As the summer month of August wind down and slouch towards Labor Day, DaveCromwellWrites heats up with reviews of exciting new releases. Long-time friends return with a brand new album, while more recently reviewed artists receive completed and updated focus. Full albums are analyzed with track-by-track priority, while adapted video releases serve to further heighten their associated tracks.
Fellow Sunshine State expats and long time friends of this site The Stargazer Lilies have a brand new album they’ve just unleashed on the globe. Having covered their prior release here exactly 3 years ago (as well as numerous other features for the better part of the last decade) its always a cause for investigation when this bands new music arrives. “Love Pedals” now adds to their strong catalog of heavy ambient gazey psych-rock. A deep-dive review here will now uncover the treasures within.
Opening track “Ambient Light” comes complete with a dark purple-hued psychedelic video treatment. With the opening strains of John Cep’s distorted guitar bouncing around in a rubbery pattern, vocalist Kim Field delivers angelic lines as if floating above. The title line comes up quickly with the phrasing “we’ll drone in harmony, in the ambient light,” where they also “psych out.” Its associated video depicts the principal members arriving home and engaging in tripped-out activities. As the grunge-heavy groove trudges forward, the individuals can be witnessed dancing around in animal masks, pouring drinks and playing favorite albums. Noteworthy classics spotted include The Velvet Underground and JAMC’s seminal “PsychoCandy.” As John chokes out an acid-rock solo over that buoyant bass rhythm, cat familiars appear in appropriate places throughout the video, along with those “pedals” that are “loved.” The final ambient light act is to “do some bedroom pop,” and we’ll just have to use our imaginations as to what that actually refers to.
Follow-up track “Love Radio Show” (which also comes with a “radio edit” at the albums end) takes a romantic pop motown feel and immerses it in MBV “Loveless” elements. A nostalgic ode to radio signals both cosmic and real. “So tune in the magic hour, to the signal up above” is how the chorus begins. “Beaming from the broadcast tower, sending frequencies of love” completes that passage. There is even references to the albums (and record labels) overall thematic imagery via lines “transmitting with flower power.” Careful production avoids constant guitar camouflage as verse 2 opens space for bass and drums and lyrics “My world spins only for you.” The guitars make great use of phase shifting to approximate radio waves static.
Third entry “Perfect World” also benefits from an associated video that juxtaposes current colorful AI trend interiors with self-shot black and white performance images. The audio opens with a Spector-esque singular bass drum beat and similarly minimal bass guitar. As the chord progression continues its slow liftoff, you are soon plunged into a David Lynchian experience in both image and sound. Kim's goth-meets-breakfast-at-tiffany’s styling swirls as she delivers thematic lines where “poverty would be no more, as would disease and making war.” For now this “perfect world” only exists in our hopes and dreams, but perhaps someday it will come true.
Check out this Utopian dream here:
Digging deeper, “By Your Side” continues the stark, moody ambiance previously established with added twists. What sounds like muted French Horns initiate a subtle melody before Kim’s voice presents lyrics with measured pace. It’s a story of redemption where one goes from being “all alone,” “companionless walks” and “partnerless talks” to the “only one who needs to be found.” The drum beat is forceful, providing foundation for Kim’s vocal delivery. As bass guitar continues it’s steady pace, John’s guitars wax and wane, with occasional dive-bomb strikes. Midway things get weirder, with a total ambient foray of propulsive guitar textures, along with Kim’s angelic voice returning for a final chorus.
“Shining Yellow” delves into that easy mid-tempo groove and feel, giving off fellow-associates Ringo Deathstarr vibes. Big shuffle percussion, downward drive progression and soft sensual vocals complete an uplifting sentiment. “Looks like the skies are changing, the sun shining yellow. Now that it’s looking lovely, we’re both feeling mellow.” A modern suburban Alice In Wonderland meet Nuclear Armageddon inspired video comes along with this song, encouraging you to find your own “Shining Yellow” utopia:
Sixth cut “Heaven Knows” finds John Cep covering all the instruments and vocals on a dreamy, gazey confessional. It’s soulful progression and out-of-phase guitars underscore lyrics about a “bizarre life I’ve lead.” Creating his own high-register angelic vocals, the title line takes that often used expression and attaches the question “why it’s the path that I chose.” “Trans Med” builds off a slinky bass line, growly distorted guitars and Kim’s sugary vocal delivery. John provides a variety of squalling guitar textures, blurring the line between “Transcendental” meditation and “medication.”
The albums final track (before LRS radio edit) “Hold Tight” dips into the Beatles “White Album” era for sonic comparison. Open note arpeggio chords and its associated progression along with Kim’s whispered vocals conjure up the mysterious feel of a song like “Dear Prudence.” Guitar leads are pitch shifted and distorted in places, clean and unadorned in others. The final end-out is a series of vocal “ahhhhs” and wirey guitar lines over steady bass and thumping drums. As previously mentioned there is a “radio edit” of “Love Radio Show” included at the end, which shaves off about a minute and boosts the lead vocals a bit.
