Detailed Review Writing on New Music Releases

October catches the Cromwell range of view fully engaged on new recorded works from artists either previously featured here, or first time entries to this site.  All of this new material show musicians taking their creative ideas - much of it developed by way of live show performances over the years, and forging it all into high-quality studio recordings.  Each artist exhibits true emotional commitment to their respective style of music.

A band this site has been keeping a close eye on over the last year or – The So Lows - hail from “the land of enchantment,” that beautiful wide-open big sky southwestern state of New Mexico. In full disclosure, I'm compelled to mention having lived there on two separate occasions after my parents retired and moved to that locale. I've since been back on vacations with my current family, and can attest to it's rugged natural beauty. The So Lows have just released a new album ‘Times Not So Weathered,’ and receives a most-worthy DaveCromwellWrites track-by-track review analysis. Led by the singing/songwriting duo of Molly Miller and Ronnie Rael, the sophomore album is the first to feature Troy Krusz on slide and lead guitars, Barron Preuss on bass guitar, and Haven Willis on drums.

Album opener (and the record's first single) “Smile” comes on intimately at first – with Ronnie's vocals out front asking an existential question “and I wonder how you ever got this far – with a feeling that just won't shake.” The accompanying acoustic guitar is warm and vibrant, as Molly comes in with matching harmonies on the following lines. The rest of the band thunders in and the rootsy, blues/folk/rock progression swings into full motion. This easy groove vibe immediately brings to mind what a guy like Izzy Stradlin brought to GNR as well as his own solo work. Which in turn points back to The Rolling Stones “Exile On Main Street.” The chorus here is simple and to the point – “I wanna smile like you” celebrates the best things in life – all against a backdrop of tight, rhythmic accents and snaking slide guitar.

Follow-up cut “MMIW” sets everything in motion with chunky electric guitar and syncopated deep tom tom percussion. Ronnie sings out with a more passionate, soulful edge right from the start here. Depicting a situation of imbalance and potential negative results, the repeated hook line “heartbeat and a look away” is delivered with precise harmonies and slide guitar. Guest vocalist “Quiltman” adds authentic chanting for a crucial passage, while a blistering guitar solo brings the track around to the final chorus.  Third track “Engine” builds off a bright, chiming 12-string guitar instantly laying down a descending progression. Soaring solo guitar lines create a lightness as bass guitar and drums power along this fragmented 1-2 time signature. Full harmony vocals with Molly slightly out front create an enchanting overall feel as the song continues to unfold. There are a number of curiously mysterious sounds emerging underneath, with one approximating a diving down bass texture. Special props must be given to slide guitarist Troy, who's virtuoso playing here is equivalent to David Lindley's outstanding work on so many of Jackson Browne's albums. The overall combination of Ronnie's acoustic and Troy's various electrics are matched brilliantly with Molly and Ronnie's equally impressive star-turn harmony vocals.

Opening once again with vibrant finger-picked acoustic guitar (a Martin HD-28 dubbed “Lines” we learn via recent social media post), “On the Lam” embraces that particular form of escape. “I got to find a way – feed my dog if you would” (ah, that's sweet) “and tell 'em I'll be back some day.” Snare drum propulsion surges forward, approximating the stuttering rhythm of a railroad car. Deep twang guitar doubles down on the southwestern vibe pulsing through these grooves. Poetic lines roll smoothly throughout, like “I've been running that line – since before the railway,” and “you know the land is forever, I could just jump off this car – and go straight to the sky.” A honey-textured guitar solo creates additional melody and motion to this forward chugging train.

“Worth the Weight” adds a soulful feel to those glistening acoustic guitars via a rich extended note undertone and higher pitch-bended fills on top. There's a subtle gospel element to Ronnie and Molly's harmonies here, embracing the spirt of a song like The Black Crowes “She Talks To Angels.” “Bring it down on me, so the truth can mean, what we want it to be” serves as lyrical entry not only to this song's title, but the overall album title too. “And we dream – of a time not so weathered” . . . ultimately concluding “it doesn't matter anyway – let it rain, I'll feel the pain.” Emotionally powerful moments continue to unfold, as on the lyrical refrain “And you can cry like you used to, 'cause it all makes sense. It's not a reason to falter,” (with Molly going solo here) “just a reason to try again.” Repeated passes through the title line creates a sense of duality on the word “weight” whereby “wait” could fit in just as well. An impassioned buildup to the songs ending (Ronnie and Molly's expressive vocals coupled with sinewy guitar figures) wraps up with a left-in studio voice definitively stating “there we go.”

