Judicious Reasoning of Recent Singles and Album Releases

A combination of new and returning artists provide the material and inspiration for this August 2024 DaveCromwellWrites music review. The discovery process of what’s being newly released is often a random one, with the direct outreach approach often the most effective. Whatever way music finds its way into one’s sphere, an appreciation of what is being heard is always the deciding factor. Four new recordings now serve as the subject matter for this current detailed audio breakdown.

The trusted recording label Sunday Records has been growing it’s presence here on this site, with more than a few of their releases showing up in recent times. So recent in fact, that last months notification (and featured track inclusion) of that labels recent “Beautiful Noise” compilation most-likely served as catalyst for another of their artists to reach out. The Proctors are a C86 / Sarah Records influenced indie pop band on the aforementioned label who recently released their latest album “Snowdrops and Hot Air Balloons.” A dedicated listen and analytical thought flow commences straight ahead.

Jangly, open-note guitar chords, rising bass, synth pads and a steady drum thump introduce “Summer Begins.” A bright-flute synth melody enters and seemingly merges into celestial background voices. Male fronted vocals with female harmonies at appropriate moments implore you to “be kind to yourself and don’t, don’t stop believing” and to “just go, go on feeling.” It’s a lovely throwback that lifts the spirits with rallying cries to not “torture yourself” and how “tears try in the morning sun.” Curiously, the hook concludes with the lyrical phrase “summer’s just begun,” and not the song title.  In fact, no where in the song do those two words appear together.  It hardly matters as the song bounces along on a joyful breeze while cautioning that “the world is full of broken hearts,” and how “everybody plays their part.” A positive outlook in the face of temporary trouble is the primary theme here, as “memories will fade” and “soon the sun will rise, erasing yesterday.”

Listen to this sweet song here:

Rising out of a distant ambient mist that slowly reveals to be icy synths and churning guitars, “Silhouettes” soon morphs into a full on bass guitar and drums driven four-chord progression. Things go quieter for opening lyrics indicating that “guilty tears won’t set me free.” It’s about love – or more accurately about relationships and how when you “step inside,” it can lead to “sweet sensations – and then lies.” A gorgeous male-female vocal harmony is then featured, and brings to mind the seamless beauty of The Raveonettes. The poignant lyrics state “it’s not a sin or crime, it’s just our sentimental point of view.” In search of a “remedy . . . to cure what poisoned you and me.”

Deeper track “Crystalline Part 2” jumps out at a brisk pace with chiming guitar chords in a descending progression, melodic driving bass and a wonderful tambourine strike on each 4 beat. Clever lyrical metaphors focus on stringed instruments, where “your voice is like violins” and “bells on your guitar” ultimately “kill me with your string machine.” It’s all wonderfully wrapped in this rising step dual-harmony appeal that asks “so why d’you do this now - take me to that Shangri-La? Please don’t do this now, put my head inside a dream.”

The whole album serves up one exhilarating track after another, making for a delightfully pleasurable listen.

Did into it here, which includes info on how to acquire it in multiple formats.

Follow The Proctors via their Social Media here.

Check out what Sunday Records has to offer via their links - Official Site - Facebook - Instagram - TwitterX

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New music from Philadelphia's Patetico Recordings is always a cause for celebration as well as a deep dive review. Label boss and primary musical creative force Tom Lugo is back with his band Heliocentric Overdrive and their latest single "Unnecessary." Two years ago a full review of their debut EP “Weightless” was given the CromwellWrites treatment on this site. In between then and now other Patetico releases have gotten their deserved analysis here as well. The time now has come to dig into this new release, and uncover it’s audio and lyrical essence.

The track opens with a touch of feedback before immediately launching into a downward driving progression of glorious sludge. It’s rhythmic force brings to mind those grinding gears on the abrasive half of Ringo Deathstarr’s “Tambourine Girl.” However, rather than launching into a contrasting perky pop segment (as RD does), this cut holds the rhythm but opens space for rough delivered lyrics. Presented in clipped spoken word cadence, the opening lines “Got an invitation - but you ain’t gonna go - got no time for parties - rather be alone” emphasize isolation over social interaction. Piercing sonic bursts from guitars ride over top of the low rumble stomp churned out by bass and drums. It’s a gritty affair that falls firmly in the heavy stoner-rock category. As if onetime same day festival headliners Mbv and Tool (quite a dividing line among attendees at that time) came together to produce this one song. A second lyrical couplet sheds further light on this internal struggle, stating “they say time is money - got none of my own - step up to the altar - I’ll bleed to get my own.” As the thunderous instruments continue charge forward, a chanting vocal repeats the sentiment “all this time – wasted away.” There’s even a subtle similarity to this tracks coda end-out and the Beatles maniacal “Helter Skelter.”

Check out this torrid new song right here:

Follow Heliocentric Overdrive and Patetico Recordings via their Social Media.

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Every once in a while something totally unexpected comes out of left field and winds up in the message box. Such is the case of indie artist Ronaldo Vivo Jr. from the Philippines, who puts out music under the moniker obidya himig. Internet translators indicate that second word means “melody” which is an appropriate designation for this music. However, those melodies often come buried in the dreamgaze murk many of us weaned on My Bloody Valentine (and others) have come to know and love so well. The recently released album “Other Seasons” now receives a close listen and descriptive reactions to these recorded soundwaves.

Opening track “Footsteps” takes it’s cues from the aforementioned mbv’s “Loveless” by bringing together the essential elements of two-chord slog, crisp live-sounding drumming and unintelligible lyrics buried under layers of guitar sludge and pile-driving bass. Lyrical hook “glow like embers do” is merely suggested, and how could Kevin Shields not love this? He’s spawned a whole generation of acolytes, perhaps more than even The Velvet Underground once did. Liner notes indicate this solo-studio artist played all the instruments, so props in particular from this writer for getting the Colm Ó Cíosóig drumming down perfectly.  Follow-up cut “River” goes even deeper down the loveless well with a slow crawling wash of ambient bliss. There’s a touch of Ringo Deathstarr here as well, especially in the guitar effects and romantic style vocals. The single line “see me under” becomes a repeated hook in this psychedelic trip.