Previous Features on The Stargazer Lilies can be found on this site HERE - HERE - HERE and HERE.
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Earlier this year DaveCromwellWrites revisited California visionary synth artist Matthew Nowhere’s work, reviewing his collaborative song “Transforming.” Prior to that was an in-depth breakdown of the track and video for “Love Is Only What We Are.” Both cuts are included on the recently released debut full-length album “Crystal Heights.” With this complete collection that includes 11 other tracks fully available to acquire and digest, DCW now dives in to these recordings for a thorough analysis.
The album opens with “Transmission (Intro)” which offers up a one minute plus ambient texture piece that combines pulsing synths with robotic voices and celestial elements. That leads into the previously reviewed standout track “Love Is Only What We Are.” Next up is the chime-bell enhanced, synth-pad and bass note driven “Echoes Still Remain.” This instrumentation serves primarily to support a lyrical story whose chorus states “Immortalize - A lonely whisper. I hear it now - where echoes still remain.” A touch of electric guitar on the outro provides further depth to it all.
An Official Video comes with this song that adds a nuanced visual element:
The albums title track “Crystal Heights” comes on with a triumphant feel, capturing what those of us (who were there) loved about 80’s alternative synth-pop. There’s bits of Duran Duran (the percolating synths) Flock Of Seagulls and Depeche Mode all rolled into one original composition. A lovely electric piano coda enhances the final 15 seconds. Another just over a minute instrumental follows with the arpeggio synth progression and percussive
“Aquatic Envelopment (Interlude).” From there its on to the also previously reviewed cut “Transforming,” featuring vocals and co-write from Lunar Twin’s Bryce Boudreau. Shortly after that review was published, an official video for the song emerged, and is well worth checking out here.
Moody bass and deep percussion provide foundation for the synth melody enhanced, singular mantra voiced “Have You Ever Known.” Alternately, guitar features prominently on the nostalgic romance of “Ruby Shards.” Tapping into the alternative rock vibe of twangy guitar and synth combos, the chorus hits home with the lines “I found the pieces of your heart - ruby shards of perfect art - and I can only stand in wonder.” It’s a perfect homage to an era that gave us songs like Modern English’s “I Melt With You.”
Check out this beautiful sand and sea video that accompanies this song:
Another minute and change instrumental serves as a bridge link between fully formed tracks with “Stellar Enfoldment (Interlude).” Despite it’s relatively short length, a complete melody emerges by the end. This leads into the piano augmented, lyrically optimistic “Everything’s True.” With pacing and tone moving closer to a David Bowie/Peter Murphy precept, the chorus declares “Lovers and mystics sigh -
raising our hands up to the sky - everything's true.” Thirty seconds of meticulously crafted synth and guitar figures just past the 3 minute mark elevate the track further. “Silver Glass” comes on more gentle, with tubular bell keyboard textures providing audio appeal. There’s a subtle Caribbean Island feel to its underlying rhythm, as Matthew sings “O midnight sky, burning with electric light - but no one seems to see.” Additionally, the hook line “seven years have passed - pieces of silvered glass – rejoin - bringing us together at last” add focus to the songs title and overall intent.
Reaching the penultimate track, “Persist3nce” features Lunar Twin band and The Antonio Family Singers. With lyrics and lead vocals from Bryce Boudreau, additional synths are provided by Chris Murphy. Those keyboard swells compliment bass and percussive pulses, as Bryce presents his lyrical themes with familiar soft-sandpaper delivery. Extolling the virtue to “give into art” in “isolation,” the additional background singers enhance lines “into the night . . . stars . . . sun” and “sky.” A lively drum pattern comes forward under later lines where “the midnight sun” becomes “midnight lust – after the rain.” Final entry “Crystalline Emergence (Outro)” closes out the album with a buoyant keyboard melody over bubbling arpeggio notes and steady whip crack percussion.
Previous DCW features on Matthew Nowhere can be found here and here.
An in depth Feature on Lunar Twin can be found on this site here.
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At the beginning of this year DCW reviewed the introspective, slide guitar infused Sueño con Belugas track "Mil Recuerdos" (A Thousand Memories). Audio only format at that time, a brand new video has dropped for this dreamy song with an amusing take on two people and they day they are having. One is experiencing frustration at all the challenges and pitfalls being thrown their way. The other appears to be sailing along in a happy state of mind, enjoying their good fortune.
Four captivating new and recent musical releases are the focus here for this summertime DaveCromwellWrites. Extensive deep analysis is given to all aspects of songwriting, sound design and (where necessary) lyrical storytelling. The styles covered this time around include indie rock, nugaze. postpunk, ambient, dream pop, drone, ethereal and minimalism-experimental. Creating new works inspired by the pioneers in those genres that came before them, thoughts flow here from what is now being heard.
