take notes, and before I knew it I had multiple papers laid out. Sometimes small sentences and sometimes just single words that would lead to emotional reactions that would start an avalanche of writing. I still do that to this very day. That's how I write lyrics. I need words to set everything into motion.

Additional "visions of Jack" for discovery.

*  *  *

D:  The first song you released is “Ambush,” and I see you have a fuller video to go along with the lyric one you initially put out.

S:  I didn't really mean to do it, but it evolved out of something else. The day before I left Los Angeles it was one of those rare days in California when it rains. I remember waking up and thinking that I need some press photos and didn't want to repeat the beach shots we did with "Peahi."  I wanted to do the pictures within the hour and I called up the photographer we always use, Ashlie Chavez.

S:  I said can you meet me downtown somewhere and shoot some photos in the rain – that's my biggest dream. She agreed to meet and said she knew a great roof we could shoot them on. As I was driving in I thought maybe she can shoot some clips of me singing or walking around. If you look close at the video, in the first verse I'm standing up against the wall in the hallway of the hotel miming along with the words, but it took us 100 takes to get it somewhat right.




D:  That's cool. Well, as a writer and reviewer I'm a big fan of lyric videos for the obvious reason of having the words in front of me. I don't have to ask for them or try to figure them out myself.



D:  You recently announced a “new single and lyric video coming soon” and that “it's gonna get noisy.”  Is that going to be a real guitar heavy song?

S:  Yes, for sure!  I shot another lyric video up in Nyack for this next single “After All,” and the mastered audio from Sterling Sound is now complete, so we will be releasing that soon.

S:  It's very much way more of a Raveonettes type of song. That is kind of the style that I write. The response so far has been very positive, from all the PR and management people, Scott – are all absolutely loving it. So, I think this will really resonate with people a lot more and I think they will say – oh, great! We thought he was just going to start releasing some weird synthy stuff, but hey – this is going to be interesting. Now we can't wait to see what he's going to do next.

D:  Right. Because the final track on your last album (the Atomizer collection) - “Pendejo” was a weird, synthy, long, instrumental, swirling – almost film score music.

S:  One of my best friends Johnny was with me up in wine country and he speaks Mexican slang with all his buddies working in the hotel industry. At one point he just said flat out, why don't you do a 12 minute instrumental song called “Pendejo.” Two days after, I sent him the version that appears on the record, I didn't change anything. And I said “oh, you mean like this?” - and he was laughing, he didn't think I would do it. So we actually have him to thank for that.

D:  What's great about the video that goes along with it is you use this image of Jack Kerouac in his football uniform from his time at Columbia University. Which is a photo of him that wasn't all that commonly known. And you alter it so that it moves, with this shaky effect. Were you involved in the video creation of that?

S:  Yeah, yeah – I do everything – every single thing. It's hard for me to give that control away because – first off – I have ideas that are hard to explain. And I don't want to spend unnecessary time and resources on going back and forth with these things. I want to work quickly and I've taught myself how to use these programs for that very reason – how to make videos and how to do all that stuff. When I have an idea I just want to sit down and make it. Because that's the last thing I want to spend my time on. I want to focus on the music rather than spend two weeks with someone making a video. I've tried that before and the videos never turned out the way I wanted them to.

D: Sure. Or, they're these beautiful works of art that stand apart, in a way, from the actual song.  I'm thinking of the video for “Heart Of Stone.”



S: Oh, yes! Well, there were two, because “Heart Of Stone” was almost like a steam-punk thing – but then there was the song “Black and White” which was very beautifully done with back and white animation – that one I was really crazy about.



S:   It almost looked like a Tim Burton film, so it definitely can be done. You have to remember that whoever they hired to do that video was extremely good, but they also had the money to do it because it was for a Gap campaign. Now when you are financing everything yourself, I don't want to spend all my money on that, I'd rather buy a new guitar.

*  *  *

D:  Recently you produced an album for the band Gateway Drugs.  Has that been released yet? 

S:  No, I'm actually mixing it right now. 

D:  I believe a number of the band members are children of a musician who enjoyed a level of success, correct? 

S:  Yes, two brothers and a sister – Gabe, Noa and Liv.  They're the children of Prescott Niles who was The Knack's bassplayer and responsible for that famous “My Sharona” riff.  The band used that actual bass to record the stuff I'm working on now.

D:  You've done a whole album with them? How deeply where you involved in the recording? 

S:  We did ten songs.   As their producer I would make suggestions for their arrangements and to make sure they got their best performance.  I had ideas for backing vocals and extra guitar lines where I would say “why don't you go in and try something like this” just to make sure we had everything.  It's easier to have too much than too little.  I don't want to sit in the mixing process and all of the sudden go 'damn I wish we would have done those harmonies on the second chorus.'

Sound sample here

S:  So we try to do as much as we can, and then we can start muting stuff – and get into what we actually need.  It the same thing when I write for myself.  I just do it, and then eventually I'll just start muting things and say "well, what do I actually need?”

