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Showing posts with label spud cannon. Show all posts
Showing posts with label spud cannon. Show all posts

Friday, December 10, 2021

Best Of 2021: The New Music Year In Review

2021 featured a steady flow of new music here on this site, from both long-time faves and first-time reviewed artists. A return to live show coverage began mid-year, with recorded music still making up the bulk of detailed analysis. Compiled here in monthly chronological order are the most compelling features that represent “DaveCromwellWrites Best Of 2021.”

Early January dipped into the bottomless well provided by Shore Dive Records, with the stunningly beautiful album “Summerheads And Winter Beds” by The Raft. Conceived by songwriter and multi-instrumentalist Phil Wilson (who has been writing, recording and performing under the name The Raft since 2003), an elite group of dreamy female vocalists are employed throughout the album, providing necessary lush counterpoint to Phil's own voice.

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Another release at this time from Shore Dive Records was the debut EP by French duo Tender Tones. Cleverly titling this record “Youth Retirement Club,” Manon Deruytere & Maxime Pargaud delve into the nostalgic side of gaze, synth and dreampop. The Ep serves as a partnered co-release between ShoreDive and American label Somewhere Cold Records.

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The specialty music publicity brand New Dark Ages PR has also provided a steady stream of new and established artists to this site. Focusing on Gothic/Industrial, EBM, Black/Death/Heavy Metal and Hard Rock, there's always something compelling to dig in to. The January entry on DaveCromwellWrites radar was Goth-Industrial artist Night Terror, with their new full-length release “Freak On The Inside.” This solo work of musician Jeff Heveron presents a unique blend of deep goth-style vocals (straight out of the Peter Murphy school) with synth-driven industrial grooves.

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Full reviews on all of the above can be found on this site right here.

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Pulling together a collection of songs written and recorded over the past two years, Indiepop veteran Tom Lugo released the Panophonic album “AWAKENING” during the month of February.  The Philadelphia based musician has been running his own independent Patetico Recordings label for a number of years now, putting out a steady flow of albums, EP's and singles with a variety of bands and collaborations.

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Another album finding it's way into the DCW realm during the month of February was the retro psych-pop “A Dream Without Color” by Long Island's own The Crushing Violets. The record features six new original songs as well as a cover of the 1966 hit “A Groovy Kind of Love.” Placing emphasis on vocals and storytelling over any kind of extended instrumentals, most songs clock in under three minutes in length, with one each cracking three and four minutes respectively.

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Link through to the full feature on the above bands here.

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It's easy to see the appeal of Queens, NY-based edgy power-pop duo Yo Kinky. The duo of Laura Wight and Tom Unish created an enticing five song EP that came accompanied by a number of attractive, cleverly realized videos. Released at the end of February, a full track-by-track review lead off the month of March DCW Feature. With guitars, keyboards and drum machines providing the musical foundation for each excellent song, Laura's lyrics and vocals helps to set them apart from many other male/female duos.


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A much needed (now more than ever) new organization called Freedom Of Creativity connected this website with an excellent band out of Austin, TexasThe Dizzy Bangers. Fronted by guitarist and vocalist Jimi Dharma, the music combines rock and roll with grunge, blues and psychedelia. One of their releases at this time “Under The Sorrow” came complete with an impressive live-in-the-studio video, enhanced by animated effects, and garnered a complete detailed review.

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Rob Clarke and The Wooltones hail from the UK Liverpool suburban village of Woolton.  Among other things, the area is noteworthy for John Lennon's childhood home as well as he and Paul McCartney's first meeting place. Rob Clarke incorporates elements of this history into his music, along with a variety of other influences as well. On the bands latest album “Putting The L in Wootones,” a heady mixture of 60's psych, UK/Mersey and American West Coast vibes permeate the album's eclectic tracks.

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Follow this link for complete reviews of these artists.

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The month of April saw three  separate recorded works receive this sites distinguished individual track analysis.


Finding their way into the DaveCromwellWrites universe for the month of April was the Burbank, California music label Big Stir Records. Based out on the West Coast USA, the label features artists from all over the US, UK, Sweden and Germany. Label runners own band The Armoires released an 18 track full-length album, initially delivered in a series of mysterious single releases that culminated in the collection aptly titled “Incognito” received deep dive track analysis.


