Best Of 2024 Year In Review: New Music and Live Show Coverage

The final month of 2024 offers an opportunity to highlight the best works presented over the whole year. For this music site, its annual “Best Of” collection celebrates the most significant artists written about since the beginning of this time period. Studio recorded music and video continued to dominate the bulk of analysis, with a significant return to detailed live show coverage included as well. Compiled here in monthly chronological order is the “2024 DaveCromwellWrites Best New Music Reviews and Live Show Coverage.”

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Rational Analysis on Worthy New Music Releases

The month of July is always a reason to celebrate. Two important (personal) birthdays share this 31 day stretch with peak middle-of-summer enjoyment. Along with trips to parks, beaches and the pool, time has been allotted to critically examine the most compelling new music. While all the reviews here are of recent releases, more than a few tracks have been developing over a number of years. Trusted labels continue to support artists whose independent output are far more interesting than anything the current trends offer. DaveCromwellWrites does its part as well in this regard, with the below investigation.

When friend-to-this-site Shore Dive Records shows up with a new album to promote, it’s always a reason to take notice. When it’s a beloved artist previously reviewed here, there’s pretty much certainty it will receive a careful listen. Such is the case with the Phil Wilson lead project The Raft. The Liverpool, UK based musician’s full-length album “Summerheads And Winter Beds” was given a detailed review here a few years back. Subsequently Phil’s guest vocals on Xeresa album “IV” and the song “Fall Into Unknown” was given a thorough analysis as well. Now Phil is back with a new full-length “Look At The Patterns,” which receives a DCW focused review below.

Opening track “Save Me” starts immediately with Phil’s vocals, a cappella but layered and touched with processing. A single guitar stroke ushers following vocal lines, then finger-picked open note guitar figures fill in going forward. Fuller instrumentation joins in for the gentle, minor-chord enhanced chorus that states “I don't wanna change the world, it's not what I cling to. When love is failing . . . and fear remaining – doesn’t matter what I do.” The second verse adds clack percussion for change and depth, while lines “Stayed here for lack of anything else to do - And what you are is what I knew” is an insightful observation. Halfway through a whimsical guitar solo weaves around repeated vocal line “what I do” (as in it “doesn’t matter”). Following that are unanticipated heavy distorted guitar chords emphasizing lyrical thoughts “We've been praying lately for something to shape me - Skimming books and papers - Looking for a clue.” A Trumpet plays for a bit and then back to the power chords on what has now become a powerful chorus.

Follow-up cut “Far Away From Here” bursts out of the box with a joyously bouncy groove driven along by off-kilter “wobbly” guitar tones. It’s a peppy pop song for sure, with Phil enlisting a back-up vocalist that adds emphasis to key vocal line. The single-phrase song title line chorus hits hard with near-gazey guitar chords and throbbing counter-melodic bass. The vocals punctuate it all with a catchy “Ah-Ah-Ah” end cap. With declarations to “hang on to my health,” the goal is still to find “a new start” – where? Well, “far away from here.” 2:15 in and a gentle picked guitar solo presents itself against that wonderfully churning warble backdrop. Additional lyrics “If I could only be around instead of underground - I could see you shine. It's hard to be a better man - Living up to all you can” add insight into the desire to get “far away from here.”

Check out this amazing track here:

Third entry “Calling Out” makes full use of that three-quarter time 1-2-3 waltz progression as beautifully as any Sundays song. A pair of Claire’s contribute female vocals in a primary way, adding further credence to the Sundays comparison. The chorus flips to a male dominated vocal blend, with dreamgazey guitars washing over it all. A tasteful blend of plinking guitars, throbbing bass and deep textured drum sounds complete the audio spectrum. A final 30 second coda appears with an a cappella vocal of the lyric “you don’t even know me.”