It was little over a year ago when this site became aware of an exciting new band based in Nashville, Tennessee named Hushhh. Following the release of their debut EP "Summer Medication," the group dropped a video for their track “In My Head” which garnered a detailed review here. Now they’re back with a brand new five track EP “Poison Glass,” surpassing expectations in every way. A focused DCW review is now given to this explosive new recording.
Opening the EP with the run-on-sentence titled “Youwon'trememberme,” a tone is immediately set via hyper-precision composition and recording. Speed-strummed guitars and locked-tight bass and drums support clear vocals riding over top. The spirit of early aughts power pop is imbued (think Simple Plan, Third Eye Blind, Good Charlotte) throughout both musical rhythms and lyrical theme. “Down in the pits, I could not see, I hid low and lived in misery” is how the chorus goes. Concluding with “I’d hate to have to leave - You won’t remember me.” It’s tough emo-boy angst set against harder edged sonics with near prog-rock like riff breaks.
Title track and single “Poison Glass” bursts forward via syncopated drums and power riff guitars. There’s an industrial buzz and sharp angularity on the chord phrasing that bears similarity to a band like Helmet. Vocals are different though, emphasizing smoother tonality and an elongated diction. Ruminating on the “waste” of carrying around sadness and “hate,” the distinct rhythmic change to a slower pace accentuates the inability to “find a key out of this dream.” At midpoint one more change occurs that suggests a revelation underscoring the prior request to “wait for me (that I hope to) crack these feelings that blind what I see.” The final minute is an ambient plateau that further implies resolution.
Third entry “A Passion For Sadness” starts out more sparsely with subdued tempos. Chime accents are place on key lyrical line ending words “take,” “stay” and “break.” An emotional build continues until just after a minute in, when a big dynamic music and vocal wash takes over. “Put me back together like you always do” is the plea. While this soft to frenzied style does tap the self-professed Smashing Pumpkins style, the vocals come closer to the alternative metal style of the Deftones.
Penultimate track “Stone Path” combines angular hard-edged rhythms with busy chord changes and punctuated lyrics. Pausing before the last word of lines is an effective composition technique. “I let myself - - - drown; Waves of - - - doubt; More lost than - - - found; I let myself - - - down.” Extended instrumental segments showcase cohesive skill among the traditional two guitar, bass and drums lineup. While the big hook “We lose all hope when gravity comes down” is what you’ll ultimately sing along with, the actual caution comes the title line included “Don’t step off the stone path, where heartache is found.”
The EP’s closing song (and single) “Tainted” begins with solo voice backed by simple guitar strums on the opening lines. Bass and drums slide in for the second round through, before full sheering buzz guitars soar in for emotional punch. The sparse instrumental and introspective vocal cycle returns, before lyrics “I’m going down the drain with you” trigger another gazey guitar burst. Despite the self-effacing song title, there’s hope in essential lines “Heaven’s a leap – Heaven’s a dream.” The songs final minute serves up an uplifting instrumental passage as a fitting end for this impressive release.
Listen to this high quality EP and find out how to acquire it here:
Follow the exploits of Hushhh via their Social Media on Instagram - Facebook - and through their Linktree.
Never one to let too much time pass between releases, Patetico Recordings label boss Tom Lugo is back with a new track “Loyalty & Blame” via his Heliocentric Overdrive project. A truly collaborative endeavor, Tom’s guitar and vocals are joined by Ian Falcon on bass and Lem Pidlaoan on drums. Recorded at his Studio in Havertown, PA, Tom produced, mixed, and mastered everything at
Laboratorio Soniko Studio in Middletown, PA. DCW now commences with a careful listen and serves up inspired thoughts on this tracks essential contributions.
Rising up out of a shimmering ambient wash, drums and bass soon lead in a majestic chord progression. Moving at a slower, more deliberate pace, the overall vibe would not be out of place on one of The Cure’s more cinematic albums (like “Disintegration”). Tom’s obscured, buried-in-the-mix vocals however, moves everything closer to My Bloody Valentine’s genre. One minute in and the first lift off is achieved via powerful layers of guitars, quicker change chords and slithering bass. Continuing the emotional rise, a plateau is reached where the instruments suddenly stop and only ambiance remains momentarily. Soon drums and bass lead it back to the songs fuller structure, with verse and chorus sections revisited with even more purpose. A powerful musical segment follows with bass guitar and drums providing sharp accents within the sonic swirl. One more fade (as if ending) before everything kicks in once again for a triumphant final minute coda.
Check out this grandiose track here:
Follow Heliocentric Overdrive and Patetico Recordings via their Social Media.