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Another Big Stir release - The Forty Nineteens and their album “New Roaring Twenties” peaked a level of curiosity that continued incrementally, wading through it all. Forming the band while working in the San Diego courts, they landed on a name that is something said by every judge in every courtroom in the state of California. That term is "Forty Nineteen," and a 4019 credit is time off the sentence of a detainee who behaves in jail. Their music is pure form rock and roll, that illustrious hybrid sound encompassing the 1950's collision of Country with Rhythm and Blues.


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It's rare that too much time passes before another Shoredive Records release turns up in a DaveCromwellWrites review. This time a Russian collective calling themselves Secrets Of The Third Planet (which we all know from Jimi Hendrix's “Third Stone From The Sun” - is Earth) reissued a 10th Anniversary Edition of their EP “Lost In Reverie.” Originally recorded and released in 2011, the new-to-this-writer tracks encompass that timeless sound of all the great “gazey” bands.


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Sometimes the name of a band can provide a level of confusion that often undeservingly puts them on the backburner. Take Tashaki Miyaki for example (pronounced Tah-Shock-ee Mee-Yock-ee). Sounding like a singular Japanese solo artist, the images of a willowy red haired woman as their out-front focal point and dreamy sounding vocal music never quite seemed to match up. The periodic promotional reminders (mostly via email) over the years – with the latest coming for this month of May – finally put an end to all of this procrastinating. Simply put, attention to this band that makes the most wonderfully dreamy, melancholy music was long overdue.


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Once again trusted source New Dark Ages PR introduced another impressive artist from the depth of their diverse talent pool. The May entry, based out of Chicago as "one-woman industrial army" I YA TOYAH entered the realm via her EP, Out Of Order and video for the single, "Pray."


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The late April release (and May reviewed here) track by UN.REALSun Like Star” is a heady uptempo affair. Anchored by songwriter/musicians Hector Caolo (bass), Eden Cruz (drums) and Gardy Perez-Ruiz (guitars), lyricist and vocalist Bernice Cruz completes this dreampop quartet. The track bursts out from the first note in full bloom, with slashing gaze guitars in lavish expanse across the sonic field. The bass and drums are thoroughly audible in the mix (as they should be) pointing to impressive production values and recording techniques. Capping it all off are Bernice's deep and resonant vocals. A final minute of pure instrumental and vocal euphoria lifts this gorgeous track to it's ultimate conclusion.


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The recorded works of four new and innovative artists got the Croms-eye-view deep dive analysis for the month of June.


Every once in a while a band will jump out at you from the ocean waves of promotional material that comes through over the wireless here. Making note of an instant liking for a quintet with the curious name Spud Cannon, a double-back on subsequent promotional singles releases confirmed their “must review” status. The release of their album “Good Kids Make Bad Apples” shows every song exhibiting high-level vocal harmonies, catchy melodies and precision instrumentation.


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Contributing their track “Liquid Through My Hands” to Chicago, Illinois indie-pop label Sunday Records compilation Something Beautiful, Sheffield UK based indie-gaze band The Suncharms saw their work standing out amongst like minded artists.


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The always busy Tom Lugo continued to put out new music via his indie label Patetico Recordings under a variety of band names (both solo and collaborations). Already featuring his full-length Panophonic album “AWAKENING” here in this year-end Best Of, the June single release “The Last Time” has earned those honors as well.


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Big Stir Records introduced another Best Of entry in the form of accomplished psychedelic pop troubadour Anton Barbeau. Specifically his single “One Of Her Superpowers” which encapsulates this artists rare chemistry in a radio friendly two and a half minutes.


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The original full review writing on all of the above bands (complete with links or song embeds) can be found here.

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July is always one of the best months for new music. You are deep into the heart of summer yet still far enough from it being over to have any real concern with all that. For this month DaveCromwellWrites featured both new and returning artists, all with recently released material. Horizon's were expanded with this eclectic collection.



Perennial CromwellWrites faves GIFTSHOP returned with not one but two brand new tunes. The newer written composition “More Than That,” packs more into it's barely over two minute frame than most of the repetitious, overlong excess churned out on a daily basis. Backed with “Kewl With Me,” a song that's been around for a number of years but never quite found it's way into the studio for a proper recording until this point in time.