“Olivia” is a brief (a mere 1:24) exercise in deep bass notes, rough charging guitars and enthusiastically matched drumming. The single word title line appears in a chanting cadence, floating inside of the mix. “Bless Me” is closer to the lo-fi, alt-indie acoustic guitar driven living room recordings described in the liner notes. No percussion at all, an accordion-like sound serves as the only other instrument is this ode to a “sweet and long love.” “Sun” changes course somewhat, bringing to mind the casual, laconic groove of J. Mascic’s Dinosaur Jr. “Close your eyes and see the sun inside your mind” is even sung with a hint of J’s lazy boy drawl.

There’s even bits of chill out trip hop with the one minute, twenty two second “Waiting.”  Or a touch of pre-loveless mbv on the “Isn’t Anything” styled “Crystal Tears.”  More dreamily romantic vibes are felt on the Ringo Deathstarr/Dinosaur Jr hybrid “Hollow Colored Evening.”  Additionally, “Purple Sea” propels along via active drumming and a see-sawing melody.  Final entry “Hallway Lung” serves up an under two minute instrumental of muted guitar strums and back-and-forth floating synth textures.

Check out this weird and wonderful recording here:

Follow the artists band page here on Facebook

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One more new to this site recording artist that recently released music is Alaska-raised, Washington State-based singer-songwriter/guitarist Mark Ward.  His latest power-pop album “Let ‘Er Rip” is a tour de force of time-honored indie rock song craft.  Taking cues from the initial pop “British Invasion” through the decades of similarly styled rock that followed delivers potent results. Combining singalong hook melodies with lyrics that run the gamut from serious to lighthearted, a descriptive focus on representative tracks follow below.

A crisp snare drum roll leads off the album’s opening track and first single “I’ve Been Around.” Chiming power pop guitars and paired bass patterns roll out the four chord progression with 80’s indie rock flair.  Conjuring up The Records classic jangle pop track “Starry Eyes,” upbeat audio is countered by more sobering lyrical content.  Recounting a brief bar encounter and one night stand, the aftermath is anything but happily ever after. When “the band was playin your favorite song” and they were “dancing and singing and getting along, “morning light” brings a realization “it was just one night.” The chorus hits hard though, as the track’s title line is all that’s needed, accompanied by euphoric harmonies and melodic guitar lines. Mark delivers subsequent verses with that Dave Edmunds subtle twang in his voice, while readily admitting “I’m not sayin’ I’m some kind of saint.”

Check out this catchy pub rock track here:

Follow up cut “Kiss Me Kiss Me Kate” doubles down on the Lowe/Edumnds Rockpile vibe, with it’s uptempo groove and sharp corner accents (special mention to the album’s drummer Dylan Mandel for his excellent work).  Flipping the script on the previous song, the subject matter is one of a potential future together with someone giving “a sign you could be mine.”  It’s a joyous ride packed in under three minutes with a lovely chorus and a touch of “it’s now or never” sentiment.

It’s a fully Merseybeat immersion on the brief (under 2 minutes!) “Love Me Once Again.” Of course The Beatles influence is there, but also perhaps a bit of Gerry and The Pacemakers, Herman’s Hermits or even Freddy and The Dreamers. It recreates the innocent charm of falling in love with that genres subtle flair, “when tomorrow comes around, we’ll be more than friends.”

There are many more inspired, finely crafted tracks on this album, well worth a listen. Check it out right here:

Follow Mark on his Bandcamp and Facebook Pages.

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Feature Reviews For April 2020

In these times of heightened awareness on dealing with isolation and how to cope with it, no one is better prepared for this solitary pursuit than the writer. Already familiar with spending long hours by themselves, researching a chosen topic and then putting it to words, the current worldwide suggestion (requirement?) to “self-quarantine” seems almost redundant. With that in mind, the haven of newly released music from emerging artists takes on greater importance – now more than ever – in these times of careful distancing from casual human contact. Four new bands make their way into the April 2020 DaveCromwellWrites analytical universe, safely arriving through a digital shield.

The golden age of hazey gazey dreampop continues to inspire new generations of musicians looking to make their mark. An evolving interactive relationship with niche label Shoredive Records now provides a steady pipeline of current releases from the best of these artists. The latest from them catching this sites attention (their 42nd release) is London, England's Velveteen.

With the release of their latest EP “Bluest Sunshine,” the band shows a clear affinity for the early 90's developmental years that brought us all those incredible albums from My Bloody Valentine, The Jesus and Mary Chain, Cocteau Twins, Boo Radleys and Swervedriver.

Opening track “Get Real” jumps right to it with a swirling wash of dissonance, before bass-note guitar strums, bright synth-bursts (with dramatic cymbal crash accompaniment) is met with explosive pitch-bended guitar melodies over syncopated percussion. Belinda Butcher-like vocals commence and the already converted (me) are instantly swept away into that blissful romantic confusion this sound never fails to provide. There's a dragging sensation to this track, doubling-down on a time-space-continuum feeling. It's gorgeously lush, with all spaces filled in nearly all the time. Multi-layered male and female voices float in, out and over each other as an alternate universe melody drives a dagger into your heart.

Follow-up track”You Got It Down” comes on a bit heavier with thicker drum underpinings and male vocal emphasis. The guitars saw harder here as well, with punchy root-note bass guitar holding the explosive chord progression together. Vocal lines get delivered in a rising style where the last word in each line is held longer. A mere :40 seconds in and the first change is hit with gorgeous blending of spiraling downward voices and subsequent words “lift my feet off the ground.” The 2 minute mark (of a relatively short 2:42 length song) drops in a growling, wah-wah pedal solo, leading out to the final :22 second ambient coda.

First single “Fall Under” takes it's cue from the classic MBV “Loveless” tracks “When You Sleep” and “I Only Said” for spiritual inspiration, rather than any direct copying. While that signature sound of high-pitched guitar melody ushers in this new track with inverted familiarity, enough care is taken to ensure a legitimate stab at originality is undertaken. It's a beautiful hook that's presented, showing a clear affinity for the masterwork that continues to inspire on a daily basis, without ever devolving into simple copycat structures.  Low key blended vocals make you wonder if elements of Kevin Shields' revealing admission that certain vocal tracks sounding like boy-girl were simply one voice slowed down paired with the same one speeded up to create that dreamy effect, might also have been employed here as well. This cut makes impressive use of minor key changes that create a melancholy feel in places. At 4:35 in length, there is ample room for soothing “oooooh's” underneath that dominant composition hook. Another level of sonic washes enters the mix at 2:45, complete with descending chord progression. A final minute and a half of “mini holocaust” ensues, wrapping up quite nicely this homage to greatness.