It was a mere four months ago when Sueño con Belugas band leader and 3 Robots Records indie label boss Héctor Caolo Alvarez introduced the first two tracks from latest record “Ataque con rayos electrónicos” (“Attack with electronic rays”). At that time those two songs “Velocidad” and "Mil Recuerdos" were given a focused DCW review. Now the dreamers of white whales are back with more cuts from this evolving recording. Once more into the fray, a deep listen sparks descriptive thoughts on what is being heard.
New entry “Love Evolves” opens the record with drone and melodic guitar figures overlaid on top. A driving bass emerges underneath, creating a counter-rhythm to the continuing guitar notes, before the full band joins in on this primary progression. Rising keyboard notes and wah-wah guitar enters the mix before powerful vocals commence from María (Malow) López. Two minutes in and a sharp turnaround finds the tempo shifting quicker as Hector joins in on vocals for tandem harmonies. A minute later, another tight turn accent bridge ushers in one more passionate Malow vocal segment. Precise instrumental breaks create momentary space before launching into a two minute vocal chorus and bold driving conclusion.
Another new entry “Flying high” is an easy flow groove instrumental that builds intensity via traditional guitar, bass and drums. Subtle layers are added on with each pass through the progression, and the overall feel is sunny and optimistic. Along with Hector’s obvious guitar work throughout, special mention goes to Gardy Pérez for his additional contributions on guitars and delays. Third new track (and fifth overall) “Portal” is a heavenly ambient piece that is solely built around atmospherics. In true Brian Eno fashion, the overall form is merely suggested, while still containing dense layers of sound. The album that comes closest to mind as a point of reference in the brilliant 1983 release “Apollo: Atmospheres and Soundtracks.”
Check out all of these song currently available on this album here (including how to acquire it)
At the top of this year, experimental ambient artist Andres Alfonso Lugo returned to this site for a deep dive review of his Los Dientes Hundidos en la Garganta project. Those eight total compositions dubbed “DRONINGUITARFEEDBACKS” was fully covered here track-by-track. The musician is now back with a new lengthy piece “Posthuman Multiverse.” Although a fully instrumental work, the title suggests ruminations on theoretical and philosophical perspectives. With ears “wide open,” DCW digs in to the nuances of this sprawling ten minute audio formation.
A swirling hiss introduces the composition, as if rising out of an alternate dimension. Additional textures flutter in (and then out) of focus adding elements of movement within this overall shapeless form. With everything created out of (only) guitars, bass and loops, the sensation is not unlike Lou Reed’s controversial “Metal Machine Music,” although no where near as harsh. A minute in and the ambient wash pulls back, allowing a more structured, calming guitar figure as primary focus. The sensation now is calming, as if meditative. One could imagine floating slowly on a river, staring at clouds and losing all sense of time.
Andrés provides liner notes that speak of an “existence and identity” that is “no longer confined to a single reality.” These audio waves of sonic serenity here provide an expressive soundtrack to this conceptual theory. After five minutes in, lower tones begin to emerge underneath, adding harmonic structure to the floating sensation on top. As subtle elements gently cascade into focus, the vibe is very much Eno, Budd and Lanois (see the 1984 classic collaboration between those three “The Pearl” as reference). Approaching the final minute, a distinctive whooshing textures boldly enters the mix, joining an ever expanding guitar tones and voicing cacophony, as sound equivalent to “multiple planes of existence.”
Friends old and new plus their independent labels provide the incentive for this months extensive DaveCromwellWrites reviews. The artists covered here have provided ample amounts of inspiration, allowing sentences to flicker and discharge from a rewarding listening experience. Newer, still-emerging artists creating work that fascinates find their way into this month's feature as well. With some of the tracks out now, fuller length releases are expected within the next few weeks.
Returning to the DCW fold is an artist and musician who’s previous full-length album received a detailed review at the end of 2021. Nick Frater is now back with his twelfth studio album titled "Oh Contraire!" While possessing the talent and skill to write, perform, record, mix and produce his own work here (masterfully one would add) additional musicians for select enhancement are also included. The sheer weight and detail of all the instruments used (and played mostly by Nick) is an eye opener, yet all sounds necessary on the final output. Guest guitarists play essential leads and licks, and the array of drummers and bass players used all make indispensable contributions. With that we dive into a detailed track by track review of this new album.
The album opens with the brief minute and a half “Fanfare” showcasing a number of instruments featured throughout the entire record. Opening piano chords are quickly met with French Horn and lush strings wrapped in a melancholy forward march. Once the percussion arrives you can’t help notice a “Sgt. Peppers” influence. That segues into the album’s first full vocal track “My Heart’s In Stereo.” A chugging straightforward rocker, guitars featured prominently on this no-frills, concise (once again) under two and a half minute offering. “Call up the radio, wake up the world” is Nick’s opening salvo. Desiring a “song with the name of a girl,” it fast progresses to a background vocal enhanced change into the repeated song title line. Moving on to “calling in favors and falling in line” eventually gives way to “eyes are telescopes as we search horizon skies.” Notable sonic additions like oddball synth twiddles in places add to the overall fun.