It's a full on bluesy-rock stomp chugging out of the Rolling Stones influenced “Give All.” Ronnie and Molly's cascading vocals on lines “I heaaarrrrr youuuuuuu” joyously recreate the extended phrasing on their psychedelic 1967 release “We Love You.” Even the guitars here emulate the electrified rhythms of Keith along with the slide work Ry Cooder added to that band on their classic albums at that time. One often felt that Aerosmith's “Sweet Emotion” also looked to that original Stones track as point of reference on their hit song. The So Lows keep things closer to rootsy than anything really “psych” - other than the overall “cosmic” feel of everything they seems to put in all their songs. As this track progresses, Ronnie and Molly's tandem vocals push the feel closer to the swampy blue-eyed soul of Delaney and Bonnie. “Lay Down Misfortune” rolls out in three-quarter time, merging Country-Western conviction with a Folk-Troubadour narrative. Sounding like Greg Allman's Georgia-Country-Soul at points, a subtle change occurs in chords and vocal phrasing suggesting the eccentric jazzy folk-pop of underground legend Nick Drake. With those whimsical qualities emerging at times, a steady pedal steel-like guitar solidifies a country-home feel.

Female vocals take center stage with Molly's solo lead vocal turn on “Permanent Horizon.” Once again, an easy-groove Stones-like feel is established with electric guitars and more active, busy-loose drumming. “Sometimes we all need a place to go,” is how the smoky, emotive vocals begin. “What if  I can't get it right?” she asks – quickly followed by “what if - it get's worse when I try” (with those 5 words emphasized by bass guitar and drum punctuation). While the repeated title line chorus is smooth and straightforward, a testifying conversational style on subsequent lines adds an intimate charm to the delivery.

“Let Go, My Atlas” dips back into three-quarter time for this acoustic guitar driven, reflective track. Ronnie's voice is fully out front, with Molly's rich harmonies adding depth to the plaintive melody. A variety of guitar fills and textures add color and motion to a song without any drums or bass. This allows focus on voice and lyrics contemplating mysteries of the universe. “In a way I feel I've seen myself in you – before. Rising with the moon – holding on. Trying to make sense of it all,” is how one passage goes. An unusual wind-rushing texture emerges underneath for the songs final :45 seconds, leading out to an ending where that is the only sound remaining.

“Means a Lot” has Molly taking the lead vocals once again, for the final and longest cut on the album. Clocking in at 6:46, it serves an an epic and fitting close to everything leading up to it. While introductory guitar chords and wistful extended notes establish an initial melancholy feeling, a sense of hope develops. “If you really wanna know – we can do time together,” leads sincerely to “thanks so much, it means a lot.” A series of elegant guitar interludes surface in places, as one might expect from a song of this length. Thoughtful questions crop up, with lyrics asking “does anyone see – how I see – how everything connects?” Contemplating that universality progresses to a realization of “how everything reflects.” As the track builds instrumental momentum, mysterious spoken-word elements permeate the undercurrent. The intensity of the band rises, the tempo quickens and drives everything to a dynamic conclusion.

Listen to this band's wonderful new album on Bandcamp, and find how how to acquire it in your preferred format via all of their social media.

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Adam Lippman is an indierock singer-songwriter who's been close with the DCW world here for quite some time now. In fact, first contact was established nearly a decade ago. However, his long musical journey goes back much further as a member of various noteworthy bands from the mid 1990's up until recently. Inbetween he released a few solo albums and EP's, while playing well-known tri-state area clubs and festivals as a supporting member as well as fronting his own bands. Adam is now back with his first new solo music in 15 years. With a full album on the way, new single “Sunblind” is the lead track out now on his own Papa Tone label. Mixed and mastered by James Mauri at @aberlin_sound_recorders, the track features Chuck Beckman on bass and Pete Wilhoit on drums. Adam plays all other instruments along with vocals and the songwriting.

