Meticulous Reviews of Recent Albums, Singles and Live Shows

Discovering that new music has dropped from bands you know and love is always exciting. The need to experience every note and lyric is a powerful thing that ultimately leads to a thorough track-by-track analysis. Whether it’s a full-length album or an advance promotional single, a detailed approach for the recorded works is essential. Furthermore, the current trend of generational classic rock bands bringing their live shows to hometowns across the globe leads to rediscovery of what you always loved about them. Along the way, previously unheard artists find their way into your wheelhouse. It all adds up to yet another informed literary discourse.

It was towards the end of last year (during the “spooky season”) when we got a first glimpse of The Suncharms forthcoming album “Darkening Sky.” Featured track “Monster to Me (Halloween Version)” was released at that time, receiving a detailed review here on this site. The band have recently put out the entire 12 track album, and with it comes a greater sense of maturity. Once focused solely on singles and live shows, they’ve now completed their third full-length album in the last five years. The time has come once again to listen with purpose and discover the core elements of these new songs.

Opening cut “Midnight Train” leans on a relaxed bass and drums groove with retro organ keyboard textures. Wire-y guitar lines slither through with Stone Roses-like appeal. Vocal maestro Marcus Palmer delivers his storyteller lines with just the right amount of Jesus and Mary Chain vibes. It’s so much about the mood, but there’s thought behind those lyrics. “Names rusted into the pier . . . for 100 years,” is both poetic and sublime listening. The twist comes via it’s minor chord chorus where picturesque lyrical imagery leads to having “never caught that train.” Adding subtle trumpets on the end out elevate everything to conclusion.

Follow-up track “Annabel Lee” continues the thematic by-the-seaside, looking-back poetry, this time wrapped in a perfectly concise uptempo pace. Memorable guitar melodies, fluid bass and drums with organ enhancements are all there. “Love became a stranger” between “me” and “Annabel Lee.” 

“Stone Tape Rewind” blends a subtle country-esque vibe using according and pedal-steel sounding guitar work. Book-ending all that are some classic John Squire-like guitar riffs. “Was that the ghost of you? Was that the ghost of us?” is the lyrical question asked - “locked in walls of blue.”

As mentioned in the intro above, fourth entry “Monster To Me” received a fully detailed review this past October.  “Air Raid Shelter” tells the story of an unexpected encounter where “you told me you were born with your feet facing the wrong way” (?!) “and by the way your lover is still at home and I've nowhere to go.”  So oddly specific, the picture created stands out uniquely. “How can I get home?” the chorus asks – “all the coaches have gone” and “I’m hundreds of miles away.”  Light piano notes sprinkled throughout add a delightful sonic compliment to the proceedings.

“Diamonds” features a more distorted primary guitar figure as it’s dominant sonic force.  The overall rhythm has a 1960’s feel about it, as a tale is woven around someone magical and kind.  Having “diamonds in her soul,” she is found “stepping over insects and butterflies.” 

 “1000 Years” comes on by way of triumphant power chords and big rock arena song appeal.  Boldy uptempo, the story tells of a “lost wish” where one “drifted back” from “a lost romance” and “a wasted chance.” 

 “Motorway Bridge” opens (and closes) with the sounds of cars traveling by, before it’s main progression commences in full force.  Busy multi-note bass guitar and tom-tom drumming creates the rhythmic undertow for chiming guitar figures over top.  The chorus hits “like a dagger” with vocals channeling the other above-mentioned Stone Roses front man, Ian Brown (back in happier times).

Commencing in full flight out of the gate, “Interstellar” bounces along at a spirited pace.  The bass, drums, keyboards and guitar configuration all contribute with the appropriate touch.  Comparing a photo of earth from space to a tower block, “behind each light hundreds of lives both unique and the same.”  The chorus surprises by going instrumentally sparse on the lines “capturing beauty in the mundane - raindrops glistening on a window pane.”  Another trumpet emerges as a lovely enhancement on the outro.

With amusement park sounds fluttering in the background, tenth entry “Ferris Wheel” emerges via relaxed groove driven by acoustic guitar and shuffling drums. Making comparisons between circular movements of coffee stirring and the song-title subject matter, this perspective shows “where it all went wrong.”  What is supposed to be casual fun, actually provides insight on “silent screams” and “hidden fears.”  A gentle twangy guitar solo playfully dances against counter-melody bass lines up to the songs final notes.