Third entry “I Know You Know I Know” comes with an official video release that plays on vintage video game imagery. With the words “Welcome to Teletext” showing in simple pixel writing on the screen, a full-on powerpop song commences. While intro verses leading with “Love is a line,” and “Love is a time” set the stage, it’s the first change “Happenstance will find yourself a second chance” that drives home it’s rhythmic cadence. When the hook chorus with all those “I know’s” emerge, one can’t help think about songwriter Gregg Alexander’s explanation as to why he included multiples of those same words on Sophie Ellis Bextor’s smash hit “Murder On The Dance Floor.” Having been told you should never repeat words, he defiantly did the opposite (and proved them all wrong). Nick appears to be successfully taking the same tactic here. The video amusingly poses the question “more cowbell?” at the exact moment that famed percussion instrument is being employed. All good pop songs needs a smokin’ guitar solo and one emerges here at the 2:10 mark of this perfect 3 minute instant classic.
Check it out here:
A booming drum intro and descending electric guitar progression leads in next cut “Song For The One Eyed City.” Vocals commence stating “there’s no trouble” and “no bother,” that there’s “no worry” and even “no money” as key reference points. “No telling as I’ve heard it allll (in pure Beatles elongation) tonight.” The immediate change is magnificent as the lyrics “on the hill” draws the same emotional impact as The Kinks “it’s your life” segment in their classic “Tired of Waiting for You.”
There’s a near doo-wop vibe in the progression and background voices on next cut “Final Reminder.” Once again eschewing the songwriting “rule” of not repeating words, Nick doubles down with repeated “yes I know’s” and “yet again’s” for hooky rhythmic balance. A seemingly sad song about being reminded of someone you lost, is kept afloat by it’s driving melodic guitar hook. With vintage telephone sounds introducing “Seraphim Called” (seems appropriate) a classic “stroll” progression gets right underway. Those familiar 10CC/Supertramp reverberated electric piano chords serve as primary instrumental force behind Nick’s questions-to-the-universe vocals. A tasty repeating electric guitar melody riff emerges just past the midway point, adding grit to the proceedings. Running behind that is a distant “celestial” pad of seemingly “angelic ahhhs” and locked-on-rhythm drumming. One more alternately descending/rising guitar figure emerges later on within the mix as well.
“One Minute” also comes with a video treatment for this instantly appealing pop song. Opening with the image of that little girl staring into a TV screen from iconic 1982 film “Poltergeist” who famously says "They're here" (and cleverly displaying the labels logo on there). Quickly moving to another room where vintage 80’s stereo equipment and shelves of vinyl albums are showcased as the song kicks into gear. As one might expect, Nick himself (with his band) shows up on a TV playing in an elaborately wallpapered “grandma’s” living room. Professors explaining scientific equations appear, as do a group of 4 men looking into a bag with a small cute cat in it, which suddenly morphs into a giant feline killer! The song itself is a forward charging guitar chugger that ponders the passage of time as each minute goes by. The essential vocal hook goes “Godspeed my deadbeats - could it be we’re in luck again?”
Check out this fun video (and song) here:
A twangy guitar riff sets the initial tone for mid-tempo groove “Steal Away.” With a sentiment centered around making time for yourself, the lines “I know – said it all before – I think it’s time to smile” ring true. Clever wordplay on the chorus rhymes the album’s title word with common household appliance “Frigidaire.” Additional points given for the buzzing and clinking percussion instruments running throughout. “All Roads Lead To Home” is a McCartney-esque piano ballad in that “Long and Winding Road” form. 60’s style castanets add a Phil Spector vibe to the production as do steady synth/string section running throughout. The universal sentiment “I guess it’s now or never – been way too long” as always, rings true.
“Welcome to Hollywood – welcome to looking good” are the opening sugar processed vocal lines of “Dreaming Of A Wonderland.” The vocal production and lyrics themselves seem to both be celebrating the joys artificial pursuits. References to “Xanadu” and “Shangri La” drive home the quest for beautiful imaginary places. An ear-tickling tambourine-focused percussion track and well-placed guitar riffs add counterpoint to the overall vocal smoothness. The ultimate reveal is this “wonderland” is actually about becoming a big time arena rock star. Welcome to the show, indeed. If you write song titled “Goodnight, Goodbye” it only makes sense to end your album with it. One more piano ballad, this time enhanced by what sounds like real violins and such. “This lullaby will send you on your way” serves as the perfect close out to this meticulously detailed record.