EP title track “Bluest Sunshine” falls closest to the “dreampop” genre, with it's shapeless shimmering guitars and rat-a-tat snare drum intro. Floating changes fold and meld into segments that alternate between romantic sensations and slightly off-kilter moments. It's overall slow-motion feel is enhanced by angelic chorus vocals that repeatedly emphasize lines with a rising tonal note. While the guitars double-down on formless ambiance, steady marching percussion provides a grounding point for it's forward motion. The final minute has the percussion dropping out entirely, with the guitar and bass now playing more clearly defined structures.

To acquire this EP, go here:

https://shorediverecords.bandcamp.com/album/bluest-sunshine-ep

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With the release of their full-length album “Agitprop Alterna,” Peel Dream Magazine - the collective fronted by NYC musician Joe Stevens shares it's latest single “Is It My Body” as an additional reference point to a sound that is both unique and appealingly familiar.

While previous singles “Pill” and “Emotional Devotion Creator” paid homage to a sound most associated with genre creator My Bloody Valentine, third single “Is It My Body” leans into that period's softer side, which featured bands like Stereolab, Broacast and Lilys. With a percussion track sounding as if borrowed from an early 1970's living room organ, clean unaffected guitar chords strum out a sentimental melody. As a single male voice delivers the title line, female vocals enter the mix adding airy countermelody. A descending keyboard line follows, with further movement provided by twinkling synth textures around the edges. Those alternating (yet layered) vocal lines play off each other in a manner suggesting the timeless appeal of legends The Swingle Singers. The tracks mid-point introduces one more vocal segment where quicker-paced voices in a third melodic variation layer progressively, reinforcing that “swingle singer” effect.



As for the song's subject matter, the author describes it as an “anthem against people who want to exert power over you and make you feel small… a reminder that you don’t owe anyone anything.” The whole album speaks to a broader theme of personal freedom and the need for constant vigilance against manipulation and misinformation. The album cover references critical theorists Theodor Adorno and Max Horkheimer, who examined "The Culture Industry: Enlightenment as Mass Deception."

Acquire this album on all the streaming platforms here:

https://smarturl.it/agitpropalterna

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A recent discovery to this site is the Toronto based Canadian acid-punk / post-hardcore / progressive-screamo band Pilcrow.  Their most recent recording to date, 2018's “Fever Dreams” serves up five tracks of hyper-charged aggression that is equal parts meticulous and chaotic.

Opening track “Doves” is an aggressive full-on assault with sharp, angular precision guitar work playing essentially non-stop while a rhythm section of bass and drums batter away with ferocity. Vocals are delivered with the type of screamo intensity suitable for smashing whatever it is bothering you to pieces. With lyrics depicting a potential post-apocalyptic scenario - “time's swollen gluttony eats you alive - trade your blood for fuel,” it appears this “dove” has been cornered and is fighting back with intensity.

“Lungs” continues with the above formula, adding more angularity to feverish guitarwork intertwined with busy, note-heavy bass guitar and mad-scramble drumming.  A particularly angular buzz-note figure slices through the rhythms as melody-free vocal screams add the necessary level of existential angst. Alternating lines between two vocalists suggests possible inspiration from fellow genre operatives Blood Brothers.

Intricate guitar figures usher in the third (and longest) track “Shapeshifter,” juxtaposed against poly-rhythmic bass guitar and percussion. While the band frequently uses the word “punk” in their self-descriptive tags, the composition and playing here is far too sophisticated for that simpler three-chord genre. This leans closer to prog-metal, or one of their other more accurate self-descriptive tags: post-hardcore. A tempo change occurs midway through, speeding everything up – while underscoring the authenticity of three advanced rock musicians playing together in a studio with minimal (if any) overdubs.

“Crash The Bus” builds off of a vibrating bass guitar pulse before the drums and guitars jump quickly into the fray with feverishly jagged figures. With vocals more shouted (rather than screamed) this time, a dominant bass guitar powers everything forward. A surprising (and amusing) pause under a minute in bubbles like a ray-gun blast before the band and vocals lurch in once more. Sophisticated rhythmic changes emerge underneath at the minute and half mark, with well-defined guitar licks interspersed between the chord progression.

Final cut “Hackfraud” serves up another three and a half minutes of combative rhythms, guttural vocals and speed-note guitars. Oftentimes lead riff guitar and bass are locked in tandem with cymbal-heavy percussion throttling away underneath. Sharp-cornered tempo-changes emerge for 10 seconds or so, before dropping out to a solo bass guitar moment. That leads into one more level of rigorous and oblique guitar and bass riffage.

This is not pretty music and certainly not for the meek. It is, however, presented with a high-level of musicianship.

Listen to and acquire this music here:

https://pilcrowtoronto.bandcamp.com

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It had been a little over four years since Austin, Texas rockers Ringo Deathstarr put out a new full-length album, however the recent release of their latest self-titled effort now offers up 13 new songs. Having featured the band 10 times here on this site dating back to 2011 (with live shows attended as early as 2009, and most recently this past November) the opportunity to dig into these current tracks provides it's own unique adventure.

The under two minute opening track “Nagoya” is a beatless exercise in ambiance and twilight (or early a.m.) mindset, surely inspired by the bands numerous Japanese tours (being the largest city in the Chubu region). “God Help the One's You Love”- the first to receive a video release – emerges out of Alex Gehring's bass progression and Daniel Coborn's muffled-toms drum pattern – before centering around multiple layers of Alex's voice, pitched into an angelic chorus. A classic two-chord back-and-forth rhythm and Alex's busy bass line drives along the humorously ironic titled “Gazin.” The second song (so far) to be paired with accompanying video, the 'might-as-well-go-with-it' attitude here has not gone unnoticed. “Once Upon a Freak” taps into the artificial world of studio recording with it's backward tracking intro. A bright snare-drum shot adds balance to the pitch-bended guitars and alternately smooth and then oddball vocals. Momentary stop-start breaks and rising motion segments further contribute to the tracks nearly 4 minute length.