Ice clinks introduce the electro/acoustic driven penultimate track “Winter Sun.”  With a rhythmic cadence not unlike the Church’s “Under The Milky Way,” it’s western frontier vibe is dappled with subtle instrumental touches.  Extended note synth pads stand out, while banjo-like figures are heard off in the distance.  As expected, the bass guitar is ever-busy throughout, and brassy synth-fills emerge to provide further sonic depth.  Lyrically reflecting on “what might have been,” it seems that “no spark was left for us.”

Final track “A Snowstorm” uses ethereal flutes and horns to augment an easy-going guitar-strummed rhythm.  The ghost of Lou Reed’s Velvet Underground floats through it’s lyrical cadence on picturesque verses.  While the chorus leans on melodies with images of “a snowstorm outside a room lit by streetlights . . . poisonous fire” and “desire,” a dreamy ending perfectly sums up this gratifying album.

Listen to and find out how to acquire this dreamy album here:

Follow The Suncharms on their Social Media  -  Facebook  -  Instagram

Previous DCW features on this artist can be found on this site here, here, here, here and here.

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

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When the opportunity arises to catch one of your all time favorite Rock and Roll bands live in concert, you’d be a fool to pass it up. Discovering that 2016 R+R Hall of Fame inductees and legendary hit makers Cheap Trick were coming to Hard Rock Live in Orlando, Florida – it was a no-brainer to attend this show. Listening to bassists Tom Petersson’s wit and humor on Eddie Trunk’s interview show only sealed the deal. Since moving to FLA, the Universal Citywalk concert venue has become a personal fave to see live concerts. Big Name bands in the perfect sized environment. Great sound, great sight-lines – and great performances. What follows here is a clip of every song they played.

The now traditional show opener "Hello There"

Followed by "Elo Kiddies"

"Hot Love"

"Radio Lover"

First spotlight moment goes to Rick and his cool square guitar

Which leads into their cover of The Move's "California Man"

Dipping into their most recent album, they play the marvelous "Twelve Gates"

The next featured musician moment was Daxx with a drum solo

Leading into their own hit cover version of Fats Domino's "Ain't That A Shame"

"The House Is Rockin"

"High Roller"

"Downed" (with Robin Taylor Zander on lead vocals)

The next solo spotlight went to brilliant bassist Tom Petersson

That leads into "I Know What I Want" with Tom on lead vocals

Last but certainly not least, a solo spotlight for perfect frontman Robin Zander

Leading into one of their all time great songs "The Flame"

Speaking of their biggest hits, here's "I Want You To Want Me"

Then there's "Dream Police" which they closed out the pre-encore show

After the lively Orlando crowd engaged in much applause and calls for "more" - the band returned within a reasonable amount of time with first encore "Never Had a Lot to Lose"

Followed by their arguably most well-known song "Surrender"

Then closing out the night we a redux of the opener "Goodnight"

Follow this legendary still going strong band at their Official Website  -  Facebook -  Instagram

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A frequent occurrence attending live shows is the discovery of new, previously unheard music via the opening act.  That proved to be true once again with the Nashville based Americana style singer-songwriter James Hatem.  Impressed with his ability to command the spotlight with just an acoustic guitar and a few pedals as accompaniment, he delivered a tight 30 minute set that was thoroughly enjoyable.  James has just released a new single “Prodigal Son,” that now receives a close listen and review.

Opening with acoustic guitar chords and minimal percussion, a violin joins in on this soulful country progression. James sings “all my life I’ve been living like a loaded gun. Sights raised high and I’m shooting up towards the sun. ‘cause every day that comes and goes I know it’s a battle that I have won” delivered in a harrowing voice.

Taking in all the advice others seem to be giving, the introspective decision “I’m moving slow – but I’m coming home” rings sincere, enhanced by gentle keyboard swells.  The big, gospel-tinged chorus provides a twist with how “I ain’t a prodigal son – I’m just a poor man living free. This life on the run – oh it keeps on chasing me. I don’t know where I’m going, but I’ll let it take the lead” completes the cycle, as pedal-steel ambiance flows through the mix.  Big “Whoah Whoah” background vocals emphasize how he’s just “praying for a little peace.”

The songwriting craft is eloquent, with so many great lyrical passages. “Forgive me for all the wrongs I have done. Though I feel there will be more before I am gone. I am only flesh and bones and prone to hurt those that I love, but don’t lose hope,” comes straight from the heart.  As does the change section “life’s got chains, but none will hold me down – life’s got pain, but there’s joy to be found (with voice rising for uplift) – “ain’t no shame in living like I know how – a little grace holds a lot of power.”