 

A lush synthetic orchestra opens the track with a touch of reverence, until bright chiming guitar chords forcefully push through. Bass guitar and drums rumble up from underneath as additional guitar tones, back-and-forth pulsing keyboards and distant voices mark out the progression. A quaint story unfolds with opening lyrics “Once you gave me a chance - for your hand - at the back yard dance - in the rain - in New York - we were younger.” Those vocals are delivered with soft inflection at a measured pace, with certain words elongated for affecting emphasis. It's a vibe similar to the cool processed voicings on The Alan Parsons Project 1982 hit “Eye in the Sky.” While significantly different than that aforementioned classic, the chorus here jumps just as hard, with the hook lines “takes me forever and forever takes me forever you know. Now we had better get it together bring back that yesterday glow.” Attention to complete songwriting craft is on full display with the post-chorus turnaround “time is all we need to find put it all behind I am on your side.” The second verse serves up an impressively crisp drum fill and the song title reveal with the line “your sun drives me blind.” An instrumental interlude combines rising synth melodies with countering guitar notes, creating a lovely push-pull sensation.

Check out the track right here:

Follow Adam for album updates and info on how to acquire his music on preferred streaming services Hear Now, Spotify and YouTube.

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Finding their way back once again into the DaveCromwellWrites universe are the Sydney, Australia based gazey-noise-rockers Trillion. The 5 piece collective have a new single “Sure” set for release on the 27th of October. Having covered their work extensively over the last two years (with the band making “Best Of” in both 2019 and 2020) “Sure” is the first salvo from the band’s forthcoming “Atomic Sunshine” album.

The track kicks off in full motion (no fade in here) with pitch-bended guitar chords sawing back and forth as the bass guitar and drums throttle along. A murky 3-note rise/descend becomes audible, adding ghostly textures to the proceedings. With only a hint of possible voices leaking in, a shift downward into an impressionist murk emphasizes grinding distortion over a recognizably steady drum beat. Exploding back into the initial hook, additional layers of brightness shear through the sonic spectrum, evoking those timeless qualities associated with psych and gaze. A deeper trench is further explored blending low rumble modulation with soft narrated voices.   As the steady drums briefly drop out, a shimmering wash of guitars provides momentary reprieve at the 2 minute mark. Quickly bringing the rhythm section back, an elevated wall of sound pushes everything upward for the next :30 seconds. More low-end grumble returns to the fray as a mixture of guitars, voices and tom toms press the behemoth onward. While drums remain busy (in that way Colm Ó Cíosóig does during MBV's otherwise shapeless “Holocaust”) guitars and bass are more about texture than any actual chord progression. Voices float into the overall mix, adding one more level of blissful reverie before it all comes to a quick stop conclusion.

Preview the track right here:

Full song release on on the 27th of October.

Also check out these complete DaveCromwellWrites reviews of previous Trillion releases HERE and HERE.

Connect with the band via their Linktree HERE.

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Live Show and Record Reviews: Alternative, Indie, Dream, Pop, Gaze, Synth, Rock, Country

 The ability to attend live music shows out in public with your friends once again has been a long time coming. After a soul-crushing shutdown / lockdown of 2020 that continued into early 2021, we are finally getting back to in-person appearances. Summer in NYC and adjacent Long Island has always provided many opportunities for mostly-free events in open park theaters as well as clubs and restaurants. Along with a variety of recorded music both new and vintage covered in this months feature, comes a long-overdue return to live presentation recaps.

Among her many talents and accomplishments, Laura Schaefer is an impressive singer in the soft rock, country, adult contemporary, and pop music realm. Catching a recent run of live appearances both indoor and out in the open street festival environment showed the performer captivating audiences with her nuanced vocal interpretations. Appearing on Sunday night's during these summer months at the highly-regarded Westbury, Long Island restaurant Cassariano, the duo act of Laura and Bill (with the equally accomplished Bill Blais on keyboards and vocals) entertained patrons with a dramatic set of classic cover songs.