A slightly funky bass and drums groove serve as the initial underpinnings for “Memory Of A Day #7.” Blended vocals come on tweaked and textured as one is encouraged to “feel the breeze, see it in the leaves” so that “for a while we are free.” Soft female vocals join in for the second verse (the two Claires) “What a scene - We're a dream - Moment to moment - And for a while we are real.” All of that leads to a lush, dreamgaze chorus that reveals the albums overall title. The second pass through reveals the song title with “into the soul the memory goes.” The track is a brilliant blend of almost folk-music (quiet guitar picking) single brass elements (trumpet) and heartfelt emotions. “Windows reflect back two souls. Look at the patterns. Memories or dreams?"

A precisely syncopated drum arrangement and chiming Robert Smith style guitar tones guide fifth track “Wanda.” One more trio of backing vocalists are engaged on a sensuous chorus that implores “you can always smile.” Bass guitar and it’s six string counterpart create just the right length bridge to immerse yourself in yet-another luscious chorus.

Celestial angelic folk is taken up a level on the Jon Anderson and Vangelis sounding “Next September.” While the lyrics may be more earthly than those two aforementioned spiritualists: “You were lips you were eyes . . . You were hips you were thighs . . . Spent the night every night - Held on tight,” that sonic impression remains. A song of desire – to rekindle something once had - “Maybe I'll see you in Manchester next September. I'll come and stay the night re-live our nights in paradise.” The male-female tandem sung vocals are nothing short of gorgeous.

Heavy bass guitar plod and similarly paired drum stomp supply framework under the 2/4 time parable “The Boy Lives On The Wind.” It’s a marching progression with that bass guitar reminiscent of Paul McCartney’s inspired playing on “The White Album.” Interesting chord changes deeper in allow for a sonic respite and prevent repetition fatigue over it’s five minute length.

Check this one out here:

Reverberated guitar chords chime from multiple directions on curiously titled “The New Brighton Witch.” A previously unheard female voice adds a response melody in counterpoint to Phil’s primary lead vocal. In fact, the apparent actual subject of the song’s title turns up to convey a spoken word incantation at the tracks end.

Quick chime guitar strumming and precise counterpoint bass notes introduce the dream-folk tinged “She Gave Me A Crystal.” A trio of background vocalists are carefully synthesized into key sections, the first being a rising step “I can never tell you what you are – the sun and the stars.” A minute and a half in on this over 5 minute track has fuller instrumentation filling everything out. In particular, a buoyant bass guitar creates figures between the more grounding drum beat. The harmonies are lush, ethereal and utterly exquisite.

The album’s final entry “In The Morning When You Rise” builds around finger picked acoustic guitar notes, strummed backing chords and subtle “ahh ahh” backing voices. Quick in pace and ¾ time (or is that 6/8?) soft opening lines ask “What can I do? What can I say to get out of the way? What can I do to be fully alive?” Exploding into a full-on dreamy-gaze rock production with stabbing guitar figures, a once-again soft plateau is reached. Tender male and female voices blend together asking “how can you shine?” before revealing the songs title line. One more lovely build up of cascading voices, full band and an emphatic chorus leading the track (and album) to it’s conclusion.

Listen to and find out how to acquire this astonishing Shore Dive Records release here.

Connect with The Raft here.

Find Shore Dive Records here.

A previous feature on The Raft can be found on this site here.

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There seldom is too much passing between musical releases from Sheffield UK based indie-gaze band The Suncharms. Having reviewed their full-length album “Things Lost” here last October, the band is now back with a contributing track on Sunday Records recently released multi-artist collection “Beautiful Noise.” This isn’t the first time they’ve contributed to one of these collaborations, as their track “Liquid Through My Hands” on 2021’s “Something Beautiful” release was featured here at that time. Anticipating a glorious listening experience once again this time around, their track “Saddest Sound” is given the DCW analysis.

Beginning with ambient synth-like textures, open string guitar figures lay out the four chord progression. Secondary guitars enter in with subtle pitch bend counter melodies as drums, bass and jingle tambourine fill out the sonic spectrum. Lead vocalist Marcus Palmer soon emerges with his familiar sandpaper vocals offering a soothing delivery of the song’s title via subtle psychedelic layering. Rhythms pump back and forth underneath as extended guitar note melodies ride over top and ever-present tambourine-on-snare beat marking time. After minute and a half in, a second melody line emerges echoing the opening refrain via clean twangy guitar. The heartfelt vibe is easy-going, with a touch of bluesy greats like Knopfler and Clapton. The descending bass guitar pattern warmly ushers in another round of Palmer vocals. One more guitar line enters the mix two minutes in with a deeper tonal quality, ultimately blending in with those other guitar figures already in progress.