*  *  *

D:  Beginning with your 5th full-length studio album “Raven in the Grave,” you began including lyrical stories of recurring historical themes touching on war and combat. What is your fascination with World War II, Hawaii and the devastating effects of chemicals like Napalm?

S:  I just have a fascination with war overall, both past and present.  I think World War II can sometimes be glamorized a bit too much.

D:  I think all wars are glamorized too much, especially from a literary point of view – where there is a tendency to smooth over how awful in reality it actually is.

S:  Yes, of course. What fascinates me about it as it relates to music is the juxtaposition of evil and beauty.  Pearl Harbor is a great example of that.  If you sometimes look at a picture of the Pearl Harbor bombings, you'll see palm trees in the foreground and the sun is shining – it's all very idyllic – its very exotic - and in the background you have this massive theater of destruction.  That always interested me in how it was very strange you could actually have that, whereas other wars don't have that.

S:  If you look at the war in Bosnia-Herzegovina – the old Yugoslavia, it's just misery all around.  All wars are misery, don't get me wrong, it's just that the scenery can be very different.  Look at the Atom bomb and the trinity testing on bikini island.  If you look at that photo and scan it from bottom up you see a beautiful beach with little tree huts, palm trees, nice clear water and then suddenly this huge mushroom cloud – and you say “what's wrong with this picture?!”

*  *  *

D:  I see that you and Richard Gottehrer have been doing other things together recently, like going to an archery range. How did that all come about?

S:  A couple of weekends ago I visited him up in Nyack - it was his wife's birthday, and we drove down to New Jersey to do some archery.

D:   Had you ever done it before, and how did you do at it?

S:  I had never done it before and actually did pretty good but I got a little bored of it. For me it's like bowling and golfing, which I see as similar activities.

D:  I know that in your early years you were very into tennis in your home country of Denmark. You appeared to be on that “tennis track” of going to tennis camps and schools, and basicially were being groomed to go pro. 

S:  Yes, I got very good at it. I actually was suppose to go pro, but my mom wanted me to go to school and finish my education, so I wound up doing that instead which put a stop on the tennis.

*  *  *

D:  You recently posted about producing a track by an artist named Casssie Gaffaney.  What is that all about?

S:  We did that one in Los Angeles, actually.  I believe Richard Gottehrer found her and asked if I could do a song with her.  So I looked at the list of songs available and chose Bruce Springsteen's “I'm On Fire,” which is one I've always liked.  It's a very stripped down version that allows for emphasis on her very cool voice. I did the backing track and she came in and sang on it.

Listen on Spotify here

D:  There had been talk of this project a while back, that songs written from a male point of view were going to be released by female vocalists.

S:  Yes, that's right.  I did the Beach Boys song “Don’t Worry Baby” prior to this with a singer named Rachael Fannan.

Listen on YouTube here

(and check out the unmistakable Sune Rose guitar sound on it)

D:  So, these songs are basically being released one at a time, and the primary motivation for presenting these songs to the world reverts back to the vocalists?

S:  Yes.  Each one at a time.  I currently have a track ready to go for The Knack song “My Sharona,” if we can find someone to sing on that.

D:  Is this primarily a Richard Gottehrer project? 

S:  There are different people involved.  I've done two now and have a third one ready to go.  When Richard does a song with people then he is producing those songs, yes.

*  *  *

For further reading on the work of Sune Rose, check out this full track-by-track review of all 12 “Atomized” songs.

https://davecromwellwrites.blogspot.com/2017/01/the-raveonettes-2016-atomized-full.html

 Eight additional Raveonettes reviews can be found linked at the end of that.

*  *  *  *  *

The Raveonettes – 2016 Atomized – Full Track By Track “Anti Album” Review

Over the past twelve months The Raveonettes have released one song per month as part of a uniquely conceptualized “anti-album” campaign. Choosing to do something different from the traditional album and EP format, the band instead released their "Rave-Sound-of-the-Month" on the last Friday of each. With the final track released, the entire collection comes together under the album title “2016 Atomized.” A digital download version is scheduled for release on February 17, with CD coming on April 21 and vinyl on April 22, Record Store Day. All of the above can be pre-ordered via the band’s ongoing Pledge Music Campaign. As is tradition here at DaveCromwellWrites, a detailed and (hopefully) unique perspective on each individual song follows below.

The “anti-album” opens with one its briefest tracks, the two and a half minute “This World Is Empty.” Relying on a spacious keyboard sound and retro drum machine pattern, the mood immediately hearkens back to the early 80’s sound when bands like LA’s Berlin rules MTV. If the title lyric and short melody re-appropriation echoes The Supremes 1966 hit “My World Is Empty Without You,” the focus quickly shifts in new directions. “Tonight, tonight, tonight you’re gonna see me cry” is sung over subtle added depth of keyboards and sonic waves. The central question is asked “why do you love somebody else?” as the keyboard pads drop out leaving a stark backdrop of only percussive clacks and bass note pulses. Subsequent passes through the melody add more perfectly recreated 80’s percussion, synth pads and bass. The final minute features a bright, icy keyboard melody coda completing this homage to the original decade of synth pop.




