Penetrating Observation of Recent Singles, EPs and Album Releases

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

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

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

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

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

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

Check out this blistering new EP here:

Follow Stellarscope and Patetico Recordings on their Website and Social Media

Facebook     -     Instagram

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

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

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

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

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

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

Follow Killdeer on their Official Website and Instagram.

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

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

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

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

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

Listen to this gorgeous recording here:

Find out how to acquire this EP here.

Follow the band on their Social Media  -  Instagram   -   Bandcamp

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

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

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

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

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

Check out this creative recording here:

Follow this artist on Social Media:

Instagram   -   Bandcamp   -   jakjonsontapes   -   YouTube

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

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Comprehensive Exploration of Recent Audio and Video Releases

The welcome return of respected recording artists provide the lion's share of review material for this August 2022 Cromwell Writes music extravaganza. While the endless quest for one more perfect beach day or concert in the park under a night sky beckons, new music releases provide alternate motivation for a focused listening (and viewing) experience. Accompanied videos add a visual component to the storytelling, further expanding artistic vision. One brand new to this site artist also makes the cut, completing a four-play deep-dive analysis.

As longtime friends of this site The Stargazer Lilies prepare their 5th studio album release “Cosmic Tidal Wave” on October 14 via Floravinyl Records, a video for first single “Bending The Lines” is now available for us to enjoy. Having recorded the album tracks over the last few years in a number of places (PA, TX and FLA) the promise of classic psych and gaze also incorporating elements of bossa nova, trip hop and experimental orchestral sounds fuels anticipation for the full release.

The video opens with images of the ocean behind band frontwoman Kim Field, shot through a prism in windswept reverie. Fragmentary audible tones rise up, sounding like the language of majestic sea creatures. Drums kick in via the bands latest beat-keeper Cari Gi and keyboards flash on the screen for a moment, indicating the source of this next wave of sound. As those keys mark out a descending progression, rubbery-funk bass and complimentary wah-wah guitar established a deeper rhythmic pulse underneath. As Kim begins her ethereal dreamy-gaze vocals, the imagery continues to focus on her cool-shades and red lips, combined with mesmerizing ocean views.

Studio footage is further woven in, with visual emphasis on the bass, drums and Kim's vocals – all the while this dream-funk r+b groove floats along under icy keyboard textures above. Those initial eccentric “dolphin language” sounds never really disappear, creating one more motion in a mix that deftly blends elements of romantic-soul funk with an uplifting title-line chorus. As the camera moves around the studio more, we get more lively shots of drumming, fingers stabbling keys and John taking off into the stratosphere with an abrasive guitar solo that features long-held extended notes. Played out against that funk wah-wah background strikes the perfect balance between structure and reckless abandon.

Special mention goes to the live-in-the-studio drumming, which emphasizes high-hat work both in the expected disco-funk realm (or perhaps the promised “bossa nova” groove) as well as looser application on all the drums when called for. Additional props to Kim (and John) for finding a visual clone (at least in style) to compliment Kim's established look and attitude.

Check out this wonderful song and video here:

The Stargazer Lilies now begin a tour and prepare more pre-releases before the full album drops.

Connect with info on all of that here.

Previous Features on The Stargazer Lilies can be found on this site HERE - HERE and HERE.

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The steady output from Philadelphia's Patetico Recordings assures ample opportunity for reviews here on this site. The latest is a new release “From the ashes” by Stellarscope, which features the single “All the lies.” The album title is significant, as a storm destroyed the bands studio and recording equipment as the record was being made. Fortunately a recovered hard drive survived the destruction, and with it the tracks that make up this album. The band consists of Tom Lugo on vocals and guitar, Bob Forman on drums and Rob DeFlaviis on bass. They have been making music for the better part of the last two decades.

Soft guitar strumming introduces the single “All the lies” with one clean pass through the chords, before vocals and full instrumentation kicks in. “Keep saying -we’re doing so well – Pretending - that this isn't hell” is how the initial lyrics go. Behind that are waves of powerful ambient sonics, marching beat percussion and chiming guitar chords. More space is provided on the next lyrical pass, with the drums pulling back some on the lines “All the things you swore you’d do, remain undone, now look at you - A waste, slowly fading away.”

The chorus jumps out with intensity as layered voices bring home it's overall theme “Telling lies how can you live with yourself. Your always blaming somebody else - for everything that you have done wrong.” A subtle bass-line emerges under the assiduous mix, providing additional lower tone movement going forward. This is most apparent on the lyrical segment that goes “Keep saying - that it wasn’t you – Pretending - like nobody knew.” At the 2:20 mark of this three and a half minute song a wiry electric guitar solo commences for a tasty 15 seconds or so, before returning back to the chorus.

Check out this track right here:

Pick up this digital album here.

Where you can also peruse and obtain the full Patetico Recordings back catalog.

A prior feature on Stellarscope can be found on this site Here.

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Influential bands of the 90's continue to re-emerge with new material, which is welcome news to audiences who have missed them. Consider the Portland trio – No 2 – back with their third album, but first in a number of years. Fronted by Neil Gust who originally shared songwriting duties in Heatmiser (along with Elliott Smith), No 2 rose out of that bands ashes in the late 90's. Teaming up with singer/bassist Gilly Ann Hanner (Calamity Jane) and drummer Paul Pulvirenti (Eyelids), the band released two albums and were featured on noteworthy tours before moving on to other projects in the early 2000's. Reuniting in 2019, a new album “First Love” is set for a September 9 release on on Jealous Butcher Records. Advance single and video releases have garnered positive feedback and are now reviewed here, below.