Check out this easy-groove track here:

Find out more about this compilation here.

Follow The Suncharms on their Social Media   -   Facebook   -   Instagram

The most recent prior review featuring The Suncharms on this site can be found here.

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

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It was just a year ago when this site did an extensive review of SoCal pop rockers sparkle*jets u.k. and their indie hit covers collection "Best Of Friends." Trusting the recommendation of frequently reviewed Burbank, California label Big Stir Records, an over 800 word highlight analysis of that record was produced. The band is now back with “Box Of Letters,” their first album of original material in over 20 years. DaveCromwellWrites turns it’s audio-scope on these brand new tracks, searching once more for the continuing evolution of what is “pop rock” music.

It’s a bold move to open an album of new material with a cover, but that’s exactly what happens here with the purpose statement “This Will Be Our Year.” Tapping the ageless Zombies classic, it serves as a testament to the endurance of finally breaking through. Packed into a succinct 2:29, the core members of Michael Simmons, Susan West and Jamie Knight make their presence felt immediately. Michael’s lead vocal tone and register share the same reedy quality of those guys in Squeeze (either Difford or Tilbrook, I confess to blurring who is who), with a touch of McCartney as well. Ultimately it’s a celebration of something that “took a long time to come.”

As the band is know for alternating lead vocals, “Goodbye X3” becomes the first entry from Susan West. Written with fellow bandmate Jamie Knight, classic rock and roll keyboards drive the songs rhythm. Sung with a bratty, adolescent flair, the title line chorus brings to mind 80’s pop sensations Scandal and their hit “Goodbye To You.” It’s a breakup song of course, and a sending off of “yesterdays problems.”

An initially twee sentiment with playful piano chords and clacking-shell percussion introduces the ultimately scathing “Princess Needy.” Blending Burt Bacharach style songwriting with bigger faux-horns production, the lyrics hit the mark again and again. “How dare the rest of us make her sad? Don’t you people know the world revolves around her?” Two minutes in, there’s a sudden tempo shift into a funky progression where 70’s “soul” voices proclaim “She’s gonna tell everybody about it.” From that point on it morphs between the initial rhythm and what sounds like the orchestral band ELO, perhaps not so subtly referencing bits of their hit “Evil Woman.”

Susan returns as vocal protagonist on the lyrically cheeky “Love Burn.” Straightforward twangy guitars are joined by shorter melody enhancements for a fun reading. Comparing heartbreak to something that can be remedied by a “bucket full of salve” is an amusing take. Two minutes in and a mad distorted guitar solo (of sorts) commences, before ultimately giving way to the all-important cowbell. Wrapped around that is a rather melodic chorus featuring a somewhat perplexing repeated line “I’ve got a heart in my song for you tonight.”

The obvious Beach Boys musical reference (“Don’t Worry Baby”) on the intro to featured cut “I Can’t Wait For Summer” is a welcome touch. Michael Simmons immediately pivots to his own melody as his lyrical story unfolds. Taking some poetic license here (or perhaps this SoCal resident *did* experience “cold, snow, bare trees” at one point in his life) references to “sandals on” and “drive the coast” seem more appropriate. Lush harmonies fill the air on key moments “someday soon the sun will shine” and “when we take that magic ride.” There’s even a touch of Phil Spector on a brief “Be My Baby” sonic breakdown. As well as a harmonica solo that fits perfectly during the “A magic summer” outro.

It’s a deliberately measured pace “stroll” progression driving Michael’s existential view on “Little Circles.” Contemplating our importance in the world, and “hoping that someone will notice” is offset by the knowledge that “we’re nothing special outside of our own little circles.” Classic Beatles-y harmonies make it all sound lovely nevertheless.