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Making their way onto this websites radar during this month were Brooklyn-based neo noire rock'n'rollers Toshio Band. Finding inspiration from a variety of film makers (Quentin Tarantino, Jim Jarmusch), poets (William Blake), jazz innovators (Charles Mingus) as well as literary rockers (Iggy Pop, Tom Waits) serves as a wide and disparate pool to draw from. Lead singer and bassist Tim Lavigne pilots the project through songwriting and sound design bringing all these influences together in a modern rock and roll format. Their recently self-released EP “Lock Your Doors” is a five song concept EP that explores themes of madness and melancholy in an unforgiving world.


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Another eclectic collective weaving it's way into the CromwellWrites universe are a San Diego, California-based duo that go by the name Corduroy Institute. Having recently released a new album titled “Eight/Chance/Meetings,” the creative members adhere to an “institutional methodology” emphasizing improvisation. Additionally, their lyrics were formed using the cut-up method (or technique), which is a type of found poetry that has its roots in the 1920's Dadaists but was popularized by writer William S. Burroughs in the late 1950's and early 1960's.


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Psychedelic documentary film-maker Matt Levin previewed a new project in the works on the life and times of influential musician, writer and painter Will Carruthers. Most psych-rock fanatics know him as an innovative bass player in seminal bands Spacemen 3, Spiritualized and The Brian Jonestown Massacre. With the clever title "Nobody Gets Fat Eating Music," Matt combined an informative live interview with brilliant animation and in-depth analysis for a uniquely immersive experience. The Cromwell breakdown on this Translove Airwaves production is fully notated.


This film received entry for showing during The Psychedelic Film and Music Festival.

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The ability to attend live music shows out in public with your friends once again had been a long time coming. After a soul-crushing shutdown / lockdown of 2020 that continued into early 2021, it wasn't until mid-year we finally got 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 sites August feature, came 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.


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. A full review of that record appears in the August Feature.


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.


Core members Jonathan Crist, Jeff Schumacher and Mark Ambrosino wrote, produced and released 12 original songs (and one surprising cover) on their album “Open Here” with a variety of guest co-songwriters and musicians.
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Continuing their relentless quest for sonic excellence, Ottawa-based Paragon Cause 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 was delved into.

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Relationships are a significant driving force in much of what appears here on this website. Trusted record labels and artists who've previously shown appreciation for detailed analysis on recorded music meaningful to them are prioritized. Finding new composers and their unheard works within that framework will always continue to expand this overall field. Finally, losing a four-legged family member is heartbreaking, and celebrating the life-affirming years spent together is the best way to honor them.


There never seems to be too much time passing before another ShoreDive Records release finds it's way into the DaveCromwellWrites reviewing sphere. The independent Brighton, England based label provides a continuous supply of high-quality dreampop, gaze, electronica, post-rock and post-punk releases. Landing in the DCW mailbox in September was a six-song mini-album debut from Lyon, France residents Lunation Fall. Titling the collection “Near,” their mission to blend melancholic dreampop and explosive noise was fully achieved and given a full track-by-track review.


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This past June saw DaveCromwellWrites featuring a detailed review of England's The Suncharms first preview from their 30 years in the making (!) proper full-length debut album. With the release of “Distant Lights,” ten full tracks (with two bonus cuts on the CD release) were given deep-dive treatment.


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On September 13, 2021, beautiful boy cat Nicky crossed over the rainbow bridge after 14 wonderful years on this planet. He was the most perfect cat you could ever be so blessed to share this life with and will be sincerely missed.


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October caught 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 showed musicians taking their creative ideas - much of it developed by way of live show performances over the years, and forging it into high-quality studio recordings. Each artist exhibited true emotional commitment to their respective style of music.


A band this site had been keeping a close eye on over the last year or – The So Lows released a new album ‘Times Not So Weathered,’ and received 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.

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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 returned with his first new solo music in 15 years. Lead single “Sunblind” received a detailed in-depth review.


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Finding their way back once again into the DaveCromwellWrites universe, Sydney, Australia based gazey-noise-rockers Trillion released a new single “Sure” 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” received a full detailed review and makes the “Best Of” for the third year in a row.


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The best recording artists put as much creative effort into every song they choose to include on their album. While standout tracks may appear, there is a consistent quality to each track on it. Those full-length albums deserve to be carefully listened to, from first track to last. This site makes a point to review those albums track-by-track, leaving no stone unturned. It's the deep dive and detailed analysis that sparks creative exploration and new experiences. Two full albums for a total of 19 songs received the DaveCromwellWrites focus during the month of November. One more life-in-review memorial to a dearly departed animal companion closed out the month (and year) in a heartfelt manner.