Unfortunately now a song for our times, the gentle Alex solo-sung “Disease” takes on a more universal meaning along with the artists initial sentiment. “Just Like You” returns to the style more associated with their recent trash-can sound and alternating boy-girl vocals. The tandem-sung rising chorus has “classic RD” stamped all over it. “In Your Arms” delves into odd textures of fuzz, hybrid-percussion and more sweet rising Alex vocals. If we could get this track to Eno, he might call it “the NEW vaguest pop song” he ever heard. “Heaven Obscured” picks up the pace somewhat, while dipping the bucket back into the (apparently bottomless) well of dreamy, angelic Alex vocals. A more structured vocal melody in the back half present clearer lyrical predilection. “Lazy Lane” pairs solid deep-tom drumming with warped-vinyl guitar textures, clutter-bombs of vocals and nursery-rhyme lyrics about takin' it easy, y'all.  “The Same Again” (another ironic title?) doubles-down on the warped-for-no-good-reason sonics, while master sticksman Daniel Colborn does his best jazz-combo tribute underneath.

“Be Love” dips back into that mechanical percussion period of “madchester loop drumming” while sugary Alex'n'Elliot's harmonize with “makin' sweet love down by the fire” vocals. Props must be given to Elliot for a particularly gritty, callous and all together much-too-rude guitar solo. Apparently the table-saw next door was malfunctioning and the lower frequencies from that mishap leaked onto this track. “I Don't Want to Lose This” employ those reverse-loop-violin-sounding guitars that Mr. Shields made a name for himself with, lo these many years ago. Alternating vocals morph from breathy-to-sung-out-fully with angel Alex floated down from the cloud (everything's stored on “the cloud” now, right? Wherever the hell that is) from time to time. Some low-pitched spoken word narration adds one final level of weird. Early commentary fan-favorite “Cotton Candy Clouds” opens with Alex singing in 1-2-3 waltz cadence, before the full dinosaur stomp of the band crashes in. At over five minutes (the longest track on the record) there is ample room for FX-enhanced guitar heroics, making mirror-posed air-guitar participation almost a requirement. Momentary gentle passages provide breathing-room relief from the lumbering sludge preceding it. Not too worry as piercingly precise guitar riffage returns to the fray, leading into another round of thunderous muck (and mire). It's all capped off with a final coda of “angel Alex (TM)” chorused like Shelley Fabares on “Johnny Angel.”

Overall Fave Track:  "Be Love"

This album is out now and streaming worldwide.   Consume it here:

https://orcd.co/ringodeathstarr

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Record Reviews: Blushing, Trillion, The Suncharms, Lunar Twin, Stellarscope, Selenes

Deep dives into newly recorded works serves as primary motivation for this month's DaveCromwellWrites Features. While some new-to-this-site artists receive close listen analysis (inspired by the guiding hand production work of a respected, previously featured sonic master), others found their way in by simply reaching out. Oftentimes the most basic and sincere forms of communication and recognition yield the best results. That level of respect fuels a reason-to-care motivation leading to an ultimate appreciation of each individual recorded achievement.

Based out of Austin, Texas, Blushing makes modern dreamgaze music that pays homage to the 90's era sound originated by bands like The Cocteau Twins and Lush. Built around the female frontline of Michelle Soto (guitar, vocals) and Christina Carmona (vocals, bass) the four-piece band is completed with husbands Jake Soto (drums) and Noe Carmona (guitar). Their ten track debut LP was recorded, mixed and produced by Elliott Frazier of Ringo Deathstarr. Elliot's work with his own brilliant band has been featured on this site numerous times, with a complete review of their last album here. Employing his studio abilities with Blushing's songwriting, playing and vocals has made for a winning combination and receives a full track-by-track review now as well.

Opening track “So Many” starts out in an understated manner, with gently strummed, flanged guitar chords providing initial instrumental focus. Female vocals soon emerge out of wind-rush tunnels and celestial space, delivering lines “when the weight of the world is not enough to motivate.” Bright cymbals and drums enter the mix at a minute-and-a-half, providing a pulse under the lyrical story that continues to unfold. It all advances to build for another minute before a huge ambient expanse is opened, filling in across the entire sonic field with deep space guitar and punched-up percussion.

Stomping right out of the gate on tom-toms and more aggressively strummed, chorused guitars, “Dream Merchants” take an introspective look at the mind during (and after) sleep. “When you wake up - Feel your dreams around - They can change your mind - Leave it all unwound.” Extended note guitar squalls snake their way through significant segments of the track, providing a segue to overlapping vocals that approximate the quick fluctuation of a dream-like state. “Taking you places that you’ve never been - Not really sure if that’s what you intend,” ultimately leads to “Giving you what you needed to begin - They can change your mind.”

A churning percussive undercurrent and chiming guitars provide the instrumental springboard for “The Last Time.” There's a light and airy feel to the vocal presentation on the verses, while the choruses come on more forceful over a rubbery bassline and rat-a-tat percussion. Of particular note is the dreamy mid-point interlude that unfolds in cascading layered voices. Elements of the bands Lush and The Cocteau Twins come to mind while listening to this.

Chiming open note chords and thumping toms provide the opening textures for retro goth feel “Control.” Soft whisp female vocals float into the progression, stating “can't control you – You're not around. Can't escape the bind you found.” Bolder guitar strokes delivered in quicker time usher in the change “I'll wait for you – you cling to me – we look away – to set us free.” Opulent layers of voices cascade together in subsequent passes through, occasionally emphasizing flatter vocal notes (Minor? Fifth? Seventh notes?) revealing more complexity than initially anticipated. Bass guitar gets a featured moment just past the midway point, before rumbling toms and retro guitar textures join in.

Riding an immediate rhythmic curve that enunciates the first four syllables of each verse sentence (“we'll – for – get – they”, before the full band crashes in on the final word “know”), “The Truth” emphasizes big, bold strokes. Vocals cascade and blur into a swirling mix of instruments, with a clearly defined chorus stating “I know why you're like this. I feel how it returns. Can't say that I blame you. I know how this will end.” After two passes through the songs mid-point features a dreamy Lynchian passage (complete with ghostly background “Ahhh ahhhh's) declaring “Get used to it. Get used to the end. Just take the deal – and feel something real right now.” A brilliant guitar passage leads the song out to its conclusion.