 An expansive dreamlike quality emerges through distant shifting sonic washes behind crackling noises on “Run Mascara Run,” evoking the motion of old film reels. The hint of melody is perceptible through muffled voices until an abrupt drop with two quick pulses signal they lyrical refrain. “Blood runs like you makeup – in this slow motion dream. Your blue jeans are torn – and there’s blood on the leaves. Seen you in my dreams – of love and falling bombs. Young roses lie dead – when the napalm smell is gone.”

In interviews, Wagner indicates the inspiration for this imagery was partly inspired by a trip to the Bronx in New York with his long-time producer and mentor Richard Gottehrer, which also included Dion DiMucci of Dion And The Belmonts fame. While Dion’s stories that day of “gang life, girl crushes and Doo Wop” may have sparked additional inspiration, to be fair those have been recurring themes in Raveonettes songs since the very beginning. The rhythm, cadence and overall feel has that 60’s stroll vibe that the aforementioned Mr. Gottehrer first evoked on Blondie’s debut album and the track “In The Flesh”

Returning like a sorely missed old friend, a classic Sune twang guitar melody emerges with deep tones and deliberate pacing. It could easily serve as the backing track to a David Lynch film scene of a small dancing dwarf in front of a red velvet curtain.

What follows is a whispered spoken word section that Wagner explains signifies a scream of conscious nod to his hip hop influences. The songs final minute returns to its initial vocal stylings with the lyrics “The palm trees burning down, and your kisses are wild. You smile at orange skies, and I wake up on the west side.” It’s curious that the memory “of a beautiful day walking through The Bronx with Dion and Richard Gottehrer” would result in such violent imagery. Knowing that Mr. Wagner is an avid researcher reader coupled with his fascination for California and Hawaii draws a line to the Pearl Harbor attacks of 1941, and the subsequent invention and use of Napalm in 1942. That the story gets flipped in his dream where the women went off to war and the men stayed home to grieve is one more imaginative twist to the Raveonettes world.



A half minute instrumental intro initially appears rooted in that classic Raveonettes guitar sound of reverberated open string notes with upward pitch bend twang endings on third track “Excuses.” Ticking high-hat and solid snare shot percussion provide the beat through a swirl of mysterious radio voices and rising swells. All that drops out with the first wave of lyrics (accompanied only by buzzy keyboard chords) that state: “Now I know I don’t like this girl – but girl still comes around. And my mama tells me to grow up – she don’t like her around.” Stepping immediately to a slower vocal cadence, the story continues to unfold with lines: “I leave tonight to change my life – I leave you satisfied. Cause you were never one to keep – besides I’d rather die.”

Tempo shifts once again to a shuffling hip hop rhythm with matched lyrical delivery “to be seen with – you a-gain-ain, it’s a dead-end, now its weekend” before breaking for a brief funky guitar instrumental interlude. “Time to let loose, wanna get bruised, fuck your excuse, hit me with nukes” over again to the funky guitar break that mirrors the clean sound prevalent on mid-70’s disco tracks like Van McCoy’s “The Hustle.”  It all dramatically drops out to beatless atmospherics, until the initial rhythm returns. That beat doesn’t last long as it goes ambient once again as lyrics arrive in stream-of-conscious statements. “Girl’s a fuck-up and she’s hard to get. Girl shuffles down the street. Girl’s so lazy makes me upset. Fuck please let me forget. Never one to simply throw things out there unattended, also included are slowly building swirls of altered choir voices, radio drop snippets and other assorted otherworldly textures rising through the mix. Returning to earlier introduced slower vocal cadence lyrics followed once again by the “street hustle” rhythm, the funky drummer anchors an outro that weaves irregular sonic enhancements on hazy edges.




Kicking off with a brightly toned energetic guitar melody over early-era digital percussion, fourth track “Junko Ozawa” is boldly declared as being “dedicated to the great, genius game music composer” the cut is titled after. In 1983, this innovative woman graduated from a noted Japanese music university and joined the big game company "NAMCO Ltd" (BANDAI group's company). Also referred to as "Zun-chan" and "Zunko" which were nick names given to her by friends, she emerged over the years to become one of the most prolific Japanese game sound designers and composers. Particularly noteworthy are soundtracks to Namco arcade games like “The Tower Of Druaga” and “Rolling Thunder.” That later game is noted for its ridiculously hard difficulty, where the final level is one of the hardest in video game history. She later adapted her sound for 8-bit consoles like the Nintendo NES and Sega Genesis. It appears she eventually retired from the game music industry in 2008.

As for the song here, vocals processed and compressed proclaim “so I know – that you’ve been cheating with my fri-end. Prepare do die – prepare for war” as the initial guitar hook returns with dramatic force. “I can tell” Sune continues, “the oceans in your eyes are re-ed. I’m all fired up, to end this now,” with that magic hook leading in to a big chorus. “And by the time you got to hurt me – the night was clearly over – the friends I lost were never meant to be. I don’t know why I never saw it – it must be cause I trust you – I guess I must have loved you way too much.” Punctuating all of that are classic spiraling upward buzzing and static battering tones that echo video game passages and level changes.