Héctor Caolo Alvarez runs indie label 3 Robots Records which focuses on music delivering ambient, ethereal, dreamgaze, pop, electronic, and psychedelic styles. Many of their releases have been reviewed here on this site over the past few years. Always producing high quality material, the output delivered is never disappointing. A new release by the project Sueño con Belugas (Spanish language meaning “I dream of Belugas” - which are white whales) shows the band exploring interesting new directions. Two tracks are currently available, and will be included on an upcoming fuller release “Ataque con rayos electrónicos EP” (“Attack with electronic rays”).
First single release “Velocidad” (“Speed” in English) comes with a full video treatment, which (as often does) enhances the overall listening experience. With gently strummed guitar chords shifting from major to minor, the image of an eye (up close) is overlaid with floating effects and band members at their instruments. The lovely voice of María López (Malow) begins, singing in Spanish “Cielos yo me quedo” which translates to “Heavens, I'm staying.” Hector’s chiming guitar work fills the audio field and is impressive, since his previous work reviewed here emphasized his bass playing. The rhythm section of drums and bass guitar are fully locked in, providing accents and emphasis on the vocal story being told. All about those Cielos/Heavens, and not wanting to leave, but to stay and laugh. The vocals continue to rise with intensity and emotion as overall meaning reveals a pursuit of truth, of my and in your “Velocidad” (speed). The tracks final two minutes is an epic instrumental sequence of two synchronized guitars, powerful bass and drums (with an ambient coda for good measure).
Check out this emotionally dreamy song and video here:
A second track released from the EP is the introspective, slide guitar infused "Mil Recuerdos" (A Thousand Memories). Slowly strummed acoustics and extended note slide guitars conjures up the sensation of floating on a lazy river. Hector takes the lead vocals this time, calling out to the universe with lines “Hola como haz estado” (Hello, how have you been?) Malow returns to provide backing vocals on the essential line “Tu y yo mil recuerdos” ( You and I, a thousand memories).
Follow Sueño con Belugas and 3 Robots Records on their Social Media - Facebook - Instagram - TwitterX
A number of previous DCW features on Hector and his various collaborations can be found here, here, here, here and here.
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Good friends of this site the Kool Kat Musik label has been dedicating their energies towards spreading melodic pop music from around the world. They’ve marketed thousands of releases by bands and artists including over 160 releases under their own label imprint. The label has now announced an upcoming release, “Snowy Chloe” by the power pop band Bur. The album drops in full on February 28, with an advance listen inspiring a review taster down below.
Featured track “From The Top” kicks off with an ascending four chord progression via brightly toned electric guitar. Bass and drums join in after the initial pass through, leading into a steady revolving verse progression. Tandem voices in reedy, mid-range register evoke a power-pop urgency that is timelessly familiar. With well placed background vocal “ahhh’s” and quick-turn rhythmic accents, the spirit of MerseyBeat pioneers like The Beatles, Gerry and the Pacemakers and such can be felt throughout. Clocking in at a brisk under two and a half minutes, musical hooks are abundant. The opening rise chord sequence is mirrored via bold single note guitar riffs a minute in. The songs title eventually appears as a reference point for “where you should start.” More sinewy guitar riffs make their way into the mix, along with waves of cascading voices. The overall sensation is one of fast paced exuberance wrapped in pure pop joy.
Compelling new releases kick-off the Fall/AutumnDaveCromwellWrites music review feature. Long-time indie-legend dreampop recording artists share space here with newer experimental ambient creators, and post-gaze, power-pop psych-rockers. Deep dives are the order of the day, with an attentive ear for sonic details still the primary focus. Audio, photos and video continue to provide the inspiration for this careful analysis.
We American's who haven't been afforded the luxury of traveling abroad and traversing the globe occasionally are unsure of exactly where certain country's are. Take Estonia for example – where exactly is that? Trusty internet searches are the charm these days and one can see it is one of those former Soviet Union locales that borders the Baltic Sea and Gulf of Finland – now considered Northern Europe. The reason for this particular curiosity is a relatively new release from Estonian dream pop band Pia Fraus. Having heard about them for years, it was eye-opening to discover they've been at it (off and on) for 26 years! Their latest album 'Evening Colours' is out now on digital, with a vinyl release set for September 28th. The Cromwell focus on these artists work is long overdue.
Opening cut “French Exit” comes on with an instantly romantic feel (which will extend through all the songs). The guitar riff hook is of the descend-then-rise, start-stop variety, with drums providing a counter motion throughout. An advance promo promise of “shimmering layered male-female vocals” makes an immediate entrance, bringing to mind what Sune and Sharin did so well with The Raveonettes. Chorus hits and the dreamgaze feel goes into overdrive, with full ambient washes and melodic guitar figures.
Follow-up track “Fog on the Hills” is quicker, breezier – giving off a more gentle, wistful vibe. That is until the chorus hits and then it's full-on gazer-romance, tugging at that music-to-fall-in-love-with-someone feeling. Frequent use of minor chords shows depth and sophistication in the songwriting. The drumming is once again, fantastic – as are the synths and voices. Album title track “Evening Colours” continue the sugar-coated voices and add subtle pitch-bended guitars to compliment that Raveonettes-style twang. Soaring strings lift everything onto a cloud of angels. There are higher vocal notes hit here, and the bass guitar makes its presence felt in positive groove-oriented ways.