Co-written by all three principal members, the Susan sung title track “Box of Letters” emphasizes quick rhythmic changes on story telling lines (“Way – back – I remember.”) Looking back in time on a lengthy relationship that produced a collection of physical correspondence seems quaint in this age of digital communications. Those “frozen moments” and “pictures too” are now the domain of Social Media. While Susan belts out each line with gusto, it’s still the little things – “a matchbook, flower, and a napkin of embarrassing poetry” that matter the most.

70’s era soft rock/r+b electric piano (with that very specific reverberation) creates the sonic territory for Michael’s “Where’s The Moment.” The feel is similar to Paul Carrack’s 1974 hit with his band Ace “How Long (has this been going on).” Wrestling with making plans and “trying to recapture something great” takes away from the joy of living in the “now.” That provides the impetus for pop hooks “Why can’t I stop and just be? Just tryin’ to shake anxiety,” and “but where’s the moment? I can’t find it, somebody tell me how.”

Susan’s voice is used for maximum pop potential on the bouncy, Michael penned “You Complete Me.” Built around brightly strummed guitars and electric keyboards, clever lyrical turns like “I’ve got 90 cents, you got a dime – you turn my change to dollar signs” is as playful as it sounds. There’s even a surprising Electric Sitar solo in the middle, giving it all a late 60’s feel. However the catchy chorus of “thing is youuuuuu complete me baby (with full handclaps) does that make us co-dependent or what?” is what sticks in your head.

Chunky, distorted rock n’ roll chords and slithering bass are featured on the lyrically clever office-worker anthem “I’m Away From My Desk.” Anyone who has ever had this sort of employment can totally relate to this running out the clock behavior. “Making copies, pourin’ coffees, killing time” leads to thoughts of “putting in for some Personal time.” Fellow label mate (and previously reviewed here) Nick Frater is credited with “Abbey Road Handclaps.” and their layered impact is felt. Additionally an 8 year old Julian Knight chips in on the soaring, harmony-laded background vocals as well.

An instantly pleasing guitar-drums trade off opens the vocal ladder climb “One Two Tango.” The Cheap Trick influence is strong here on the “one two three four five six seven ten” followed by “I’m counting on” background vocals refrain.   Robin Zander would surely approve.   In fact Rick Nielsen and Bun E. Carlos might nod approval as well on the tight rhythmic back-and-forth between guitar, bass and drums.

The album’s closing track is a cover of “Hey Grandma,” Moby Grape’s opening cut from their 1967 debut album. Showcasing the bands live sound, the track was recorded that way to show off their stage chops and dispel any illusions they can only play in a controlled studio environment. It’s a boisterous rendition, and a fitting send off for an album that has so much packed into it.

The full album is out now and can be acquired here.

Follow along with sparkle*jets u.k. here.

Connect with all things Big Stir Records here.

A previous review of sparkle*jets u.k. on this site can be found here.

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Savvy Investigation of New Full Album Releases

Extensive deep-dive analysis of full-length albums are the primary review focus for the month of June here at DaveCromwellWrites.  A long-time legend returns with their much-anticipated brand new studio album, delighting fans old and new along the way.  Additionally, another frequently reviewed, trusted music label presents a storied collective in their own right.   All of this excellent new music is now run through a close-listen analysis, checking for audio clues to the secrets of life.

It was a mere 4 months ago when Sophie Ellis Bextor announced the coming release of her 7th full-length album “Hana.” Promising a record of all new original material, the advance single “Breaking The Circle” was dropped at that time, receiving critical acclaim (as well as a detailed review of it here). Now the complete album has arrived, and with it a rising tide of positive feedback and prominent chart placement. Having reviewed all of Sophie's studio recordings since this sites inception 15 years ago (as well as on fan sites 7 years prior to that) DaveCromwellWrites sets its laser focus on this new album.

Once again collaborating with writing partner Ed Harcourt in a similar manner as on her sixth (“Familia”) and fifth (“Wanderlust”) studio albums, the creative chemistry between the two is undeniable. A celebrated solo artist, Harcourt also Produced, as well as providing piano, synths, samples, organ and backing vocals. Additional production came by way of The Feeling founding member (and Sophie’s husband) Richard Jones, who played all the bass guitar, chipping in with additional synths and backing vocals. Filling out the studio musicians (most of whom are also in Sophie's current live band) are guitarists Pablo Tato, Seton Daunt, violinist Gita Langley and Jackson Ellis-Leach on drums.