That quirky-perky melody line continues as the glue holding everything together as new lyrics unfold. “Here I go. I try to make sense of this evil. Damned for sure – How do I go on??? Sune has been quoted as saying how he “wanted to keep all the instrumentation in the 8-12 bit range, only using low bit synths and sounds.” While there are no surprises there, his statement that “even the guitars have been re-sampled and played on a synth” was unexpected as the sound is so rich. Ultimately the Huge chorus cycles through multiple times, each with changing emphasis and textures underneath. Nearly overlooked in all of this video game music tribute is a lyrical song about betrayal and lost love.



Fifth track “Scout” bursts out instantly as if in the middle of a trance dance-floor drop. Lyrics begin quickly, stating: “Go on now scout and break with your man – please understand that you’re in command” with a busy bass guitar line riding freely over a mechanical sampled drum pattern. “Do it for me and do it for yourself come on” punctuated by a brief melodic guitar riff interlude. “Are you for real or are you a dream – scout is it you in this magazine – looking so mean in faded jeans – I’m ready to die.” The tempo and mood suddenly changes with previous backing track instruments dropping out (becoming something of a repeating occurrence throughout all of this “anti-album”) as Sune sings against stark electric piano notes and synth pads. “I wake up in my car – I parked it not too far – from where I passed out – it’s fucked and now I’m crying – wish I never met you while buying – shoes that I threw out – reminded me of you scout – wanna take this memory – and strangle it to death – it’s a mess I guess – can’t stress enough that I want you.”

That slightly-funky, touch-of-jazzy, bass and percussion groove returns adding a swing style vibe to the proceedings. The first three opening vocal lines are repeated for emphasis as subtle instrumental changes emerge underneath. That serves to set up the songs dominant hook and emotional center, which of course is the “I wake up in my car” segment. Another emotional plea emerges with the lyrics: “scout when you have the time – to hear what I just said – I’m not some card you decline – I just can’t be misread – I always wanted you – just didn’t know it (last line repeated for emphasis). The final minute and a half outro emphasizes the swinging bass and percussive groove against dramatic ambient textures.

There are a few points to consider simply from analyzing the lyrics to this song. Sune meets (and apparently dates) models who do those sexy/mean-looking jeans ads in magazines while buying fancy shoes. Something goes wrong with the relationship and he can actually throw out a great pair of shoes because they simply remind him of her. Although he wants to “strangle to death” this memory of her – he still wants her to this very day. He always wanted her – he, well – “just didn’t know it.” Why is he sleeping in his car (after passing out – somewhere – not too far – from the car)? Sure, it’s “just a song.” It’s art – poetic. But, there is definitely a true story embedded in there as well.



It’s not until sixth track “Won’t You Leave Me Alone” that a straight ahead rocker emerges in what could be deemed that original Raveonettes sound. Which of course initially captured their fans attention with a hybrid of Eddie Cochran 50’s speed-swagger and Beach Boys through The Jesus and Mary Chain filter. The lyrics express an exact opposite feeling to previous track “Scout,” as they go: “Don’t sink your teeth in me. Try to understand where I’m at. I’m not the one you need. Forget about it we don’t match. Listen to me when I tell you,” seamlessly transitioning into the chorus. Which goes: “Forget it won’t you leave me alone” repeated four times. However those four lines are far from stagnant as the signature Wagner guitar mirrors that vocal melody in an equal blend.

Verse two clarifies things further with lyrics: “Why don’t you understand. I don’t wanna get with you. You never had a chance. You know even my mom disapproves. So listen to me when I tell you” (and big chuckle for throwing “mom’s disapproval” in there as proof this relationship will never go anywhere). The instantly hooky chorus returns and with it what sounds like Sharin Foo adding backing shadow vocals.  Those contributions have always been her most memorable musical aspect in The Raveonettes sound, and certainly good to hear. There’s also a distinct real-live-drums sound to the percussion which further underscores the rock n’ roll feel. A cool instrumental break follows with chunky guitar chords paired against a sustained guitar line. All leading to a real snare drum build-up and tom-tom rolls, ushering in an exploding Mary-Chain-style guitar buzz bomb-burst. The entire verse and chorus cycle repeats one more time completing the hard charging thrills.



A basic demo drum machine pattern kicks off “Where Are You Wild Horses,” as easy breezy western plains guitars establish the appropriate mood. “Don’t cry just let me go – I’m not the one you need” Wagner sings, initially appearing thematically similar to “Won't You Leave Me Alone.” “Don’t let me drag you down – I’ll always remember you,” he continues. The bridge section that goes “Make me understand – why you won’t set me free” is sung in rising tones, leading to the big chorus.