Burbank, California based music label Big Stir Records continues to provide a deep catalog of wonderful new music. With their reach expanded internationally, there is a treasure trove of high-quality recording artists there, well worth checking out. The November release of Nick Frater's “Earworms” earned itself instant classic status and a complete DCW track-by-track review.


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Another November release that received a CromwellWrites full review (and now qualifying for end of the year “Best Of”) is “Winter Skin” by psychedelic dream pop and gazey indie music band EEP. Released on the local Hogar Records label, the 9 original tracks were produced and engineered by the band themselves, with recording and mixing done at Brainville Studios in Sunland Park, New Mexico.


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November also saw precious baby girl cat Cherry crossing over the Rainbow Bridge to be with her twin brother Nicky, after 14 years of joyous life. She was the most perfect chubby cat that ever lived and she will be missed and remembered forever.


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Wednesday, June 23, 2021

Inceptive Reviews of Newly Released Music and Video

Summer has finally arrived, and with it a new collection of DaveCromwellWrites reviews for the month of June. Along with the end of a pandemic that went on way too long, live shows are now back as well. Eager promotions are coming in on a daily basis with subsequent tickets being scooped up for big show dates later on this year. Those triumphant return musical events will be covered extensively here as they occur, however it is recorded works that once again gets the Croms-eye-view deep dive analysis for this go-round.

Every once in a while a band will jump out at you from the ocean waves of promotional material that comes through over the wireless here. Making note of an instant liking for a quintet with the curious name Spud Cannon, a double-back on subsequent promotional singles releases confirmed their “must review” status. Like most 'new-to-you' bands finding their way on your radar, this isn't their first go-round (although still in the early stages) with their genesis commencing in late 2016.


Much of their current promotional lore surrounds the band's formation as students together at Vassar College in Poughkeepsie, New York. With that experience to guide them, Brooklyn now appears to be the most appropriate home-base for relaunching post-pandemic live shows on rooftops in celebration of a brand new full-length album. That record is the glorious “Good Kids Make Bad Apples” which is set for a June 25th release in it's entirety. The band consists of Meg Matthews (lead vox), Jackson Walker Lewis (guitar), Ari Bowe (keys), Lucy Horgan (bass) and Benjamin Scharf (drums).


Four singles have been now released since the records first announcement over these past few months, each showcasing a keen sense of how pop music is best presented by a new generation of musicians, fully aware of what has come before. Everyone has their favorite contemporary music growing up - it's what you hear on the radio and now streaming services. Additionally the best of previous decades will find its way onto modern playlists – creating newfound interest in those recordings. Spud Cannon has been listening carefully and it shows in their creative timeless-pop tracks.


Lead album track and first single release “Juno” immediately sets the tone for what these “good kids” (potentially on there way to becoming “bad apples”) are all about. Bouncy, energetic rhythms (there's punch in this rock) are matched with the happier-side of The Cure guitar riffs and tones (think more “Friday, I'm In Love” than, say “The Same Deep Water As You”). One of the few tracks crediting songwriting to all bandmembers, lyrics spell out the perilous search to “meet someone” – and more universally “be someone.” Along with this driving pop-rock, it's the bands vocal qualities that set them apart. There's a tandem voice component and harmony aspect that accentuates the appeal (though lead vocalist Meg certainly carries the workload). Along with the instantly hooky chorus, a joyous “whoooo” buildup caps off this under 3 minute beauty.


Follow-up cut (and 2nd single release) “Supersonic” is a barely over two minute foray with harder-edged slashing guitar chords. Centered around Meg's stylized vocals (and lyrics), a cautionary tale of hubris (“all love but you reek of pride”) and other potential vices (ridin' fast and you're gonna fall off”) are the primary focal point. The final :40 seconds serves up a madcap jam-out emphasizing they rhythm section, guitar riffs and piano keyboard plinks.


Third single release “You Got It All (NOT)” comes through with the first live-action video (the first two vid-clips featured rotating photos from an admittedly fun looking press pic shoot). Finally getting to see those much talked about Vassar squash courts, the band perform along with this incredibly catchy song, showcasing their energetic appeal. With the 3 frontline women all credited for the lyrics, that introductory voice-and-guitar tandem “oooh eee oooh oooh” hook kicks everything off with bouncy enthusiasm. A clever video twist shows the courts clear entrance door opening so we can get a better look at everything. A distinctive “Love Cats” dominant bass pattern shares open space with bright alternating percussion. Guitar is clean and jangly as quick-cut video motions shots of the band show how adorably cute they all are. While the verses have their own catchy appeal, like all great pop songs it's the chorus that drives everything home. A brilliant descending keyboard-dominant progression leads into the gloriously explosive lines “leave the talking to me, cuz you can't see, you've got it all.” More charming fun and frolicking is captured, with giant bouncy balls and hoola-hoops being showcased for good measure.