The album begins with arpeggiated synthetic pulses laying a steady undercurrent for an emotive “A Thousand Orchids.” Choosing a flower titled lead-off track for the Japanese influenced album overall (with “Hana” translating to “Flower” in that language) points to an intentional pathway on this journey together (between artist and listener). Carefully placed piano chords are the only other initial accompaniment to Sophie's up-close-in-your-ear vocal lines that lead you away from “witches” and “ghosts.” She'd rather you “look for the beacons that show the way.” Gentle synths and electric pianos slowly work their way into the mix by the time she reaches that title line. Stating universal truths we all need to remind ourselves of - “it's so very human to to live as if nothing will end. Though no one's immortal, our secrets will let us pretend.” At the songs midpoint a more driving synth pattern begins, with ethereal vocals floating above. More defined keyboards mark out the chord progression as reverberated snare-drum shots enhance Sophie's final dramatic chorus.

As stated above, follow-up track (and first single) “Breaking The Circle” takes late night existential musings and fashions them into a danceable pop song. Full review of that here. What we didn't have *at that time* - but do now – is a gorgeous video to go with that song.

 

The deceptively upbeat “Until The Wheels Fall Off” was revealed to be Sophie's “most personal song on the album” in a recent live chat. Extolling the virtues of living-life-to-the-fullest every day you're blessed with, the lyrics were inspired by a letter from her late step-dad. Essentially piano-driven, the tracks enthusiastic groove is powered along by a nimble drum pattern. “Let's taste all the best we find under the sun – till it's done” is the overriding sentiment. Because living your best life IS to “laugh and love until the wheels fall off.”   

Moving into the desirous fantasy realm, “Everything Is Sweet” tells a tale about obsession and “endless longing.” Deep buzzing low-end synths and forceful punch drumming comprise the instrumental bulk behind Sophie's vocals. Establishing a contrast between dark and light, “shadow,” ”shrouded” and “clouds” has the imagination turning them into an “enchanted,” “heavenly fortress.” The bridge between verse and chorus tugs sweetly at the heart with it's romantic chord progression and “wait so patiently” lyric. Repeated listening reveal enjoyable audio easter eggs, like the energetic bass guitar and drum interplay, lifting off into space synth rises and piano chords on the fadeout.

Second official single release “Lost In The Sunshine” comes complete with a gorgeous video that dazzles the senses. Playing to her obvious visual strengths, Sophie returns to the scene of previous videos (and other significant events) in Italy and Rome. The very first shot has Sophie standing in front of the nearly two thousand year old Roman structures, wearing (as she revealed) a dress she wore over 20 years ago in one of her first videos. All the footage here for more than the first half of it is presented in black and white. The multiple outfits are quick cut for maximum introductory effect, and her overall style morphs between Audrey Hepburn's Breakfast At Tiffany's and Sophia Lauren Italian glamour. The song itself is a gentle float-away dream of a perfect day with the one you love. A joyous summertime anthem that touches on the nostalgia of a hot, hazy day, described as looking “clementine.”  Gradually, sepia toned images are introduced as Sophie rides a train (stunning in ultra-glam close-ups) singing about how “the ice is melting” and “sun overhead.” The footage playfully rolls out more elegant dresses as it hops around locales. The final third introduces full color imagery with the alluring one riding commuter cars, sitting in restaurants, drinking beer and eating ice cream and pasta. Only Sophie could make this sort of consuming look bewitching. Her little blue dog toy also makes an appearance.

Experience “La Dolche Vita” here:

Open note, finger-plucked guitar chords begin the introspective, Pink Floyd influenced sixth track “Tokyo.” Echoing a similar feel to the aforementioned psychedelic bands “Hey You” (from The Wall). Sophie's vocals are strong yet measured, delivering lines that fall somewhere between that city's reality and an imagined impression of what it might be like. Reaching the signature line “I'm with you and you're in Tokyo again” on the second pass through, has more instruments joining in. The mood shifts into dreamy, floating directions that feature ambient synths and active drum fills. An elevated section with lyrics “there's beauty here besides machines” lifts everything upward.