“Where are you wild horses tonight” could be interpreted two separate ways. One way might be an extension of the Rolling Stones song “Wild Horses,” which “couldn’t drag me away.” Indicating a wish for that kind of devotion to stay, that just isn’t there. Or perhaps the questions begs “where are the wild horses” TO “drag away” this difficult situation.

 As the story evolves with the lines “how can you love – when I’m not worth loving. How can you give – when nothing ever gets back to you.” It becomes clearer that this is a different, more self-effacing breakup.

 The horses metaphor gets a double work over with repeated lines “where are you horses tonight?” and “I look out, I look out I see nothing.” The lush soundscape fills with cavernous swells as vibrant acoustic guitar picks and strums the chord structure. The final chorus adds extended pitch-bended guitar notes completing the western motif dreamscape.




No build up necessary for “A Good Fight” as it bursts right out of the box with music and vocals from the very first second. “Brought you over to that special place where everybody hunts alone,” Wagner sings against jungle tom-tom drums and quick-strummed Bo Diddley guitar. I took you driving up that dreaded coast to raise your heartbeat on my own. “Cause tonight” as the beat and twang morphs in a hyper-drive Peter Gunn detective groove “I miss – a good fight.” With that last word floating away in echo, the tempo instantly slows down its pace and coasts along via slow-groove ride cymbal, snare drum and toms against melancholy piano notes. “It’s bliss” is the only sentiment expressed during this half minute instrumental interlude.

“Remember when we used to go on trips, so you could go off on your own” ushers back that initial opening pace. The story takes a turn towards kink with the lines “remember when I used to tie you up and you’d be crying oh please don’t!”

The follow two sections repeat as before, with the slower ambient section now adding lush backing strings to the mix. A dark and intriguing bridge is introduced, creating a level of tension often found in film music.

One more round of hyper-tom throttle drives the lyrics: “the other day I read that everybody goes to hell to have a blast. Oh I’ve been wicked I’ve hurt somebody close to me, how can I feel relaxed?” With that the final majestic slow section emerges adding layers of icy wind keyboard strings.



The drum track on “This Is Where It Ends" sounds like it was initially played on the traditional acoustic instrument, but then sampled and reassembled into a tight precision loop. Vocals emerge after a few seconds, with lyrics “all these dreams I take from you now’ are sung in a deliberate and choppy cadence. “Don’t you think that I’ll ever forget,” continues the voices, which sound like Sune and Sharin singing together in high-pitched harmony. The lines “this is where it ends we know this” adds a buzzing synthesizer to the mix, with “the little time we had means everything” concluding that passage.

A significant change occurs with the lyrics “restless again did I ever change, made me feel sad, made me feel strange” as the percussion drops out leaving only a wash of sound punctuated by pitch-shifting pulse. “Supported by friends, but that wasn’t it” is the follow-up line one is left to ponder as Wagner drops in a signature guitar sound interlude. That unmistakable Sharin and Sune vocal tandem delivers the next segment with lines “Thoughts – like these – don’t go away – by themselves.” “Maybe – one day” (stepping up an octave) “I can live – with myself.” Another beautiful musical interlude follows that blends the traditional Raveonettes sound with a dreamy carnival atmosphere. Bold use of piercing synth tones and syncopated drumming provides more delightful unexpected moments.

One more percussive drop out sees the focus momentarily shift to a descending bass-synth figure. “When - you – came – home – on – that – ni-ight” brings back the halted between each word, deliberate vocal style. “Did – you – dare - to look – into the mirror” altering the vocal cadence even further – “and what did you see?” “Did we both lose all in the end” is delivered in a high pitched register accompanied only by simple piano notes. “Feels like it now, that is for sure – maybe we’ll come – around again – I’m sure” ends what is one of the most unpredictable songs in this collection. It seems that Sune has had his fair share of shattered relationships in his lifetime. Maybe as many as Taylor Swift!



Ah yes – Sune’s love of Hawaii and Hawaiian music is fully on display with the tenth track “Choke On Love.” The south sea island groove bounces along with pounding-on-coconuts percussion and a bright single note guitar melody. Lyrics come with vintage cheeseboard keyboards stating (in stop/start rhythm)“it looks like a dead give-away – but I will never compromise. I’m only here to see it through – and this is not my time I tell you.”

Instrumental interludes follow and much of it wouldn’t be out of place at a Copa Cabana conga line. Vocals return with the lines “they always try to make me sleep – they think they got me on a leash. Fuck all their insecurities – someone like me just can’t get beat down – beat down.”

By now the conga line has moved out of the reception hall and is snaking around the building outside. However, true to form on pretty much every track in this collection, a surprising change occurs. The conga-nuts are put down in favor of gently reverberated guitar and swirling ambience. The lyrics “as I walk on the black grass I see – deadbeats like you on CCTV’s.” An inspired, speedy guitar solo breaks out and runs roughshod over the proceedings before circling back to the conga line.