Easy shuffle, big echo groove drums and and tinkling electric piano notes introduce fourth single (and the album's fifth track) “Lovely.” The final advance promotional release before full album drops finds this Ari-penned lyrics cut exploring early 60's girl-group sonics. Tapping into that dreamy teen-swoon vibe that permeated early-wave pioneers Shangri-Las, Ronettes, Supremes and Crystals hits, one accurate comparison to Cults initial 2010 burst on the scene once again show the timeless appeal of this sound. Going back nearly a decade earlier, British indie pop girl group The Pipettes also had initial success with this distinctive form of 60's styled music. Bass guitar is once again featured as a propulsive element in the open spaces between lush, harmonized vocals and going-to-the-chapel-churchbell keyboards. For good measure the outro features a trumpet blended into the mix, adding one final audio touch to it all.


Deeper album tracks like Lucy's lyrical composed “Sleeper” builds around an alternately rising-then descending riff, where a keyboard walk up is met which chiming guitar on the way down. Rolling tom-tom underpinnings frees the bass guitar to engaged in a rubbery progression and subsequent lyrics. As the bridge lead up of “Gotta run - Can’t stay here - When it all - Gets too real” is reached, instinctively you know you're in for another monster hook chorus. That in fact does arrive with an expected emotion-packed surge. “Oooh - but you’re so coold - You won’t come home, I know - Your lights out on the road.” Only a decade ago saw a band making similarly captivating, vocal-hook driven, intensely insightful lyrics with soaring female vocals. The same qualities that gone-too-soon Sick Of Sarah brought to the table (who were meticulously covered here on this site back then) are alive and well in this wonderful track.


Just over a minute of madness occurs on a “theme song” (of sorts) with “P.O.T.A.T.O.” Opening with non-bandmember spoken word clip “I have potato blood in my vein,” the band lurches into a heavy guitar and drum stop with the girls chaotically shouting “hot potato” and “I want a spud!” A punk rock song if there ever was one. Conversely, “Na Na Na” pairs big power-pop verses with a funky double-time chorus that mirrors 80's “new wave” dance music (think Haircut 100 – Boy Meets Girl).


Other tracks like “Out” and “Easy” also dip into funky-dance-guitar (the former) and bass-guitar driven rock (the later) containing lyrics dealing with “relationship” issues – be they hang-around friends or potential significant others. What stands out in every song are high-level vocal harmonies, catchy melodies and precision instrumentation. Simply put, it all sounds wonderful.

The album is out in full on June 25.

Find out so much more about Spud Cannon via their Official Website, Facebook and Instagram

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After featuring Sheffield UK based indie-gaze band The Suncharms here on DCW at the end of 2019 (both in individual song review and then Best Of the year inclusion), a worthy new song has now emerged. Contributing the track “Liquid Through My Hands” to Chicago, Illinois indie-pop label Sunday Records latest compilation Something Beautiful, the band once again finds itself standing out amongst like minded artists.


Where previously reviewed track “Jet Plane” was relatively quick and peppy, “Liquid Through My Hands” moves at a more deliberate, measured pace. What both tracks share in common is a sense of nostalgic pathos within an uplifting framework. The song also serves as a first preview from their forthcoming album.


Sawing back and forth between two chords (a personal favorite style) buoyant finger-picked guitar lines soar over crisp levels of bass guitar and drums. Lead vocalist Marcus Palmer delivers touching lyrics in a distinct, carefully delivered diction that shows true emotional commitment. Leaving expressive pauses and unique emphasis on and between certain words (“I don't know how – I found my [pause] self in this place,” and “reflecting in this antique mIR-ror”) elevates simple storytelling into a higher-level art form. While the songtitle first reveals it's true meaning at the 1:00 minute mark, an introspective chorus that goes “Looking for Palaces in the sky I came to realise, I should be watching the leaves floating by” strikes to the true heart of the matter. As the track moves towards it's ultimate conclusion, a sinuey snaking guitar adds musical weight to the dreamy vocal denouement.