Listen to this wonderful track wherever you stream.  Here it is on YouTube Music and Spotify.

Here's a short clip of it from the concert - listen to how it sounded live at the show:

Another outstanding number played was heart-tugging, previous single "Northern Winds"

Which made an impression (and later got the Story/ReStory treatment)

An artist worth checking out!

Follow James on his Official Website and Instagram

Wall of Fame Photos - so many you need multiple trips to see them all.

The whole Universal City Walk Experience is highly recommended.

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Penetrating Observation of Recent Singles, EPs and Album Releases

Another full circle around the sun and a new year commences full of hope and promise for the days ahead. With that comes new recorded music from both trusted and previously unheard sources. Equal emphasis on both noisy experimental rock and more traditional singer-songwriter contributions occupy this early 2025 DaveCromwellWrites Feature. Plunge forward into these audio creations and the words inspired by them.

The motivating force of Philadelphia-based Patetico Recordings chief Tom Lugo offers a nearly endless stream of new music discovery. Having reviewed numerous releases of that labels various collaborations, prior full-length album by “From the ashes” Stellarscope stands out as a highlight. That pairing of Tom and drummer Bob Forman are now back with a new EP “All That Remains.” Written and performed entirely by the pair, Tom produced, mixed and mastered everything at their two studios in Middletown and Havertown, PA. The Cromwell force now digs into each track in search of it’s sonic core.

Opening track “As I Lay Dying” is introduced by a harsh buzzing riff that sounds like a swarm of bees. It’s urgent pace is soon shattered by a lumbering drum pattern that commences at seemingly half speed. It’s a deep, hammering pulse that creates a solid foundation for the “bees” swirling above. As drum fills intro an even deeper, slithering bass guitar line, Tom’s ethereal vocals begin and further amplify the mood. One minute in and a driving chorus is reached, combining walls of sheering guitars, voices and an overall sense of urgency. As the next verse progresses, those live-in-the-studio drums are a welcome change from much of the carefully digitize percussion heard lately. The bass guitar riffing is fast and furious, creating a subtle bouncing movement throughout. The pace quickens halfway through with a rising progression before reaching it’s crescendo and intro-mirroring fadeout.

Follow up cut “All There Is” builds off of multi-layered, downward stroked distorted guitar chords in that revered MBV style. Rough and tumble snare-roll heavy drumming also taps into the Colm Ó Cíosóig bag of rhythm for a pleasantly noisy trip in to the void. Tom’s sneering vocals sound as if delivered through a tin can, but that’s ok (in fact – perfect). Soaring musical passages glide through the middle as drums bash away to 747 jet engine guitars. Third entry “Some Other Day” keeps the buzzing guitar out front, with some unexpected chord selections in its progression. With the drumming still on the busier side, new elements such as clacking stick sounds enter the fray. Vocals are somewhat more intelligible, with references to “voices in my head” and the songs title line clear enough. Warbling effect runs parallel through some of this, adding a subtle, unsettling element. Halfway through, things align a bit more as a traditional guitar melody emerges over top of downward driving chords. Quick cut stop-start rhythms feature in the final verse, while the sludge takes over to its conclusion.

Next track “Devour all” captures Kevin Shields pitch-bend guitar chord churn on it’s opening flurry before low booming drums rumble in underneath. A sheering swarm of quick-strum rising guitars soon give way to single note melody lines as Tom’s vocals appear in a whispered, floating style. The chorus is big and bold, resembling the heavier output of a band like The Sisters Of Mercy. Headphone listening makes you aware of how well produced this wall of sound actually is. The separation of instruments is fully on display making for the perfect balance of controlled chaos.

A dramatic single pounding drum thump leads the way into final cut “Consumed.” With alternating cymbal crashes for emphasis, center melody guitar-churn flows forward, as fluid bass throbs throughout it all. Vocals are softer and near buried at some points, while harmony-doubled in other places. There’s an almost orchestral feel to the rising guitars, soaring above the heavier clatter below. While momentary quieter plateaus set up subsequent verses, a full force sonic assault “consumes” the tracks final minute.

Check out this blistering new EP here:

Follow Stellarscope and Patetico Recordings on their Website and Social Media

Facebook     -     Instagram

A previous DCW feature on this band can be found here.