Rising up from the abyss in super slow motion, come reverent cathedral textures that fully envelope the listener on eleventh track “Fast Food.” Muffled drumming begins to thump along, as if stifled by an unseen sheet of ice in-between. Distant dreamy vocals commence with the lines “it’s almost midnight, time to close my eyes, but – I – see – you - I’m – so – con – fused. I thought we moved on, deadly as A-bombs – run for my life (noteworthy here that the percussion suddenly drops out for those four words), fuck these break lights. Out under night skies, the smell of pesticide – are you close by (with tandem ghosting vocals), fire up search lights. Maybe I’ll see you, maybe I’ll touch you, cause I want you – yummy like fast food. It’s almost midnight, sleep with be denied – lust she comes now, time to fade out” caps the lyrical hypnagogia state between sleep and wakefulness. What follows is what has always made Raveonettes songs the absolute best. A deep guitar tone plunges down under the swirling waves of sound, cutting through with an emotional commitment and intensity that comes from the soul. It’s big, bold and majestic – and everything you’ve ever loved about The Raveonettes music.



An over twelve minute instrumental-only epic titled “PENDEJO” (which is Spanish slang word for a stupid, dumbass) serves as the final track of this collection. Opening with the kind of cinematic string section you would hear at the start of a movie, things soon morph over a straight-forward chunk-along beat and western film saga whistling wind tones. That percussion track is particularly intriguing as it features additional overdubbed clacks and snare shots with emphatic reverberated effects. A little over two minutes in and the signature Wagner guitar suddenly appears adding a deep twang to the proceedings. At four and a half minutes, the first seismic shift occurs with rising static and deep toms signaling the change. Deep pulse thumping (and little else) inhabit the next 20 seconds or so until madcap guitar textures fill the sonic spectrum, soon joined by single pitch bended guitar notes. A tension begins to build as basic clack percussion resumes and dueling layers of guitar pluck out both melody and buzzing background dissonance. Coming to an abrupt halt one more time, a speedier drums and guitar progression commences against the sound of voices broadcasting through megaphones. The seven minute mark sees that segment concluded, followed by a lengthy singular modulating tone. What sounds like the plucking of harp strings commences the next segment which also includes additional megaphone voice overlay. A slapping snare shot beat marks out time as gentle plucked strings and complimentary keyboard notes float above. One more change occurs around 9:45 when it all returns to the theme initially established at the tracks beginning. This time Wagner adds additional higher register guitar lines on the outro of a surreal and gorgeous composition.

This final video makes clever use of an image of Jack Kerouac in a football uniform taken when he played for Columbia University in the 1940’s. Mr. Wagner has made no secret of his admiration for Kerouac and his writing since The Raveonettes inception. He has a tattoo of Kerouac’s image on his inside forearm. An inspirational writer to myself as well (particularly influential in earlier days) the entire beat generation owes a debt of gratitude to Jack’s literary vision.  While he may have been "pendejo" at times during his gone-too-soon life, the works he left behind are anything but.



The Raveonettes are hosting a special intimate pre-launch party at The Music Box in San Diego on January 21, 2017 where they will perform the album in it's entirety.  All info regarding that can be found here.

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For further album reviews and live show recaps of The Raveonettes, see here:

http://davecromwellwrites.blogspot.com/2014/10/the-raveonettes-peahi-live-in-new-york.html

http://davecromwellwrites.blogspot.com/2012/09/the-raveonettes-observator.html

http://davecromwellwrites.blogspot.com/2012/10/the-raveonettes-live-webster-hall.html

http://davecromwellwrites.blogspot.com/2011/04/raveonettes-raven-in-grave-live-on.html

http://davecromwellwrites.blogspot.com/2011/08/raveonettes-live-south-street-seaport.html

http://davecromwellwrites.blogspot.com/2009/01/raveonettes-live-webster-hall-16th-of.html

http://davecromwellwrites.blogspot.com/2009/08/blog-post.html

http://davecromwellwrites.blogspot.com/2009/11/raveonettes-live-at-webster-hall.html

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CMJ 2014 - Early Week

In spite of what seems like an endless wave of other deadlines and immediate crises to deal with, I’ve managed to cobble together the first half of my CMJ experiences this year.  New York’s gargantuan music festival ran from Tuesday, October 21 through Saturday, October 25, 2014. Presented here are the first two days of this event (Tuesday and Wednesday) of what one of my more clever friends has dubbed CMJ = Croms Musical Journey.

As the festival has grown, it is essential now more than ever to secure these credentials.  Credit given to Big Picture Media for handling what is surely a monumental task with efficiency and professionalism.

Following the same script as last year, everything kicked off with the Press Party at The Hotel Rivington on their Penthouse level - which has been renamed the Artist and Press Lounge.

Engaging in the enthusiastic chatter and complimentary beverages that so often come with this sort of environment, the two hours from 6 to 8 pm whizzed by before heading out to the actual shows.

My destination was Brooklyn to catch a number of bands I had targeted early on as "worth checking out."

When I finally made it to Cameo Gallery, old friends Mannequin Pussy were just about to being their set.

I've always found their edgy punk rock to have the right kind of qualities, and this show reinforced those notions.