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A beautiful, elongated e-bowed guitar line serves as the centerpiece on “Pressure.” Underneath that dominating sound, the band thunders along as dream-gaze vocals “going on – a run around again – looking for the answers” hover just above the submerged line. The pace and intensity quickens and a frantic guitar figure surfaces before the low rumbling fade-out.

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A gentle 1-2-3 waltz pattern introduces the Cocteau Twins influenced “Sunshine.” With vocal lines echoed in rapid succession (and lower toned, “flatter” harmonies) the nod of recognition to Liz Fraser and Robin Guthrie's innovative style is unmistakable. The layering and tonal quality of the female voices also bring to mind one of Ringo Deathstarr's own layered masterpieces - “Guilt.” A balance develops between specific guitar-bass chords alternating with floating lyrics “when I was down - you went away. Now you’re back - Sunshine stay.” A lovely minute-and-a-half instrumental coda lifts everything skyward.

Listen to that track here:

Regret and longing are the lyrical themes of the gently starting and powerfully finishing power ballad “Running.” Its carefully measured intro allows for a clearer vocal style on delicate introductory lyrics. A handful of weighty 90's era Projekt Records artists like Love Spirals Downwards, Soul Whirling Somewhere and Loveliescrushing come rushing back to mind while listening to this. This story of love never attained - “I'll never know – all that could've been – and the moment is gone – there won't be another day” is riddled with regret over “the words I didn't say.” A powerful chorus leaves some room for hope with the sentiment “If you want me to – I'll give it all for you. If you want me to – I'd lose it all for you.”

Romantic dreampop is the order of the day on the swirling”Me With You.” With shimmering downward strumming on it's dynamic intro, a spacious bass and drums only segment is soon met with brightly struck guitar figures before concise, poetic lyrics begin. “Could it be that you’re too far. Could it be that I’m not where you are. Pull me closer to you now. Holding on.”

A momentary dramatic pause is held as voices rise, before a more forceful chorus arrives. “Out of nowhere I fell in love. I don’t know why you couldn’t see. Out of nowhere I fell in love.I don’t know why I couldn’t keep.” Leading back into the downward driving intro chords. There an audible quality to the tone and combined females voices on this (mostly) pop song that reminds of (and this is meant in the most complimentary way) The Bangles. Yes, the Susanna Hoffs band. There was a distinct quality to the way that group harmonized, and elements of that are perceptible here as well.

Digital delay provides sonic effect on the introductory notes for final track “Her.” As the full sonic spectrum rapidly fills with a powerfully leading bassline and echo-canyon snare drum shots, extended length guitar lines fill in over top. Verses come in hushed tones, with percussion pulled back deep into the mix, leaving voice and guitar as primary focus. Those dynamics allow for fuller band enhancements under penultimate lines “there would never be enough time with you. I’ll take comfort in the days that we knew.” A final minute-and-a-half instrumental lift-off serves as the ultimate statement on the albums gorgeous sonic quality overall.

THE DEBUT LP IS OUT NOW ON WALLFLOWER RECORDS (Vinyl) and HANDS AND MOMENT RECORDS (CD)

💜UK VINYL ORDERS: https://www.roughtrade.com/gb/blushing/blushing

💜JAPAN VINYL ORDERS: https://diskunion.net/portal/ct/detail/AWS190918BLUSHING

💜CD ORDERS: https://handsandmoment.com/products/blushing

Catching up with old friends and making new one's too!

Visit https://weareblushing.bandcamp.com for more info.

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Making it's way onto the DaveCromwellWrites landscape is the six song EP “When I Wake” from Sydney, Australia's Trillion.  The five piece unit released this magnificent record in 2019, establishing a level of dreampop and gazey songcraft celebrating that style's enduring universal appeal. Each of the songs has been given a deep listen and now receives a detailed Cromwell analysis.

From the opening notes of intro (and title) track “When I Wake,” the listener is immediately immersed into a multiple layered guitar-centric dreamgaze world. One might expect this with the band listing not one, not two, but three active guitarists participating in this musics creation. Drums and bass soon enter the mix, providing a muscular undercurrent. Dual male-female tandem vocals deliver lyrics while a wall of pitch-bended guitars churn relentlessly underneath. The tracks midpoint ushers in a solid change, before heading back into the initial charging progression. There's room for riffing over top of that, creating ear-pleasing melodies before the eventual fade-out.

Reverberated canyons are the guitar texture approximations on the more deliberately measured “Slow Down.” Vocals come in that quieter, reverential style that Rachel Goswell and Neil Halstead did (and still do) so well on those classic Slowdive recordings. Gentle floating waves of guitar riffs are fortified by a commanding bassline and strong drumming. A lovely downward progression change develops halfway through, leading to an aggressive instrumental segment that brings “Ummagumma”-era Pink Floyd to mind. As the original, shuffling progression returns, softly sung lines like “take the time to shine” surfaces against angelic higher register background vocals.

Buzzing bee guitars and quick paced percussion are the order of the day on “Circles Around Me.” Swirling like an angry hive bearing down on a field of flowers, space is given for some brief vocal lines before the colony sound returns. Snaking guitar lines are woven in over top, reinforcing the necessity of the bands triple guitar approach. There's an atonal quality to the meshing of voices and bee-buzz guitar wash that creates an additional level of satisfaction. Not content to stop there, a jacked-up instrumental segment features emphatic guitar lead forays over throttling bass and drums.

Open note chords and deep rumbling drone usher in the dreamy “Walk Away.” That low pitched bass is distinctive, giving the track a bit of Jesus and Mary Chain feel. The bass gets busier on instrumental interludes that feature sinewy guitar lines weaving their way over top. Female vocals are pushed more prominently in the mix, with the male counterpart providing the shadow harmonies. Clocking in a minute shorter than the previous three songs, there's an overall poppier feel to this one.