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Mutual friends and associated bands are the frequent pathway to discovering new music groups. Such is the case with New York City based female rockers Killdeer. Having grown up in musical families that stamped early influences on them, these four women write, record and perform live music combining punk, pop, and alternative into an appealing garage-rock sound. With three EP’s already under their belt, the band has now released a new single “Generic Break Up Song.” The DCW audio-scope turns it’s focus on sorting out this songs contribution to the rock music canon of anti-love songs.

Descending guitar note phrasing opens the track with alternating textures, before climbing back up the scale to start the downward spiral again. Cymbals woosh and bass guitar enters space before everything momentarily comes to a halt. That’s when the drums kick in and a chugging rock n’ roll progression takes off fully. The motion reverses to an upward rhythm, then another split-second halt before vocals commence with playful solo voice and harmony coated follow ups. As the song title implies, this isn’t a new story, but one of time honored tradition. “Seemed so fine” starts thing off solo before “boy I must have been blind” comes layered in harmonies, as trouble is revealed as “a storm rolled in – grabbed a bottle of gin – where’d our love go?”

You can’t help but chuckle at the cheeky lyrics “you walked away – saiiiiid you’d stay” (in full harmony) “now I’m broken wing – busted feather – thought we were forever!” One can’t help recalling the similar romantic angst referenced in Cameron Crowe’s feature directorial debut “Say Anything” and the still hilarious song “Joe Lies.”

However, Killdeer brings the guitar crunch, and drum pounding gets heavy on lines (thought we were) “forever together!”  Quick-turn drum breaks and single cymbal accents are impressively built into the songs structure as are those multi-voiced harmonies.  An anticipated fuzzy guitar solo hits just after the midpoint, accompanied by a driving melody-echoing bass pattern.  The band is now in full charge forward mode, with slashing guitar chords, fluid bass and pummeling drums.  One more pass through the “master of deception” and “you’re nothing but trouble” lyrical put-down, because “its plain to see, you were never meant for me.”

Check out this clever take on a universal theme on their Spotify right here:

Follow Killdeer on their Official Website and Instagram.

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Friend to this site Phil Wilson has had a number of his brilliant The Raft albums reviewed here with much deserved accolades.  His ability to compose, produce and perform songs with such a beautiful quality has always been impressive.  Much of that production also included the lush placement of dreamy female vocalist who’s contributions lifted the track to ethereal heights.  Now Phil is back with a more stripped down project called Indigo Twinn that is a duo partnership with vocalist Claire O’Neill. The four song EP “Someone Else” (titled after it’s lead off track) features Ms O’Neill as equal contributor with songwriting and featured vocalist on all four cuts.

The record opens with the aforementioned O'Neill/Wilson dual penned title track “Someone Else.” Gentle three-quarter time guitar chords lead the way with a lovely jangle.  Claire’s clear, straight-forward vocals commence with a gentle sincerity and we’re on our way.  The first chord change soon hits as the lyrics implore you to “come down and wash by the water,” and to “wipe the tears from your eyes – and cry.” Comparisons to the legendary band The Sundays once again come to mind (having made mention of that in some of The Raft’s earlier work). Claire take the emotion further with hook lines “cry like a baby – wish you were someone else.” After a minute and half, drums and bass join in giving everything a fuller band feel.   The production is impeccable as is everything else leading to the songs emotional denouement.

Follow up cut “Supergirl” is the first of two solo written songs from Ms O’Neill here. Against a four chord acoustic guitar progression, lyrics question “why does it always seem to be that you’re on my right side, but not on my good side?” The bridge change comes on bolder with the lines “but you get wiser, when I get nicer” ultimately leading to “I’ll be eager to be your supergirl.” Fuller instruments once again enter the mix, with special mention to J Pedro on bass (+ entire EP production) and Paul Keelan on drums, playing brilliantly throughout. Along with Phil’s nuanced guitar work, there’s a strings sound of sorts adding one more dreamy sonic element.

The second solo penned track by Claire “Come Away” reduces the chord structure by half, with only two needed for it’s impact.  Phil layers melodic electric guitar tones over top, while vocals implore you to “leave all your monsters” and “come away with me.”  Vocals are doubled at key junctures, with harmonies placed for emphasis.   “So let’s review the situation” begins a dramatic midsection that comes with well-placed “Ahh Ahh” backing vocals.  It all builds to an emotional peak of voices and instrumental sections, until the final coda floats away on a cloud.