You can't go wrong digging into the summertime soul of The Drifters 1964 classic "Under The Boardwalk."

The same can be said about exploring late 80's/early 90's mega hits like The Eagles "Love Will Keep Us Alive."

Street festivals are always a great place to check out live music on a warm summer night.  A band Laura has been doing some guest vocal appearances with are the wonderful Americana Country Rockers Tri State Alehouse.

This band are equally adept at covering a wide range of classic covers songs as well as their own original music (more on that further down in this feature).  Adding a female voice for solo and backup work fits in seamlessly with these guys.

In addition to her current collaborators and bands frequently offering guest vocal spots, Laura co-wrote and released a number original songs as the lead vocalist in a band called Blue Mile. The album's opening track “What I'm Cookin'” serves up an easy-going acoustic guitar and bongo percussion groove, with clever lyrics on the essential art of flirting. “Caught my eye . . . 'cause you knew I was looking,” gives way to references of “recipes” and “dishes done” tying together the song's title theme. Attraction may come via “checked makeup” and “straightened skirts,” however the cautionary chorus warns “don't you think that I'm just a fool in love” because after “spending some time with you” - well, they're “moving on.”

Deeper emotions are explored on the country-rock tinged “Rest Of Our Lives.” While the multi-tiered acoustic guitars mirror classic-era Crosby, Stills, Nash and Young – Laura's passionate phrasing and vocal tone bring to mind two legends of that same early 70's period - Emmy Lou Harris and Linda Ronstadt. “You expect me to take this lightly?” she questions - “sorry but I had to pause” is her immediate response. “Because when you showed your emotions – it took me by surprise.” “Why did you have to ask me – where do we go from here?” “Well I guess that brought up – All Of My Fears” (singing those last four words with powerful feeling), “and I got so many fears”. The chorus (and title line) is sung in tandem harmonies, with both male and female voices pulling it all together.

  

Gentle acoustic guitar picking introduces the predominantly Laura penned “Nobody Lives Here.” Singing out with tender sincerity, the listener is immediately drawn into her world of honest introspection. “I didn't come to break your heart, but somehow my life feels so incomplete. I've gotta take my world apart, I'm sorry but that means I've got to leave. I think it's time, to shed the skin, keeping me wrapped up so carelessly. I look inside real hard, for what I just might have to see, is a heart so dark and cold and oh so empty.” Rather than a simple recitation of these already well-crafted lyrics, key words are extended and held for dramatic purpose, embodying the power of storytelling in a musical setting. Reaching the chorus (and song's title), male harmonies and tambourine percussion add richness to this poignant tale that resolves on the line “but the voices that I hear tell me to start again, make this heart a home - for you and me.” A second verse serves up one more truly insightful lyric, “when you're blind, to all that's true, the ghost of what you dream is all you see.”

A slinky cat shuffle melody provides the basis for Laura's frank look at manipulative relationships on “You're Not The Person.” Far from pointing an accusatory finger (only) a sense of complicit behavior is also noted. “Lovers and liars, we're both some of each – I guess that's the way it's gonna be,” sets the tone for a harmony-laden chorus. “You want me when and only, I can be your prize. Too bad for you I'm only using the same lines,” comes as a musically elevated punchline. “You're not the person I thought you would be. And maybe you're saying the same about me. But I won't be waitin' for you by the phone, I'd rather be lonely all alone,” is the ultimate conclusion.

Country-ballad acoustic guitar chords enhanced by chiming single note emphasis rolls out the heartfelt “Didn't You Know.” Against this lean accompaniment, Laura delivers her lyrical prose of loss and it's aftermath. “You walked through the crossroads of heaven - did you know, you'd leave me behind? You said that, you'd love me forever – you said that you'd always be mine. They told me that time would do the healing, they told me that you'd still be here. But now that you're gone all I'm feeling is the heartache of a life all alone.” As the chorus emerges, subtle slide guitar bends expand the country feel, as a harmony voice joins in on each “Didn't you know,” leaving Laura to complete each line with “that I would believe you” - “that life would deceive you” - and “that I would be left here – to make it alone.” Not content to resolve it all there, a extended bridge immediately follows with full tandem harmony vocals “Time passes by, I see you again, but only inside of my heart. You hear me cry, alone in the night, I need you to say it's alright.”