A peak mid-80's synth-pop feel permeates the celestial wanderlust (now there's an easter egg call back) of seventh song and second side album starter “Beyond The Universe.” Harkening back to that first synth-wave era that gave us A-ha's “Take On Me,” Sophie takes a sparser approach at first. Wafting synths are all you hear initially supporting a tale of weightlessness and stars. Soon bass guitar and drums enter in with the tracks insistent beat, as otherworldly keyboard lines offer counter-melodies. The “climb a little cloud, scale a little breeze” bridge provides a perfect segue to that magnificent full-bop chorus. 

Uniquely textured synths and a “Be-My-Baby” Spector-esque drum beat lay down the sonic core of power ballad “He's A Dreamer.” Majestic piano chords support underneath a soaring chorus that speaks about trying “to see the world he knows.” A fascinating instrumental section feels almost improvised on the spot, with multi-toned synths playfully dancing back and forth between drum fills and bass guitar riffs. 

A solid 4-on-the-floor beat, synth, piano and bouncy bass guitar establish musical parameters for the looking-glass scrutiny of “Reflections.” As much of a look-back as a gaze on the here-and-now, lyrics “through the lens the shadows refract until it's a memory” suggestively confirm this. An unexpected quicker-paced near spoken word section adds a sense of urgency to the lyrical content being delivered. Orchestral strings appear within the final minute, expanding the sound with an additional level of grandeur.

Rapid-paced tinkling toy piano introduces the synesthesia themed “Hearing In Colour.” That sensation where hearing sound induces visualization, can produce “joy” as well as “a feverish dream.”  Applying major chords on the verse while using minor keys for initial choruses emphasize how overwhelming this level of sensitivity could be – especially when applied to a new romance. Tying the two parts together is a perfect bridge section that states “a million shades in the spectrum since you came.” The song resolves with a celebratory coda “calling my name” for an ultimate uplifting experience.

A deeper toned, slower version of that tinkly child's piano returns on subtle hip-hop grooved “Broken Toy.” The parallel between relationship breakup and “tossed aside” inanimate play thing runs against spacious ambience and yet-one-more keyboard texture of curious origins. Bass guitar stands out as the primary melodic counterpoint to Sophie's vocals on the chorus. However, it is her double-step delivery on each verse line (with the second one going) “but under the surface the heart has a purpose” that delivers the most endearing quality.

Final track “We've Been Watching You” has Sophie putting her own spin on the classic science-fiction narrative of outer-space Aliens.  Having visited our planet, these “conscience of another kind” have chosen to save some of us to “start again elsewhere.” All good intentions aside, a repeated vocal refrain casts some doubt on the validity of this undertaking. Sophie presents it both ways: “you haven't quite lost your mind” she reassures. Then follows with “Or have you quite lost your mind?” Food for thought, indeed. With that, HANA comes to a playful conclusion, as Earth's fortunate survivors head out into the great unknown.

HANA is out now, and can be acquired Here.

Connect with Sophie Ellis-Bextor online:

Facebook - Instagram - Twitter - Official Website - LinkTree

Previous Feature Review of Sophie on this site (including links to all other features) Here.

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One thing this site can count on is an enticing pitch from frequently reviewed Burbank, California label Big Stir Records. The currently much celebrated and promised summer long roll-out of new recordings from fellow So-Cal pop-legends SPARKLE*JETS U.K hits all the marks for excited anticipation. Emerging with their first full-length album release in over 20 years, an expected multi-year plan of covers and originals is professed to unfold going forward. This initial step in the overall plan is something quite unique as it presents a 21 track double LP filled with covers of underground classics originally released by their friends and associates from the early aught Southern California power pop scene. Calling the record “Best Of Friends” underscores how they pay homage to a vital LA music scene that redefined the very essence of Power Pop at that time.  