“Sunny Afternoon” combines slashing guitars, synth highs and sophisticated phrasing that incorporates major, minor, 7ths (4ths?) voicings in their easy breezy sentiment. For those who can imagine a joyous day of wind in your hair and warmth on your face. “Who's the Envelope-Man?” relies heavily on orchestral synth washes, as those familiar sheering tandem female vocals push everything forward. Angular pauses within the song structure creates space for cleaner guitar lines. Drums, bass and piano skillful lock to each distinct rhythmic change.
“Regret Everything” comes on quicker in pace, adding flute-y synths for instrumental expansion. Driving bass and drums propel the tandem female voices along against a bed of synth ambience. “Confidential Information” adds a level of pitch-bended “gaze” guitar to the now anticipated SwingleSingers style vocals and rapid-fire drums. Chunky, chiming guitar chords and a bit of organ emerges into the mix as well. The curiously titled “Another Artichoke” introduces a subtle new dimension by adding occasional horn sounds to the mix. Clearly discernable lyrics state “please hold my hand at least for one more year – I'm so tired and the end is near – you know you're better than nobody else . . . don't let me go that's all I ask of you.”
“Cloud Winterland” veers back into the gazey warble guitar world, with placid open spaces intermittently staged for dramatic emphasis. “We Melt” picks the pace up once again, with unexpected and refreshing sharp turns and quick breaks. The central chorus and lush and bathed in a dream-gazey wall of euphoria. “Lost in Nights” closes out the album with it's most romantic and soulful groove. Subtle pitch-bended guitars share space with more traditional strings. Those alluring female vocals strike the perfect balance between nostalgia and longing.
Much respect to guitarist Rein Fuks for writing and arranging 99% of this masterpiece.
Back in May of last year, DCW had the opportunity to dig deep into advance track “Normal” by Héctor Caolo Alvarez run project Sueño Con Belugas (I dream of belugas – whales). That ambient tour-de-force is now included along with five other cuts on the recently released EP “Memoria Cósmica.” A cast of familiar names like María Lopez (Malow) on vocals and synths, Gardy Pérez on Guitars, Loops / Delays are joined an equally impressive group of various other contributors. A full review of all six tracks follow below.
EP opener “52Hz / Agua Atómica” emerges quietly, floating on gentle guitar strumming with overlying noodling effects. A singular synth introduces the next movement about two and a half minutes in. A minute late a full drum beat kicks in, along with distant vocals over top of a ominous, crawling progression. Heavier guitars begin slashing their way momentarily into the mix, before the percussion drops out and female vocals become more prominent. The groove kicks in once more, with a throbbing bass leading the way over drum crack and layered male-female vocal tandems. Soaring vocals drive this mysterious over nine minute epic to it's conclusion.
Follow up track “Caracol” combines nature field recordings with Spanish language spoken word. Distant ambience is blended with the sounds of birds tweetering along with a rising level of otherworldly synthesis. A bass pulse emerges gently, before fading out with this relatively brief reverie. As mentioned above, third entry “Normal” receives a full detailed review HERE.
Fourth cut “Fantasma” starts quietly, with soft acoustic guitar that is soon met by additional laid back half-spoken, half-sung Spanish vocals. Ambience begin to build up underneath with loops and delays creating a magical dream world. “Gris” returns to more traditional rock stylings, with guitar, bass and drums pumping out the rhythms and progression for maximum effect. The chorus hits quickly, with elevated lead female vocals driving it all along. Male voices take their turn briefly on a line or two, before the blended voices mesh with soaring guitars on lofty passages. Extended instrumental segments emphasize the melody progression, driven by that ever present bass guitar, drums and chiming guitar hooks.
Epic final entry (the EP's longest at 9:45 in length) “Detrás del Volcán / Memoria Cósmica” builds up from a quiet hum, as female vocals slowly begin to shed light on the proceedings. Drums enter quietly, along with additional layers of vocals and shimmering guitars. The midway, separation point moves bass guitar out front in the mix, as everything transitions to an ambient world where beluga whales swim free through the cosmos. A final third movement emerges with pulsing percussion, shearing guitar textures and a clarinet move forward for the final fade out.
Listen to this dreamy recording here:
Follow the band and label releasing this record here:
Finding their way into the DCW mailbox is the Seattle based guitar-centric band Guest Directors. They've just released their first full-length album “Interference Patterns” that features nine songs drawing from the bands entire lifespan. Building up to the complete album drop, the band has given some of the tracks video treatments. Most of the audio was recorded in a beautiful old church in Anacortes, WA. Released by Topsy Records in conjunction with Snappy Little Numbers Quality Audio Recordings. Available on Bandcamp, a few choice indie stores, and streaming everywhere.