Final entry serves up the Phil written, sentimental and heart-tugging “Sarah.”  With deeper bass notes marking out a counter-melody pattern against jangly finger-picked guitar, Claire delivers the vocals with equal aplomb.  “Look behind our heel walking, didn’t mean that much to me back then” is how the innocent lines begin.  The single word title is given it’s gravitas by repeating it with differing vocal emphasis and varying background enhancements.  The story captures an innocence of place and time through everyday living, where the simplest things can become magical from a looking-back point of view.

Listen to this gorgeous recording here:

Find out how to acquire this EP here.

Follow the band on their Social Media  -  Instagram   -   Bandcamp

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It was exciting news to hear that frequent contributor to this site Andres Alfonso Lugo was back with a new 8 track album “DRONINGUITARFEEDBACKS,” under his Los Dientes Hundidos en la Garganta name (the teeth sunk in the throat).   Recorded at his Where are we going studio lab in Baltimore, MD, Andrés plays all the guitars, drums, programmed drums (with a little help from his AI friends), percussion, loops, and everything else.  It is an experimental tour-de-force that garners an essential track-by-track reaction below.

The 54 second opening snippet sounds like a field recording of an outdoor jam percussionists often entertain themselves with.  That launches into the 5 minute “Cosmicomics” which emphasizes motorik drumming and unnatural sounding wind-wooshing seemingly pumped down echo-heavy tunnels. Expanding track lengths, the 9 minute “Trantor Yuba” takes the initial drum-circle conga-fueled percussive elements and lays the groundwork for extended guitar drone over top.  The patterns are consistent, yet move organically in subtle changing directions.  A distant siren emerges as the piece slowly fades out.

Snare drum makes a prominent appearance on the six and a half minute dream-gazey meditation “Onoe Matsusuke.”  Low end textures (sounding like cello’s) share space with higher-pitched ambient explorations.   Moody floating movements are held together by way of the simple drum beat that fades in and out of focus.  Pushing the sonic lengths further, an over 10 minute “Kebra Nagast” goes full-on slow, introspective dreamscape, emphasizing the twilight moments that exist somewhere between heaven and earth.  A single drum thump appears at intervals throughout its continuous shimmering audio field.

Bandcamp featured track “Bene Gesserit” (the albums longest entry at over 11 minutes) emerges with full-throttle force.  While the droning elements hover above everything, mad-crazy jazz-style drumming thunders, rolls and ride cymbals with frenetic energy. Droning elements slowly change patterns, marking out a recurring melody (of sorts). The combination of longer held ambient textures with the hold-on-for-your-life roller-coaster ride drumming creates a uniquely fascinating soundscape.

“Bezdomni” features an electronic hand-clapping like percussion, ominous long-held ambient backdrop and wailing voices that sound like what you might hear in a jungle.  A subtle melodic movement emerges, adding another element to lock on to, between those recurring vocal outbursts.   Final entry “Omni Poetics” leans into a rapid paced single snare drum shot, long held center drone and horror-style voices placed wide in the left and right channels (heard on headphones). It’s a fitting way to end this hallucinogenic album.

Check out this creative recording here:

Follow this artist on Social Media:

Instagram   -   Bandcamp   -   jakjonsontapes   -   YouTube

A previous DCW feature on this artist can be found here.

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Authentic Examination on New Music and Video Releases

Four exciting new releases serve as the comprehensive focus here in the July DaveCromwellWrites Feature. Along with trips to the beach and numerous free live shows in the park (one of the truly great thinks about summertime around these parts), time has been carved out to investigate and ruminate on some of the more thought-provoking new music releases. Old friends and new share space here, with descriptive representations fully accompanied by the music they choose to share with the world.

The good folks over at Big Stir Records have a new full-length album release by LA psych-pop rockers Maple Mars. Titled “Someone's Got To Listen,” it's the band first album in over a decade, and debut for this label. Playing to their strengths honed from years as recording artists and legendary live performers, soaring harmonies, layered guitar interplay, lock-down rhythms and deft songwriting run through all ten of the album's song. What follows here is a track-by-track analysis and commentary on each one.