Marissa fronts an abrasive little trio that in spite of not having a dedicated bass player (many bass notes emerged from the second guitar) did not lack for bottom in their sound.   It was cool to catch up with Marissa throughout the night (chatting and commenting from time-to-time throughout the other bands sets) and finally have a good talk outside after it was all over.

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After having been hyped a bit earlier in the year with PR blasts about them, my curiously to see what The September Girls was all about would finally be satisfied.

Their initial PR went like this:  "Drawing inspiration from the likes of Phil Spector, The Velvet Underground, The Cure, My Bloody Valentine and The Jesus And Mary Chain, the five-piece play reverb-soaked noise-pop of the finest order, with distant layered harmonies, swirling organ and distorted guitars once described as "sounds from a transistor radio abandoned in a rural cinema."

That sort of description will get me every time.  Combine that with pretty girls and I'm already half sold.  Only thing left is to check out the live show.

Although I liked them (a lot) I didn't really hear all that much of a "Phil Spector, The Velvet Underground, The Cure, My Bloody Valentine and The Jesus And Mary Chain" sound.  Or "sounds from a transistor radio abandoned in a rural cinema" (oh, how writers do love to wax on).

It has been written that they chose their band name from a Big Star song via The Bangles - and that's who they reminded me more of.  No, not Big Star - but The Bangles.  Or The Go Gos.  Which is to say - that's not bad - it's good for what it is - if your goal is to make accessible pop music - with a slight edge to it.

They were definitely fun to watch - fun to listen to - and fun to be around.

Great looking young women who play their instruments well and sing wonderfully.  Both in harmony and each taking a lead vocal on alternating songs.  Very much a band.  You couldn't pick out a clear cut "leader."

I really liked taking their picture - so I took lots of them.

The room was packed and everyone seemed to be enjoying the show.

Afterwards I flagged down Vox guitarist and vocalist Caoimhe for a bit of a press chat.  She was very sweet and accommodating.  I mentioned that I didn't hear all that much of a "JAMC/MBV" sound and she indicated that their newer material was moving away from that.  Although somewhat disappointed by that prospect, they have to make their own decisions about what kind of sound they want to pursue going forward.  Anyway, it's not like their is a lack of bands that mine that particular influence these days.  In fact, Brooklyn is full of them.

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This night's headliners was a band from Manchester, UK called PINS

They took to the stage with a confidence and command of a band that appeared quite comfortable to be there.

The four distinctly unique visual images of each band member made the experience immediately appealing.

With instantly likeable songs, from left to right here, guitarist/singer Lois, singer/guitarist Faith, drummer/singer Sophie and bassist/singer Anna put on a dynamic rock show.

Bassist Anna was particularly cool, and provided a most informative chat after the show.

Faith did most of the lead singing and provided a visual centerpoint for the group.

Lois provided most of the lead guitar work and was also quite friendly and engaging during our post-show chat.

There is an exciting and magnetic quality to their live show.

Having great songs and the ability to execute them goes a long way in that regard.

During one of their songs (later in the set) Lois ventured out into the audience and riffed away, much to the delight of us all.

Faith also worked the crowd late in the show, coming out to the edge of the stage and engaging various people up close.

Most entertaining, I enjoyed PINS a lot.

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Wednesday October 22nd began in the afternoon at Pianos for the Kanine Records Day Party.

Ironically, the first band I arrived in time to see were the previous nights co-stars The September Girls

As this days events also served as an unlikely reunion between myself and a fellow bandmate from days gone by, I was able to take in the September Girls experience with a second opinion by my side.

Bassist buddy Brett gave them the thumbs up, and - not surprisingly - declared the bass player (on this occasion, the leather clad Paula) as his "favorite."

Overall the band delivered an equally engaging, tight set.  I would give the nod to Pianos for a slightly overall better sound.

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It wouldn't be CMJ if you didn't have to immediately scurry somewhere to catch the next act on your itinerary.  Lucky for us, all we had to do was go upstairs.

The adorable Beach Day were set to perform in Pianos upstairs location, and we made it there just as they were about to begin.

Fronted by the super cute Kimmy Drake, Beach Day has a lot of wonderful qualities to them.

None the least is Kimmy's charm, style and unique-hook-sound of merging Ronnie Spector-style vocals within garage rock punky songs.

The whole band has great style and presence, and in this intimate setting it was a real treat to take in their show.

Moving over to the side couch, we were able to get direct views of the bass player (for Brett) and drummer (for me).  I never noticed those beach pictures on the wall over there before.

Kimmy has got this really great voice and the songs are all well crafted.

A "Brett's eye view" of essential bass guitar throttling.  Kimmy rips a riff as well.

To know Beach Day is to love them.

Taking a break from the tunes for a few, two friends catch up on the corner of Ludlow and Stanton.

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Saying our goodbyes (or rather, catch you laters) I headed back in to hear one of the true iconic bands of the 1990s.

Due to heavy MTV rotation of their debut music (at a time in history when that channel was important and really helped to establish a band) The Ocean Blue are permanently embedded in my musical dna.