A lighter mood is set with the good-timey Bo Diddly-beat influenced “Party Dress.” Perhaps more inspired by the classic rhythm of “Willie And The Hand Jive,” Laura sings about the joys this life also provides. “Gonna get up for work and put my party dress on, gonna pick out some lipstick and put a lot on. Gonna shake like a tree in a warm summer storm when I hit the dance floor and party tonight. Gonna drink from the sweetest molasses tree, gonna love you and leave and then we'll see. Gonna let myself fly so high and so free when I hit the dance floor and party tonight.” Harmony voices join in on a joyous chorus that goes “Yeah life is treatin' me so fine so I'll take a minute and spend some time, with friends who dance and party all night – these kind of people make me feel right.” Essential rhythm acoustic guitar backing tasty lead acoustic finger pickin' and shuffling percussion completes the happy-to-be-alive party atmosphere.

Although Blue Mile's time has come and gone, there are rumors Laura may record updated versions of some of these songs at an as-of-yet-to-be-determined point down the road. In the meantime, select live show appearances continue throughout the summer days ahead.

Live events attended, indoor and out

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While we wait for potential new recorded material, the previously mentioned band Laura has been doing guest vocal spots with recently – Tri State Alehouse has a more current album out with their inspired recording “Open Here.” Core members Jonathan Crist, Jeff Schumacher and Mark Ambrosino wrote and produced these 12 original songs (and one surprising cover) with a variety of guest co-songwriters and musicians. What you get on this recording is a quality Country/Rock Band with an “Irish Edge” from the Long Island/NYC area.

Opening the album on a reverential tone, “The Price” blends patriotic American country with the aforementioned “Irish Edge” by way of guest musician Eamonn O'Rourke's strong fiddle throughout.  Follow-up cut “Highway” jumps right into the harder rock and roll realm with it's quicker rhythm and multiple guest lead guitarists delivering piercing solos. The song's title serves as a metaphor establishing open road driving as a means of alleviating life's pain. “Jump Right In” takes that rockin' vibe and swings it over into a deep shuffle groove. There's a southern rock feel to this good-time tale of calling on some sweet lady catching your eye.  A hybrid of Lynyrd Skynyrd, Black Crowes and a bit of The Rolling Stones, essential lyric “you and that little tight red dress, I'm about to lose my mind” says it all.

“Everything's Gonna Be Alright” combines a jubilant country groove, southern Irish fiddles and sinewy electric guitar solos, with lyrical advice to focus on the positive around you. “Whitaker” builds off steady shuffling percussion, telling a tale of one man overcoming hardship to ultimately live a full and happy life.   An emotional peak is reached at the album's mid-point with the Gospel infused “Who Am I To Judge?”  A Neil Diamond feel runs through much of the lead vocal recitation (who has embraced Gospel elements on some of his own hits), with this track bringing in the Kellenberg Memorial High School Gregorian Consortium for spiritual backing vocals. Special props to guest musicians Steve Skinner (credited with piano, hurdy gurdy, keyboards, electric guitar) and Gus Fafalios (lead and rhythm guitar) for some truly firey licks on it.

Check it out right here:

 

“Loudest Party” serves up an appreciation for NASCAR racing, complete with opening engine rumbles before kicking in with a full-on fast and furious rocker. Chunky wah-wah enhanced guitar riffage sounds like Slash on GNR's “You Could Be Mine.” Shifting gears in every possible way, “Rock A Bye” presents an emotional story of life and the guiding hand of your dad. For those fortunate enough to have had a caring paternal role model throughout their lives (and having become one themselves), it's easy to relate to and embrace these affecting lyrics. It's a family affair involved with songwriting for the uplifting “On The Other Side.” Traumatic loss can either lead you down a dark road or conversely to one of forgiveness. Seeing the good your presence can offer and the family ties that bind convey views into our living years as well as the hereafter.