Punchy power-pop and soaring vocal harmonies feature prominently right from the start on opening track “Useless Information.” “Twisted truth – they just confuse” perfectly encapsulates tracks titles and overall sentiment. Lead single “Gliding” emerges out of piano chords and harmonica before launching into the songs driving thematic melody. A serious Beatles/Badfinger vibe is felt through a harmonic styling that emphasize multi-tiered vocals, blended guitars and urgent percussive undercurrent. Tempo changes create emphasis on verses, while open space guitar figures provide necessary instrumental breaks.

Initial album teaser “Goodbye California” falls into an easy mid-pace groove, with lyrics stating how “everything is bright – everything is shiny -every sin is disguised – hiding in clear moon sunshine.” Even a “warm breeze” won't help you “when California falls to the sea.” A tasty guitar solo leads the track out to it's conclusion. “Anchors Aweigh” jumps to a quicker progression, with double-time snare-drum shots and downward driving guitar line. “I wonder if the winds of change will become a force” and “the salty dog will stay the course” bookend the metaphor of this cuts overall theme. Busy drum fills, rubbery bass and bouncing guitar figures all contribute to an integrated musical accompaniment.

“Someone Take The Wheel” bursts out of a chaotic psych-rock feel, with forceful clattering drums and FX-laden guitars. While vocal harmonies over top attempt to harness a level of control, the “Helter Skelter” instrumental approach underneath threaten to shake everything wide open. Points for the lyrics “can't see the forest for the sleaze.” A syncopated snare, bassdrum and highhat beat kicks off “Teenage Dream” as it drops into a chugging, good-timey groove. Sweet call-and-response harmonies drive the hook that goes “wasting time – try to make the scene – moving through those weekend dramas – chasing the teenage dream.” Melodic guitar riffs ride over top of crowd noises, adding a cinematic effect to it all.

“Sleepwalking” comes on vocal heavy right from the start, with a lyrically dense storytelling prose. Conjuring up imagery of “dark dreams” and “standing in a forest wondering what it all means.” The guitars emphasize harmonics over the now-expected hard charging drumming. Ethereal textures introduce “Silver Craft” exhibiting an initial floating sensation before the main progression commences. Morphing between a more cerebral sonic approach and the energetic power-pop already established previously creates an interesting mix of atmospheres. The space travel references appears to dovetail nicely with the album covers imagery.

The organ, piano and synth driven “Crooked Smile” touches on a softer psychedelic approach. With no percussion, acoustic and electric guitars are carefully woven into the mix, blending seamlessly with the lush vocals.  Album closer “Redemption” benefits from a single guitar and voice intro, before launching into the full band progression. Initially touching on the topic of “deception” and “trust,” hand-claps punctuation is sprinkled in at points for catchy hook benefit. “Is there any justice for the sacrificial lamb?” is juxtaposed against “the corruption of the damned.” While pondering those issues, elevating guitar figures rises to the stratosphere and land on a melody driven turnaround. An unexpected keyboard-synth interlude emerges with a minute to go echoing Beatles “I Am The Walrus” vibes. Even the vocals that follow take on a Lennon-esque feel, leading the track out to it's denouement.

Listen to their song "Gliding" here:

The album is out now as a deluxe vinyl LP and CD at Big Stir Records, as well as streaming worldwide.

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Andres Alfonso Lugo is a Baltimore-based recording artist who's work has been featured here on DCW numerous times. While those previous reviews focused on the bands he belongs to, the current work here being delved into is his solo project Los Dientes Hundidos en la Garganta. With that phrase translating into “the sunken teeth in the throat,” the music created is less ferocious (though still quite powerful) than that expression would suggest. Inspired by Brian Eno, Harold Budd, Robin Guthrie and minimalism, Andres provides guitar, loops, programmed drums, bass and synth, while enlisting contributions from Ferran Pont Verges (Die Noia Futuriszka) with guitars, voice and mixing on "Loops of Energy."

Rising out of a distant ambient mist, a singular bass guitar begins to rumble with purpose. Gentle synth waves ebb and flow around this central throbbing texture before the thump of snare, bass-drum and high-hat percussion enters the mix. Two minutes in and a sudden rush of shimmering distortion floods the sonic field, adding an uplifting quality over the already-established rhythms. With the centrally placed bass guitar providing both driving force and melodic changes, glistening guitars and looped atmospherics continue to expand audio horizons. A minute in further introduces voice-as-instrument via celestial choral layers. That is soon met with higher-register guitar notes, continuing the measured pace melody rise.