The My Bloody Valentine-esque pitch-bended, overdriven guitars return on “Gone In Your Smile.” Vocals roll out in similarly submerged fashion, with the bright snare drum and cymbals paying perfect homage to the brilliant Colm Ó Cíosóig. The track is somewhat closer to the just-before Loveless MBV, with it's structured pop leanings enhanced by coming levels of murk and mayhem.

Final cut “Houhui” takes a decidedly different approach with the tracks opening strains sounding like a high pitched violin-like instrument. Overdriven guitars come floating in underneath and slowly take over the entire sonic spectrum. It's orchestral in feel and beatless – with those initial high pitched tones reappearing in the mix, providing a melody of sort on top of modulating glazed and gazey guitars.

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Keep up to date with all things Trillion via their bandcamp, which provides links to all of their social media platforms.

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Contributing a newly recorded track to the Amsterdam, Netherlands label fadeawayradiate records latest F.A.R. OUT curated digital compilation (now their third), The Suncharms finds their song in perfectly matched company of fellow upbeat pop (with a hint of psychedelia) artists.

Exploding out of a whip-crack snare drum and cymbals-on-bass-drum intro, “Jet Plane” takes off on a instantly catchy guitar riff loaded with nostalgic charm. The kind of upbeat melody that immediately embeds in your soul, bringing to mind carefree days of sun on your face and the promise of new adventures. A briskly strummed acoustic guitar churns away underneath, adding depth to the bass guitar and drums already in full flight. Vocals come on with a touch raspy, life-having-been-lived experience, weaving a tale of flyover air travel and the stories embedded within them. The bridge change arrives a minute in, with the dominant melody guitar line matching the vocals in note-for-note equal measure. “I am watching sunshine as it bursts through the rain” serves as just one lyrical metaphor depicting a feel good sensation. While that can't-miss hook-laden guitar riff cycles through again, additional sonic elements begin to find their way into the mix.. What sounds like a pedal-steel guitar is audible on the following verse, where the vocals are delivered in a softer, more conversational way. The final :45 second instrumental end-out keeps that happy feeling going, capping off a near-perfect three and a half minute pop song.

For further info on The Suncharms, check out their bandcamp link here.

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Making their long awaited return to the DCW universe are the pacific coast darkwave duo Lunar Twin.  Having previously covered their 2017 record “Night Tides” here, advance tracks are now being released in anticipation of a brand new album. The Cromwell dive down into one of those tracks follows below.

Soft piano introduces the near five minute in length track “Electric Lights.” A deep, introspective voice begins to sing in that up-close-in-your-ear style that Mark Lanegan mines so well. “It's past 4 am, still sittin' here. Drinkin' in (held in elongated vowels) the atmosphere.” Orchestral components materialize underneath, initially with lush keyboard strings and marimba-toned, sharp-struck melodies. Another buzzy synth tone materializes into the mix, providing one more counter balance to an ongoing mystical lyrical story. Inserting subtle, but noticeable structural changes allows for descending chord progressions augmented by deep, distant percussion. However, those changing undercurrents serve only to intensify the continuing lyrical story over top. At three minutes in, a more traditional drum progression commences, providing additional balance via a bona fide “beat.” That soon drops out, returning primary focus to lyrics stating “you're still a stranger” and “there is no imminent danger.” With the beat returning, vocal lines still flow: “rest with the sunset – sweet like the ocean – you can live forever and dream – electric like me - Electric light dreams.”




The forthcoming full length album “Ghost Moon Ritual” will be released in Vinyl, CD and Digital formats on February 16th, 2020 via the duos new imprint Tropical Depression/Desert Heat.

Follow the lead up to that release and everything else about the band here.

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On Wednesday November 13, 2019 3 Robots Records and Popnoise Fest presented a night of ambient and sonic explorations by Puerto Rican artists at Muchmore's in Brooklyn.

Performing on this night was an acoustic set from Sin Tribu (aka Warren Santiago); experimental ambient soundscapes from Boston, MA's Federico Balducci; a post ambient acoustic project by Héctor Caolo of pioneering shoegaze band Un.Real dubbed Sueño con belugas as part of the Selenes collective; a gazey set from Panophonic - the noise-pop project by Tom Lugo of Philadelphia’s post-punk/indie rock band Stellarscope; and DJ Meviu§ playing shoegaze, dreampop, indiepop in between sets.

Stellarscope have a new album on the way, scheduled for a January 2020 release.  Their first single "Sweet Surrender" is available now, and the track impresses on a number of levels.

Quick rhythmic tom-tom fueled drumming sets the pace as deep resonant guitar chords chime down in bold strokes. “Waiting on something, other than the dark days of life” is the opening lyrical refrain. Guitar and bass kick in at a more frantic pace, with quick strum buzzing guitars in constant motion. In under a minute the tracks essential hook is reached with the lines “Oh, I will never tell you lies. Oh, I will never let you down.” Those vocals are stylized and delivered with a diction and processing effects that bring to mind Peter Murphy's classic output. The instrumental delivery is far more forceful however, driving forward to its hyper-charged conclusion.

Listen to the track right here, with links to the many other band related resources here.

3 Robots Records is making available for free download a newly released album titled SELENES

The album is a collaboration between friends and colleagues from the independent music scene in Puerto Rico. It was put together by the artists sending tracks back and forth over the internet, recording, mixing and adding ideas in this modern way music is now often made. The name SELENES comes from the word “Selas” which describes the light and brightness emanating from the moon. In ancient Greek mythology, Selene is the name used to describe the moon goddess.

There is a wonderful, dreamy atmosphere to all of the tracks. Gently strummed flanged guitars and dreamy female vocals come wrapped in vast surroundings on the particularly standout track “Lead the Fire.” A male harmony vocal joins in on the delicate chorus, providing counterpoint to it all. Comprised of ten tracks in total, many are purely instrumental sonic explorations into a dream-like state. It's introspective music, but there are enough structural changes on a number of lengthier tomes (with “Planet Vortex” and “Surface Vibrations” in particular) to more than hold the listeners interest.

Check out that album right here.

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Ringo Deathstarr - Pure Mood - Album Review + Live with Stargazer Lilies & Dead Leaf Echo

A new Ringo Deathstarr record is always reason to celebrate. Their fifth studio album, “Pure Mood” released on home turf Austin, Texas label The Reverberation Appreciation Society, (with manufacturing and distribution by The Orchard) deliver twelve brilliant tracks that are arguably their most cohesive effort yet.