Led by Pennsylvanian’s David Schelzel and still with original bassist Bobby Mittan, the band burst onto the scene after being signed to Sire records by the legendary Seymour Stein.

They opened the show with their glorious 1991 hit Mercury

Mixed in was material from their most recent record Ultramarine

And although those songs are also really good, long time fans want to hear what made them who they are.  Fortunately they did not disappoint and played true classics like (my personal fave of theirs) "Ballerina Out Of Control" and "Between Something and Nothing."

In the audience was a woman dancing to the set that had the most unique outfit on.  If you look closely at that "jacket" you'll see it it made out of those plastic tie-seals that come on loaves of bread.  Speaking with her afterwards she said she made the entire thing herself.

My set list signed by David Schelzel.

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Having been sent a personal invitation (although may have been somewhat automated) to "stop by The Orchard office from 6-9 pm for drinks, DJs and a chance to see our newly expanded space.

Apparently more than a few of these "invites" were sent out as the place was absurdly packed when I arrived.

Still, I managed to have yet-another quality chat with the creative genius that is Richard Gottehrer

That alone is always worth the effort.  I even managed to put a copy of the current Deli Mag issue in his hand.

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However, having to get out of that crowded scene, I checked my options for the night and proceeded up to Webster Hall for one of the bigger shows being presented at CMJ this year.

Making my way past all the checkpoints and security personnel (badge waiving all the way) I bolted upstairs to the left (VIP) side balcony and sidled into a private viewing area that was apparently reserved for a certain PR agency.  No need to mention who here, but the prospect of seeing Courtney Barnett up close and on the big stage was too enticing not to try some bold moves.

CMJ has had a big hand in raising awareness about this artist, as it was their track sampler mix that contained her brilliant song  "Avant Gardener."  You could immediately sense that song was a cut above all the others.

Telling the story of having an allergic asthma attack during an Australian heatwave, the near spoken-word lyrics go "The paramedic thinks I'm clever cos I play guitar, I think she's clever cos she stops people dying."

Webster Hall is a great venue to see a show.  The lighting create mesmerizing effects and the sound impressively big and booming.

Having reached this level of success has allows for a higher level of quality side musicians.  The three bandmembers with her were all extremely accomplished, fluid players.

Moving to the center back of the balcony area for the final encore, I was able to take in another perspective.  Sandwiching this larger arena event inbetween my usual smaller club fare also afforded a different point of view for my CMJ experience.

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Chugging down the rainy streets of New York City, I arrived at Rockwood Music Hall for The Deli Magazine's Roots and Alt Rock/Pop stage presentation.

Having written a number of features printed in the current issue ( No. 40) of The Deli Magazine (which can be read in full right here), the next act up was one I had profiled.

Combining the formidable forces of three seasoned female singer/songwriters, Secret Someones create a soaring vocal rock sound that can’t help but impress.

Already working as solo artists, Bess Rogers, Hannah Winkler, and Lelia Broussard joined together with drummer Zach Jones to create a band with classic Americana rock roots.

The title track from their Cherrytree/Interscope Records debut EP, “I Won’t Follow” presents a crystalline vocal quality in both individual and blended cascades of harmonizing.

They claim Weezer as muse, but polished pop acts like Wilson-Phillips or The Pierces come closer to their huge vocal sound.

Currently on tour, the band is preparing to release their full-length debut in early 2015.

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The partnership between creative singer/songwriter and dedicated producer/engineer is a winning formula for quality recorded music.

Brooklyn’s Stone Cold Fox delivers this with Kevin Olken’s songs and Ariel Loh’s studio savvy on their 2014 album “Memory Palace.”

Expanded to full band with bass, drums, guitar and backing vocals, Kevin’s songs and voice are enhanced by Ariel’s surprisingly rich keyboard textures.

Many of the songs have that easy going early 2000’s Strokes feel, in both sonic textures and vocal phrasing style.

While other tracks evoke the lyrical imagery of Bob Dylan and the emotional drama of The Killers.

With influences from multiple genres and decades, the roots-oriented songwriter and electronic sound designer have put a fresh twist on this combination of popular styles.

The venue was completely packed for their headline appearance.

You can read my full interview with them over on The Deli Mag's Website right Here

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Appearing there later on that evening (now early morning) was another band I profiled for the print issue - HITS

Building a modern sound off an early 80’s synth-pop blueprint, New York City’s HITS present a charming soundtrack you can dance to. Singer/guitarist Louis Epstein embraces an era that saw MTV’s beginnings, helping to launch the careers of bands like Tears For Fears, Haircut 100 and Icicle Works. Keyboardist Erik Tonnesen’s deep bass synth can be heard all over the bands self-titled debut EP, and in particular on standout track “Madness.” Other cuts like “Veins” benefits from a clean chugging guitar sound, while “Singularity” echoes the cadence and feel of early Talking Heads. Lush, buzzy keyboard washes on deeper track “Twin Peaks” perfectly underscore its romantic vocal delivery.

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