At five minutes in more lush chorusing fans out across the auditory spectrum, with keyboard synths becoming more prominent in moving the melody forward. What remains ever constant is the steady vibrating bass guitar right down the audio center, complimented by clear elemental percussion. The midway point sees the progression modulate back and forth momentarily, before continuing what feels like an ascension into the clouds. An overlay of incandescence emerges in the seventh minute, serving-up the quick-strum guitar that gaze-music aficionados love. Further on, a descending melody line finds it's way into the mix providing a complementary alternative to what has already come before. After nine and a half minutes, everything drops out except for the bass guitar and percussion, creating a momentary plateau. As the other elements return to the mix, strong guitar figures establish descending melody lines along with one more round of ethereal voices to the tracks final conclusion.

Listen to this sonic exploration here:

The track is available as a free download on bandcamp.

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Receiving news about a new project involving long-time fave David J (of Bauhaus and Love & Rockets fame) is always welcome. Busy as he's been over the last few years with revived live shows, hearing about brand new songs and group collaboration peaked curiosity. The debut album “A Free Society” by newly minted combo Night Crickets also includes Vincent DeLorenzo (from Violent Femmes) and multi-instrumentalist Darwin Meiners. Drawing their name from a conversation about something David Lynch said, the recordings came together via audio files shared between Los Angeles, Milwaukee, London and San Francisco. The band has now released a new music video for the song “The Unreliable Narrator,” which receives a full review below.

Opening the video with a silhouette image of three antenna-headed “night crickets,” those of us familiar with Love and Rockets can't help think of “The Bubblemen” from L+R's early history. A deep voice recites the song's title line as hypnotic drone, cavernous jungle drums and clacking percussion play behind images of three men slowly passing by. That familiar David J bass guitar presence is soon felt as black and white images of the band rise mysteriously upward. Color soon enters the visual mix in form of psychedelic backdrop, as more band figures are shown moving their fingers in slow-motion. Vocals commence in full this time, spelling out how our “unreliable narrator gets his intel second hand, from disreputable sources.” Slow moving pictures of bandmembers alternating between black and white and color combined with billowing clouds of smoke add mystery to the unfolding story of having “an axe to grind and a cache of theories – the conspiratorial kind.”

An engaging instrumental respite emerges at the song's midway point, creating the sensation of a dark ride through mystical lands. An eyeball with flames shooting out the top of it serves as yet-another graphic form in the video. As the song's title is repeated hypnotically, you can feel the music shifting underneath with suble changes in rhythm and melody. Impressive snare drum accents and bass guitar runs are soon followed by more dynamic guitar chords. Putting a close to the whole story with final lines “you can't believe a word he says, so you're foolish if you do,” puts a bow on the whole package, as does actual night cricket chirping attached to the very end.

Check out this curious video and song here:

The Vinyl Release of A Free Society is out on July 29 via Omnivore Recordings

A previous feature on David J can be found on this site here.

Two Dave's share a moment after the show.

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An inquisitive individual who records and plays live music under the moniker 77 Apes has caught the attention of DCW through their steady persistence. It is a solo artist endeavor where lyric-heavy songs are accompanied by acoustic and electric guitars, fleshed-out with background rhythm tracks. Brooklyn born and now Connecticut based, the songwriter sings about desperation, hope, love, sex and life itself. Their recently remastered and released track “Devil Knows Devil,” now garners the full CromwellWrites deep dive analysis.

Steady, chunky percussion and plucky chugged electric guitar introduce the seriously determined “Devil Knows Devil.” Bright strummed chords accompany opening lyrics “I wake up this morning – walk out into the rain. Gotta get to the city – on that downbound train.” A gritty tale of life today from a storytellers point-of-view, structurally sound melodic chord changes enhance lyrics about “souls” in “pain.” A twist comes on the title line reveal of not needing “to tell this to you because – Devil know Devil babe.” This resolution implicates at least one individual, or perhaps a part of us all. A rise in both vocal and audio intensity commences on the next pass through with larger society concerns pairing “old man poor” with “young man's crime.” While we further discover there's “no absolution” or shot at a “second chance,” a piercing, steady guitar solo cuts through the midpoint with appropriately dramatic effect. Pivoting to acoustic guitar for a more intimate reading, literary references to “Bacon's Triptych” and “Poe's purple pain” draw together “the words of the sages.” The final push makes effective use of extended electric guitar notes behind acoustic strumming leading to the closing line “Guess I'll see you coming – there on judgement day.”

Check out this track right here:

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