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Opening track “Dream Again” pairs a simple strummed guitar chord progression with layers of angelic church choir voices from Alex. What’s interesting here are the “flat” (or possibly 4th note) harmonies she sings (with her layered self) on the repeated lyrical pass “a way you were – the way we were.” Immediately following is an even more appealing vocal sequence with the lyrics “eats you up all the things you love” that serve as an audio representation of the psychedelic dreamlike state.

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“Heavy Metal Suicide” is built around a riff that echoes the hybrid alterna-metal that made producer Butch Vig famous. Less the looser Nevermind era Nirvana grunge, this places much closer to the breakthrough first two Smashing Pumpkins albums. That RD have toured with and established something of a relationship with Mr. Corgan and his band, the only outstanding question would be if this track is the product of subliminal influence, or an intentional acknowledging homage. The classic dual vocals of Elliott and Alex alternate between whispery cool on verses and shouts of “I don’t mind if you don’t love me, it’s alright if you don’t miss me, I won’t cry if you won’t let me, but you won’t know unless you try” on the chorus. The rubbery downbeat accent riff that punctuates throughout the song and ends it is the ultimate heavy headbang moment.

“Stare At The Sun” – Pairs a purposeful marching bass guitar pattern with industrial metallic clang percussion, as guitar static textures rise within the mix. Verses are delivered by Alex in a measured cadence that walks the line between sung and spoken. “Run - around - we need - to use it - let - it drip - but don't - abuse it - Ruff – enough - to make - it submit - run - around - you know - we can't quit - tear - it up - it does-n't matter - when - your mind - is a – disaster – hap-piness - can make - you sadder - when - you're stuck - inside - the pattern.” The chorus hits big with chiming guitars and percussive drum pattern reminiscent of early 90’s loops in songs like Chapterhouse’s “Mesmerize.” “Turn back to pieces when I saw you” becomes both a single line chorus and central vocal hook.

The sound becomes more stripped down on the second verse as the lines “Take – your car – and drive – it nowhere – turn – me off – you know – I don’t care” are sung in an even more clipped cadence. “Met - your friend - he's such - a cancer – touch - me when - you know - I'm not there.”  Guitar textures behind that create a unique ambient progression with metallic scraping strings effects. The next lyrical sequence that goes “how - do you - know when - you're finished? - does - it feel - good to - diminish? - blow - it up - just to – replenish – dream-ers just - a stu-pid cynic” features a slightly warped audio texture underneath, in what has become something of a signature sound for this band. It’s not till deeper in does the song title come into focus, with the final statement – “your smile is a kind of torture - if you want something nice to look at - - stare at the sun and never turn back.”

Shimmering, flanged guitars introduce “Show Me The Truth Of Your Love.” Although primarily an Elliott vocal performance – with sincere romantic lines like “I want it all,” “I need to know,” “make me a vessel” and “I feel so special” – there is ample use of Alex’s softer, feminine counterpoint throughout. Overall the track gives off the feel of something The Cocteau Twins could have done. That is until a surprising and somewhat odd cinematic coda closes out the track, with an initial dreamlike buildup ultimately having some random Spanish music immersed within it.

The lyrically heavy “Big Bopper” serves as one of those songs where personal favorite pop culture, zeitgeist moments in both music and film are rapidly listed. Similar to R.E.M.’s "It's The End Of The World As We Know It (And I Feel Fine)" and Billy Joel’s “We Didn’t Start The Fire” (although sounding nothing like either). Classic hybrid Alex-Elliott vocals with pitch-bend guitar support deliver the first verse: “Curtain with nothin behind it, Didn't lose a thing but I'm gonna find it, The tape is cued up but I'm tryna rewind it, Stuck outside but locked inside it, I've got a bad attitude, I'm tired of everyone in my crew, Waiting around for Hüsker Dü, To get back together and play some tunes” A centralized heavy chorus hook that goes “Bad trip - Someone tell her - Don't make deals with - the creep in the cellar” (played three times throughout the song) keeps the tracks overall wordiness sufficiently anchored. “You can't stop the cretins from hoppin” (first of two Ramones references).

“Died on a plane with the Big Bopper” (alluding to one of the worst airline tragedies in rock history, and obviously the song title. Was it just random to call the song this, or is there some deeper meaning?) The next lines “I saw your mom she's off her Rocker. I know a way to earn a dollar” seem simple throwaways that work out because they rhyme. However the following “I need a ride to the other side. Tripped on a sun beam, blew my mind. Close your eyes and try to drive blind” suggest self-discovery through the psychedelic experience. However, that segments closing line “feels like I'm going through an Eventide” is something only those familiar with sound effects processors would get.

The musicians, songs, films and actors specifically listed in the final segment crosses more than a few decades, yet reflect things that most-likely only a Generation Y/Millennial would combine. “Walk me home Joey Ramone, Andy Wood, Motherlovebone, My Girl, Good Son, Home Alone Jeremy, Daughter, Even Flow, I Know What You Did Last Summer, Heaven's Gate was really a bummer, Neve Campbell and Liv Tyler, Oasis, Tony Blair, and Blur”

One of the first tracks initially released from the album, “Guilt” combines high production values with a looser, jammy drum track. Alex’s vocals layer the lyrics “Guilty/ it seeps through the ceiling/ a sinking feeling/ I'm kneeling” in a floating, overlay sequence, while drummer Daniel rips snare rolls, roughing up the sweetness. “Don't you see the colors are bleeding?/ your touch is misleading/ I'm pleading” (more mad drum fills). “Have you ever felt the prying?/ when nothings exciting/ stop trying.” Like many of the songs on here, the chorus is a simple phrase – “dumb angel.” The guitars throttle in hard downward strokes as drum rolls bridge between. What follows is a particularly snakelike guitar solo that shares a measured, professional quality to it. Inside liner notes credit “special guitar” to Jeff Schroeder (appearing courtesy of Gene Simmons) – an inside joke for sure as Jeff is the current Smashing Pumpkins lead guitarist, and has been since 2007.