It's never a bad idea to include at least one classic cover on an album, and the band does just that with their version of the Rolling Stones “Angie.” While the original track relied predominantly on acoustic guitar, piano, orchestra (and Mick's voice, of course), this version has a harder electric guitar fueled edge to it. The overall pace is quicker, with the originals softer piano now replaced by hammond organ, more forceful drumming, a rougher lead vocal and soulful backing singers. Speaking of soulful, “Freedom Rise Up” approximates a similar electric guitar-based rhythmic groove of a song like Eric Clapton's “The Core” with a spiritual chorus elevated by additional expressive voices. “I See Harry” tells the story of a man who helped out wherever he could, wrapped in a country music form. Final cut “Wendy” serves as something of an homage to the Springsteen mystique of “amusement parks, boardwalks” and taking the night on the run with a girl – well, a girl named “Wendy.”

Check out all of these songs at the band's official site – including how to acquire this album, as well as when and where their next live appearances will be.

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Continuing their relentless quest for sonic excellence, Ottawa-based Paragon Cause have now released their third album “Autopilot.” Expanding on the auditory palette they've been building since their first two albums “Lies Between Us” and “What We Started,” (both meticulously reviewed previously here on this site) a bolder evolution in composition and sound design has arrived.

The core duo of Jay Bonaparte (guitarist/songwriter) and Michelle Opthof (vocalist/keyboardist/lyricist) bring back Raveonettes legend Sune Rose Wagner as an equal songwriting partner for all of the songs. In addition to his impeccable production work, Sune adds guitars, backing vocals, percussion and keyboards, creating an instantly recognizable imprint on much of the work.

Lead off cut “Two To Play” builds out of a straightforward snare drum and high-hat pattern before a deep-bass guitar rumbles out front, defining the progression. Poetic lyrics describing motion (“looking forward, falling back – running – moving along”) and dual involvement (as the title would suggest) come wrapped in glorious rising hooks and lush keyboard enhancements. Second track “I'm Not Here” puts out an icy late 80's film-noir homage vibe, with it's long-note synth pads, distinctive heavily FX'd guitar figures and stalking beat. The mental image of Terri Nunn with Berlin or Dale Bozzio fronting Missing Persons walking mysteriously through a Blade Runner future scenario (so popular at that time) is evoked through this audio experience. The shimmering vocal lines “I can't live like this” and “I scare myself sometimes” furnish necessary hook resolution.

Reaching the third entry finds the first of six total versions for the album's initial single “Think I'm Going Crazy Over You.” With five separate remixes (and one bonus track live version) “Jupiter Mix” is up first, receiving a full video treatment along side it as well. Enlisting the aid of producer and Sneaker Pimps co-founder Liam Howe, the notable English collaborator relies heavily on celebrated 80's synthesizer Roland Jupiter 8 (inspiring this mix title) for the retro sound quality and overall mood. “Brooklyn Mix” leans more on a traditional bass guitar approximation at first, before bringing back the recognizable buzz of that polyphonic analog synth heard on so many of the 1980's biggest hits.

“Acorn Mix” (the longest version) takes yet-another approach, building up via an over 30 second drone, before a traditional rhythm second of drums and bass drive the progression forward. That trad-band feel is the direct result of PC recruiting formidable assistance in the form of veteran LA musician Eric Avery. That angular, melodic bass pattern combined with more forceful, syncopated drumming affords a foundation for dynamic synth flourishes throughout. It's not until the “613 Mix” that Mr. Wagner makes his presence felt on this song. Providing his own bass and drum treatment, more atmospheric space is allowed overall. One more SRW version shows up dubbed the “Staten Island Mix,” whereby Sune's fondness for hip-hop percussion creates a busier undertow. Those privy to the “Live” (Bonus Track) version will get the most guitar heavy version of all.