Find out more about this compilation here and this track in particular here.

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The always busy Tom Lugo continues to put out new music via his indie label Patetico Recordings under a variety of band names (both solo and collaborations). This site featured his full-length Panophonic album “AWAKENING” on it's arrival this past February. A brand new track “The Last Time” has recently been released, showing the recording artists' continued evolution in sound design, surpassing any preconceived listener expectations.


Opening with a quiet, pulsing guitar texture immediately draws the listener in before whip-crack snare and cymbal percussion abruptly shatters the meditative mood. Vocals start immediately with Toms vocal pitch (and delivery) approximating John Lennon's altered “I am the Walrus” intonation. “I am not sure I want to see you anymore,” is the opening lyrical salvo, pitched against that humming, undefined guitar ambience. We know they are guitars as a notation “no keyboards were used on this recording” is prominently displayed in the liner notes. Everything elevates as the chorus is reached., crying out “Why do we always end up in a fight?” The guitars are suddenly more traditional here, with full chords and the most delightful oscillating bass line.


Voices morph and blend with FX on the lines “I’d say that I’m sorry but I am so worried about all of what you might think” in psychedelic composition. Resolving on the line (and thematic title) “Hope this is not the last time that we speak.”  Fine crafted details like stutter-pace percussion on the turnarounds shows a higher musical IQ in every aspect of this song. As the next verse reverts back to a beatless ambience and vocals only production (creating introspective emphasis in the process), the mea culpa “maybe this time I crossed the line, I’ll admit,” is ultimately revealed. The final 2:40 of this 3:15 in length song lifts off in a blaze of slashing gaze guitar melodies, throbbing counter-melody bass and precision throttle drums.

Check out this outstanding track here:



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Coming through once again win an introduction to off-the-main-path music is our friends at the Burbank, California music label Big Stir Records. The recent DaveCromwellWrites Feature covering two separate albums from their vast and eclectic catalog served as ample motivation to see what's cooking there right now. That discovery manifests itself in the form of accomplished psychedelic pop troubadour Anton Barbeau. Having previously established a worthy catalog of recordings, his soon to be released latest album “Oh The Joys We Live For” offers up 12 uncommon tracks of folk and pop featuring free-form lyrics inside more structured songs. Introductory single “One Of Her Superpowers” encapsulates this artists rare chemistry in a radio friendly two and a half minutes.


Choosing to open this track with a few seconds of ascending guitar twiddles is a playful misdirection, as a more straightforward vocal presentation immediately begins. Getting right to the theme, Anton sings “one of her super powers is leaving things as they are,” against a bright, chiming acoustic guitar. “The minute defiles the hour, the planet defiles the star,” continues the nimble lyrical tale. The chord progression changes as he sings “but she don't care – her hands are clean and she don't care” bringing to mind the tone and whimsy of “Hunky Dory” era David Bowie.  A half-a-minute in, fuller instrumentation appears with a solid drum beat, bass guitar and harmony vocals adding punch and depth to the already attention grabbing lead vocals.


Universally relatable lyrics “one of her super powers, is leaving keys in the car” [is that a good or a bad thing?], “she's dreaming of field of flowers” [sung with such an enjoyable harmony] “and poppy seeds in a jar.” On the chord change things get curious with lines “the Zebra walks a narrow hallway to her door. He knocks three times, she let's him in, he knocks no more.” Surely this must be a prelude to those “joys we all live for.” Indeed it must, as the 1:00 mark presents a full-on chorus that goes “summertime fun, our legs akimbo” [indeed!]


The backing vocals step up and deliver those sugary Beatles-like “ahhhhs” that make any single more fun. Curious mentions of “drugs” and other obscure references to “yesterday's satyricon” continue the oddball charm with ultimate happy home declaration “the tv screen's a likely guest list.” Chiming Rickenbacker-style guitar melodies are furnished over top of the bright acoustic rhythm, establishing a classic 60's style pop-rock instrumental interlude (again, quite Beatle-esque). It all comes full circle with the final lyrical statement “the princess trapped in the tower, befuddling the power pop man.” Tacked on the end is a reprise of sorts, with another brief madcap guitar foray mirroring the tracks opening.

The CD and digital album with this single are currently up for preorder now at www.bigstirrecords.com/store and will be streaming across all platforms on its full release date of July 16.

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