Crunchy guitar chords open the song and video in classic chunky-rock manner and quickly pivot to cool overhead shots of the drums, specifically some solid tom-tom thumping. The reverse view Remo drum head becomes a visual focal point, as it blends with images of our own glorious moon in hypnotic slow rotation. “Come out tonight” starts the vocals - “put my plan in motion,” is delivered in that Dave Grohl/Foo Fighters way you hear during the softer (non-screaming) segments. “Lit up by the possibilities” it continues, while hazy images of movement along a highway are paired against those compellingly shot sepia-toned captures of the band playing.

A tale of cruising the streets – looking for adventure – release – maybe even love - “by the morning I'll be on my hands and knees.” Wiry guitar riffs snake through instrumental passages up against power chords, bass guitar and jungle drum rhythm. As the explosive chorus declares “I'm on a mission, come with me,” it pivots into a slinky spy-movie groove propelled by bass guitar, tom-tom drums and open-note guitars. That calm is soon shattered by heavier riffs and descriptive lines about going “from bar to bar.” The biggest hook emphasizes frustration rather than conquest, stating “Want to cry all the way home. Took all night and I'm still alone.”

Check out this cool song and video here:

A follow-up video for the single “Too Much Is Not Enough” was also recently released, exhibiting similar appealing qualities. Chugging guitar chords with complimentary bass kicks things off via colorful VFX imagery. With the drums looking particularly cool in x-ray exposure, a spinning mannequin head is visually woven in-between those instruments. There are subtle Bryan Ferry/Roxy Music inflections on the chorus that contains the title line, along with an extended guitar note behind it all. That note extends into an instrumental break that emphasizes heavier guitar and bass depth, forceful accents on sharp rhythmic turns – before emerging into a “hoo hoo” vocal section. Military-style snare drumming and coordinated rhythm guitar serve as the undercurrent for the final verse, before erupting into a vocal-heavy, harmonious ending chorus.

Dig into this video track here:

The band’s brand new third album was produced by Joanna Bolme (Stephen Malkmus and The Jicks) and mixed by Gary Jarman (The Cribs) and Tony Lash (Heatmiser). Recorded over 3 years in studios and basements across Portland, OR and finished in a boathouse in Connecticut, the album is available for pre-order right now.

Speaking of album producer Joanna Bolme – two features on her live appearances with Stephen Malkmus & The Jicks can be found on this site Here and Here.

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Heavy blues rock has always been a particular favorite here at this site, and nobody does it better than Austin, Texas-based The Dizzy Bangers. Though relatively new here to the DCW orbit, a number of reviews have already made their way into prior features. The band is back with a new video release for their song “Painted Bruises,” earning additional commentary and analysis on it.

As shimmering guitar chords gently introduce the track, the image of a figure rising up in a forest is awash by the rising sun. A quick cut to a bedroom shows a woman lying forward, with emphasis on pensive facial expression. Her male counterpart is then shown sleeping, before images of the band playing their instruments against red clouds and dust, approximating some Southwestern (or even Martian) landscape. As the song's slithering-snake groove advances, we see the woman shutting off her alarm clock and fumbling for prescription pills. Images of the band playing in an amber haze commence the storytelling, about how she's “all so very high,” with visual evidence of pill consumption underway.

The chorus is large, bold and bombastic, emphasizing the lyrical hook “no she'll never pay for anything she's done - yeah she'll get away with everything she's done.” As the video progresses, the couple is now awake with the female meticulously putting on makeup. Cuts of the band playing and that mysterious desert figure reappearing accelerate the storyline. Much of the verses are delivered with a soulful, higher-pitch phrasing, which contrasts effectively against the hard and heavy chorus. Visually, the female protagonist seems pleased with herself as she takes selfies, while her partner looks on with a touch of skepticism.

A clever video editing technique shows the woman responding to her male counterparts casual inquiry with an insincere smile followed quickly by eye-rolling annoyance – before reaching once again for her pills. The chorus is in full-flight at this moment, with the lyrics “no she'll never say that she's the evil one” followed by “woman's will be done.” The instrumental break that follows is a joy to experience, with it's quick rhythmic accents and gnarly guitar figures. Video images of the woman offering pills to her man shows him declining. The camera shot view pivots to a direct shot of the couple on their bed – he looking chill with acoustic guitar, and she less-together with troubled thoughts.

Cut to the forest again and now three figures are in shrouded garb, in front of that blazing sun. The images zero in on a traditional “death” figure holding an armful of those prescription bottles. As the band thunders away through this crucial instrumental section, the vibe gets worse in the couples bedroom, with an increasingly aggravated female arguing with her dude. There's a biblical feel with the three figures in the woods, where an “Adam” is attempting to rescue his “Eve” from “death's” addiction temptation. More pills and alcohol are consumed in the bedroom, juxtaposed against “biblical Eve” tempting her “Adam” with the apple of sin. It all culminates with her painting “bruises” on her face (and soul) while writing accusatory messages in lipstick on the wall – like something out of a horror film. Now the social media pictures are used for this manufactured storyline, ultimate relationship destruction and even criminal repercussions based on a false narrative. It's a chilling, cautionary tale, and only the powerful music makes it palatable.

Check out this wild video here:

Keep up to date with the band via their Social Media at Facebook and Instagram

Previous Features on The Dizzy Bangers on this site can be found Here and Here.

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

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

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

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

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

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

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

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

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

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

Listen to that track here:

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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




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

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

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

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

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

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

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

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




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

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

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

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

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

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

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

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

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

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

Check out that album right here.

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