A sense of relief in the act of unplugging and focusing on internal well-being comes shining through on “Disconnected.” A driving beat, electronic hand-claps, buzzing guitars and tinkling-ice keyboard fills dispense audio delights. However, it's the chorus that yields an instantly catchy sing-along hook that would slot right along side any pop-hit Charli XCX has written. The majestic “Making Up For Lost Time” becomes the album's high-point, combining precise songwriting with opulent production. Overdriven guitar chords, slow-moving riffs, Phil-Spector-like tambourine and minimal bass drum percussion render a lush sonic field for the emotive vocals. The truly beautiful chorus proves once again that simple ideas are often the best, when expressed with this much passion.

Check that one out right here:

“Play Me” continues with that rough-edged guitar sound (near industrial) while adding some welcome pitch-bending for good measure. Alluding to the games people play with each other in relationship, the relatively brief track (at a mere 2:15) benefits from it's quirky rhythm and towering vocals (particularly at the end-out). Alternately, the albums longest track (at 5:06) “More Than We Can Handle” materializes out of softer, distant synths, mechanized percussion, low-growl bass and ethereal guitar figures. Voices float in, sharing space between the gentle reverberated guitar textures. Relying more on mood than defined structures, a Cocteau Twins feel is diffused throughout.

“Denied” embraces a gothic atmosphere using dungeon-synths, lyrical guitar figures and melodramatic vocals. A new level of backing voices emerge with a synthetic echo line following the primary one. The overall feel is dark and foreboding, with accusatory lyrics suggesting nefarious activity needing to be exposed. The album's final track “Time To Leave” is keyboard-driven with ghostly background voices, steady bass-synth pulse and melodic electric-piano figures. Against the repeated line “time always tells the truth,” a variety of expanding structural changes and diverse instrumentation enhance the overall experience.

Find out how to listen to and acquire this album at the band's Official Website and Bandcamp Page.

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PREMIERE: Alice Limoges “YellowStone” Video, Album Review: SickWalt "Shove n' Love"

Two distinct musical styles get the feature treatment here this time around, showcasing a wide spectrum that inhabits this genre we define as “rock music.” Alice Limoges is a musical storyteller combining pop, jazz, rhythm and blues with rock and a healthy dose of soul, while the hard rocking SickWalt pushes the boundaries of rock and punk, both creating their own unique hybrid sound.

Presented here on DaveCromwellWrites is the premiere of Alice Limoges brand new video for her latest single “Yellowstone.” Released today Saturday September 14, 2019, the song and video rolls out a gorgeous blend of dazzling sight and sound wrapped around a strong lyrical message of setting yourself free. Initially inspired by the bold adventure taken via a Himalayan mountain expedition in India last year, the enlightenment gained from that extreme and difficult undertaking served to inspire this song and video's creation.

Originally hailing from the Northeast coastal state of Maine, Alice now calls New York City home. While the city that never sleeps might be the place to further your musical career, there's something to be said for the wide open spaces and natural beauty of places outside busy urban centers. Disconnecting from electronic communication devices and focusing on our planet's undeveloped beauty is an important message in these high tech times.

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Recorded at Right Angle Studios in NYC, the song (and videos initial imagery) focuses on Alice's piano chords and melody, immediately creating the sensation of an unfolding journey. The destination of Yellowstone Park is quickly shown, followed by quick cuts of car travel and then Alice herself singing the song in recording studio style. “Lets go out to Yellowstone - Drop it all and drive tonight and on through the morning” she sings as her accompanying musicians on drums, bass and guitar are shown in quick succession.

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Those three instruments provide a solid underpinning combining a light-touch indie-rock backbeat to the softer feel jazzy guitar and piano chords. As for the vocals and lyrical content – while recent comparisons to Fiona Apple and Sarah McLachlan are certainly in the ballpark, Alice's hybrid sound of pop, jazz, rhythm and blues, rock and soul bring to mind the talents (and vocal tone stylings) of legendary New York “folk singer” Laura Nyro.