Pumpkins friendships aside, the verses on this track shares a closer sonic lineage to female-voice-and-guitar-blend-wash 90’s UK band LUSH. Who coincidentally have reunited and are currently touring again after a 20 year hiatus. The concluding lyrics: “perfect/ a gift worth receiving/ now I'm believing/ I need it/ swallow/ your ideas are borrowed/ you fake all your sorrow/ you're hollow/ don't you love when everything's ending?/ and you're still pretending you're living?” You can listen to this song (where I first covered it back in November 2015) here:

Continuing the sugary-buzz female-male blend vocals is the curiously titled “California Car Collection.” Isn’t that something rich people like Jay Leno or Reggie Jackson are known for?

“I am waving goodbye” is the initial vocal refrain, supported by abundant synth and/or sample keyboard pads. Soon the mantra of “I waste away” takes over and is repeated over fuzzy guitar chords. Second pass through adds a bass guitar pattern providing unexpected circuitous motion. From the midway point until the end of the song’s three and a half minutes, it remains entirely instrumental.

Raw bass guitar notes introduce frequent live show favorite “Frisbee,” just before the full-on pitch-bend guitars and syncopated drumming arrive with force. “Free Your Head” is the alleged repeated lyrical refrain, although with so many of this bands repeated lines, they tend to float like amoebas. That is to say that with studio processing and layering, certain words or phrases take on an indefinite, changeable shape. However, the clearly enunciated Elliott vocals “Well I don't know if I'm wrong - I'd say I'm sorry but it's been too long - I don't feel it like I should - I guess it's bad that I think that's good,” leave little doubt as to the intended message.

The second verse (repeated as the third too) continues this theme with the words “I'm the same I've always been -But you still cling to my old skin -It's a feeling you can't shed - Don't expect to understand,” all while Daniel is free to cut loose with drum fills that make it all sound so lively. The subsequent guitar solo practically explodes out in an uplifting burst of elongated, sustained notes.

Heading into “deeper” tracks now, “Boys In Heat” has also been included in live shows over the last few months. Hyper-quick strummed bee-buzz guitars power over top of steady driving bass and drums. What distinguishes the track early (and repeated throughout) is the every 4 bar 1-2, 1-2 drum punctuation. “Having fuuuuuunnn – in the summer sun” give early indication as to which “heat” the song title refers to. Deep tom drum fills on the first change (and throughout) makes for a tasty headphone listening experience. So too for the bass guitar driven extended trippy instrumental break.

Also spotted on a written live show set list (a rarity in itself) is even deeper track “Never.” Emerging instantly at breakneck speed, the “deathstarr” is on full throttle until everything stops momentarily for quick, blended Elliott and Alex vocal statements. With the basic sentiment being “never should have let you in, and never let you screw me down again,” its lesson learned and not to be repeated. Another toms throttling, bass guitar rumbling change section delights as Elliott declares (with winking musical nod to a certain Scottish band who were an early influence) “I was on the chain – never had a brain.” The audio “argument” attached to the end is nothing short of hilarious. “You find yourself a place to work, girl!”

There’s a distinct “smooth soul” vibe to second-to-the-last-track “Old Again.” Opulent background vocals provide much of this sentiment, while a lively structured bass pattern anchors from within. Repeated lyrical refrain “feel old again” points out this sentiment can be experienced at any age. Verse two and three add shards of guitar driven “jet engine” sonics, keeping everything very much in the “noise rock” realm. A final tacked on coda of unadorned plunking guitar serves as a musical easter egg nugget for those who listened this far.

Final cut “Acid Tongue” closes out the album at breakneck pace with a nod to that classic Swervedriver sound. Speedy bassline and bendy-warped guitars power along under Elliott’s vocals. A hard heavy metal bridge segues into telling lyrics “don’t need a gun, but I got one – feeling dumb – like someone” with the final repeated phrase “and I was wrong.”

The album can be also gotten in the UK and the rest of Europe via their long time relationship with Club AC30, and in Japan via Vinyl Junkie.

Ringo Deathstarr headlined a triumphant return to New York performance at popular Brooklyn venue Baby's All Right on April 3rd.  All of the band live shots here are from that show.

Almost a month prior to that, they embarked on whirlwind European tour with shows nearly every night in different cities.  A safe holding place for their US touring vehicle was needed.

T-shirts, CD's and Love - are really all you need.

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"Good evening, Angels"

A gift from Piazzale Falcone E Borsellino Pesaro Italy

Fun times.  The Best times.

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Just prior to that evening's headliners, ambient dreampop purveyors The Stargazer Lilies delivered their own exciting live performance.

Having perfected creating spacious, dreamy sonic landscapes. theirs is a sound that continues to grow and evolve.

Innovative forces John Cep and Kim Field present enhanced studio recordings via effects-heavy guitars and sugar sweet angelic vocals respectively.

Impressionistic colors blurred across a windswept sky.

Technology may make the creation possible . . .

. . . but the artistic emotions behind it all are why it actually matters.

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Just a few weeks prior to this evenings performance saw them out in Austin, Texas for the SXSW festival with Cromwell coverage in The Deli Magazine Print Issue for that event.

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The band will release their latest album, "Door to the Sun" on June 3 via Graveface Records.

First single “When With You” can be heard (and viewed) via the below video.  Filmed and directed by LG from Dead Leaf Echo at Aloft photo studio in New York City, with editing by John Cep.

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Speaking of Dead Leaf Echo - they too played on this evening, opening the show with their own brilliant set.

Having last covered one of their shows here, the overall changing dynamic first noticed on that night seemed more clearly defined.

The current four piece until has been together for quite a while now (maybe longer than any of the prior lineups) and it shows in the confident execution of their material.

A full room at Baby's All Right drank in the waves of sound (with an emphasis on newer material) throughout their set.

Guitars now dominate what once was (at times) a keyboards heavy, electronic pulse driven sound.

The weeks following this show saw the band head out on their first European tour.

Their social networks kept a nightly stream of info and updates about those shows, indicating a rewarding experience and successful endeavor.

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Brand new Dead Leaf Echo music has now been announced as a 7" split single "child.glass.heart" is set to be released May 13 on Moon Sound Records.  On the flip side is the track "Dirty Minds" by complimentary darkwave act The Harrow.  A full release party will be at Sunnyvale Brooklyn on May 14.

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