Without knowing hardly anything at all about the original artists recordings of these songs, a deep-dive review follows on what is heard in the here and now on THIS record. The album kicks off amusingly with someone sneezing, before launching into the 3 minute jangle-guitar driven “Hold On Tight.” Sweet vocal harmonies and precision placed drums+bass nestle securely alongside twangy guitar punctuation. It's Beatles-y in that way they would blend their pop with a tinge of country music.  First single “He's Coming Out” is a joyous rave-up cover of late '90's/early 2000's LA pop heroes The Masticators. Intro'd by a singular chiming guitar, the band quickly thunders in with jingly tambourine and forceful rhythm section. Laying out a tale of “walking 'round the city” and “the people going mad,” additional points are given for the amusing lyric “he'll be puttin' on a different shoe – and he's got an electric guitar too!”

Check it out:

Next track “No One Rides for Free” builds off of an angular progression that shares space with heavier power chords. Interestingly with a similar key word in the title, this vocal rendition evokes John Lennon's on “Ticket To Ride.”  “One Summer Sunday” switches gear to a more gentle “McCartney-esque” approach. There's pleasing minor chord change segments that also bring to mind elements of the band Chicago's huge pop hit “Beginnings.”

“Are We There Yet?” emphasizes female lead vocals to expand on that universal long-car-ride expression, applying it this time to an interpersonal relationship. Keyboards and strings add lushness to the production behind these impassioned vocals. Choral “la la's” provide a nice touch, bridging to male vocal response which includes more Beatles references via lyric “when you get to the bottom you go back to the top of the slide.”

There's a cheerful son-of-Beatles-Eric Carmen-in-Raspberries vibe on “Ludlow 6:18” Strong piano chord work provides solid underpinnings for the bright guitar, flam-drumming and vocal harmonies seamlessly woven together.  “Battle Song” relies on rising step vocals that create a harmonious romantic feel, running against what it's title initially suggests. Once again, an early McCartney-through-followers like Badfinger feel is present throughout.  

“I Want a Pony” bring back female lead vocals for this tongue-in-cheek bratty teenage wish list. Demands made via a chunky rock and roll chugger - “pony up” indeed!  Bass guitar steps forward on the euphonious “Till We Meet Again.” Punchy rhythmic changes handled by those essential rock fundamentals of guitar, bass and drums drive everything towards exuberant high vocal harmonies.

Clocking in at 5 minutes in length is the album's longest track “Come Down Now.” A piano ballad featuring female and male vocals in a call-and-response duet, a sense of reverence is felt with the repeated vocal-hook “a Church Song.” Additional lyrics “come down now – remove your bandage – so I can see your damage” is as much about revelation than any sort of salvation.

There are many more wonderful songs included in the 21 here on this double LP.   Among them are two other "focus tracks" that really stand out.  

“Another Myself” emerges out of an angular pizzicato plucking on guitar strings before more chunky (and funky) chords join in. It bears similarities in both vocal tone and song structure to that twisted-prog-funk King Crimson did with Adrian Belew singing. Other elements surface in the guise of wacky Zappa-like “la la la” background vocals and seemingly melody lifts from “Paperback Writer” (or is that Paul's “Jet?”) There's even a touch of George Harrison's slide guitar sound on a madcap instrumental foray.

“Mahnsanto” takes everything in another direction, with it's mechanized structure and motorik undercurrent. A trip to the Carnival feel pervades while managing to straddle a modern times glitch-pop vocal arrangement on the verse. The chorus hook is another thing entirely, with the title word repeated like a siren call, followed by a plea to “come back to me,” promising “I'll wait there.” Churning rhythms and chugging guitars lay a bed for tasty lead lines to float over. Everything comes to a momentary halt (with brief bubbling synth interlude) – before lurching once more into the battering, beautifully harmonized chorus.

The full album is out on Vinyl, CD and all streaming services on June 30.

Order in any above format you like at This Link.

Connect with all things Big Stir Records here.

Check out Sparkle*Jets U.K. Here.

The most-recent prior Feature Review covering Big Stir Records on this site can be found Here.

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