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Like most quality songs residing in the pop realm, the track gets to it's dominant earworm hook in under a minute with the dramatic statement “If we leave right now - by what hour - Will they notice we went - That I didn't pay my rent - I've got these city blues - Got myself to lose - And I'll get lost soon” resolved by the lovely turn-around (and back into the verses groove) “If I stay.” The video enhances all of this further with the most stunning natural images that is the everyday majesty happening outside of city life in big sky country USA.

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Check out this inspired song and breathtaking new video from Alice Limoges here:

Follow Alice on her Official Website, Facebook, Instagram and Twitter.

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New York City's SickWalt delivers a heavy, hard rock sound that fuses a similar energy and lyrical ethos found in the most influential punk bands. With Walt “Sick Walt” on vocals, and Matt Middleton on guitar, the band’s current lineup includes legendary drummer Eric Arce (who has played with notable punk bands The Misfits and Murphy’s Law) and bassist Rob Buckley (previously with the equally illustrious Cro-Mags). With two EP's under their belt, a full-length album “Shove n' Love” will be released on September 20th.

Opening track “Demand The Stage” comes out blazing from the very first note, with slashing power chords, locked-in bass guitar and drums, a riff straight out of the Angus Young playbook drives everything forward. “You're always whining on and on,” Walt sings - “yeah who you were and now you're gone.” Delivered in a vocal style that draws from dynamic front-men like Rollins, Danzig, Bon Scott and Brian Johnson, the lyrics burn at those unwilling to seize the day. “You're talkin' trash like you mean it – the saddest part is you dream it – when no one listens you scream it – and you don't know.” Key Hook Line : “You don't know – you're a know it all” - which is repeated right through the end-out.

Check out this killer track right here

An aggressive syncopated drum pattern and searing precision guitar riffs kick off the barely over two minute “Die Like Belushi.” With those riffs initially placed between the vocals lines guitars are soon run continuously throughout. This early Stooges vibe takes a sharp turn midway with a slowed-down tempo change enhances by thundering drum fills and momentary bass guitar emphasis. While that heavy progression stomps along, quick-stop space is provided for Walt to drop in lines like “meet me on the corner of 8th and Avenue D.” The opening maniacal progression returns full throttle with the ultimate, sobering statement “when I die like Belushi, excess is what I bleed.”

“Song For Johnny” introduces a slightly western, cow-punk feel and lyrical content that brings to mind the work of a band like Social Distortion. It's still very much in the rock genre, while hinting at the twangy undercurrent often found in the now classic recordings of X and The Gun Club. An impressive chugging guitar and rolling drum mid-section eventually bursts into a searing guitar solo that would not sound out of place with any big time southern rock band. It ends on a triumphant note with the lyric “that train is mighty.”

Other cuts like “Million Dollar Man” chug and stomp like the best of AC/DC. There's that Bon Scott/Brian Johnson hybrid level again in the way Walt's vocals drop between crunching Angus Young style chords. Straight ahead 4-on-the-floor drumming on the verses gives way to slithering bass, leading into a sinewy guitar solo. “My strength come from the inside” Walt sings, indicating the necessary component for the confidence needed to “strut like a peacock.”

Tapping into the aggression that served The Sex Pistols so well on their “Never mind The Bollocks” debut album, “Punk Almighty” is unleashed with similar force.  “Rebellion is your nature. Attitude is the norm," Walt sings.  "Adolescent uprising. Spitting in the face of danger. . . . now a poster on my wall. Wasn't always clear. The truth hurts sometimes.  DIY is the mantra – violence is the guise. Anarchy the common theme, a wicked mind arise. So much more than the music, we keep a state of mind."   The Chorus delivers a triumphant statement:  “All hail the punk almighty, you gave us a place to stand. Turning children in to men. All hail the punk almighty, you took me to the promised land. All hail the punk almighty, you gave us everything you can.” A roll call of influential artists get name checked with Joe Strummer, Wayne Kramer and Iggy Pop earning special mention.

Ten songs in all, the full-length long-player comes out on September 20th.

SickWalt will play an album release show on the 20th at The VNYL- Vintage New York Lifestyle 100 Third Avenue New York, NY 10003.  Find out all the details about it HERE.

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