The more recent (second) video put out for deeper track “Nico” kicks off with straightforward four-on-the-floor drum thump that's soon met by chiming guitars. Chords shift quickly while a melodic guitar line rings along over top. Female vocals emerge with a doubling effect, that gives it all a timeless vibe of 60's era rock. As the video shows appealing patterns of vintage psychedelic floating projections, subtle human images are briefly embedded in as well. A gorgeous, instantly hooky chorus is then revealed, with full-band enhancement and lovely multi-tracked vocals. As the second verse moves forward, a noticeable change in the drum pattern shifts to more two-hand, tandem strokes on the toms. The bass guitar also becomes prominent, with the open spaces allowed for that instruments melodic movements. A burst of guitar soloing emerges at the mid-point, reinforcing that 60's psychedelic-rock vibe. One more softer verse cycle through with busier drums and bass, before a final glorious chorus and sparkler enhanced end-out.
Check out this great track and imagery here:
The album's opening cut “From This Distance” was first to be given a video treatment, kicking the whole record off with appropriate style. As the drummer counts everyone in, visions of lofty mountain ranges are superimposed against colorized images of the band playing their respective instruments. It's a slithery-gaze groove that employs expectedly sheering guitars and an out-front rubbery bass pattern. Opening male lead vocals are soon met with female counterpart harmonies. It's a harder, heavier version of the “gaze” genre, with down-pounding strokes via those essential rock instruments – guitars, bass and drums.
Groove into this badass video and song here:
Follow up track “Perfect Picture” quickens the pace with a more frenetic approach, and the lyrical hook line “trapped inside your head.” Stimulating forceful sonic breaks keep the listener engaged, avoiding any level of predictability. “Raise a Glass” ambles along with an easy groove vibe. Female vocals stand out front in this near-ballad offering. The minor key driven hook “but you fall apart, and the cold winds blow” and again “when the sun shines through your window” suggests any “glass raising” isn't necessarily celebratory. A heavy guitar mid-section adds crunch to the overall proceedings.
“Blackout Dream Blues” lumbers along with doom-laden underpinnings as impassioned female vocals lay out a tale where you “drown, drown, drown.” Tasty guitar figures are never far from any of this bands songs, and this one is no exception. “Skinless” emerges out of twisted guitar phrasing, one entering from the right, followed by the second on the left side of the mix. Heavy bass guitar and drums drive a thundering rhythm down the middle. Those female voices deliver the lyrics in higher register, with an elevated level of passion.
An in-depth Interview and hotly anticipated EP Review kick-off this month's DaveCromwellWrites Features. Experiencing their debut New York City arrival fueled a lively and insightful interaction. No less important are two full-length, track-by-track reviews from trusted labels and artists. With one returning and another first-time creator receiving detailed analysis on their latest recordings, the quest to make sense of it all carries on without limit.
When press releases about a new band called The Buckleys started showing up via email over the last two years, an appreciation for the music and image they were producing was instantly felt. The ear (and eye) catching track “Money” (the band's first worldwide release) was simply too good to ignore. Keeping an eye on their progress from that point on, the band is now back with a new EP “Take It As It Comes.” Hailing from the southeastern coastal town of Byron Bay, Australia, the hardworking sibling trio of Sarah, Lachlan and Molly Buckley embody a wholesome quality combined with a touch of glamour and timeless cultural appeal. Raised in a musical family, they were all taught instruments and began singing together at an early age. An enlightening introductory video “Meet The Buckleys” sheds more details on that.
Combining elements of Pop, Nashville Country-Western and Indie Rock, initial press began calling their style “Hippie Country.” With that designation referencing a new look on what came before, their sound is the epitome of modern creativity. They took an immeasurable step forward after signing to Chris Murphy's Petrol Records label in 2019. The former INXS manager encouraged them to emphasize creative freedom above everything else. Having traveled and recorded multiple times now in the Country Music hub of Nashville, the band has been allowed to further spread their creative wings under the tutelage of Grammy-winning producer/engineer Chad Carlson. With the band recently coming to New York, Nashville and LA for press stops and personal appearances, I was honored to catch up with them for a face-to-face interview.
Meeting for in-person interviews are often on-the-fly events, with locations switching inside a 24 hour window. New York City's University Place was the designated neighborhood, with final destination at Tortaria Mexican Restaurant. We were able to secure their street-side private enclosure, allowing for a completely-to-ourselves, no distraction environment.
Running first into Reybee PR rep James Boss and Lachlan Buckley outside the enclosure, Lachie (as he is sometimes called) remarked on how he liked my t-shirt, which had a skeleton skull with tophat on it. He asked if that was “skeleton Slash” but I let him know it was simply a more seasonal image. However, the guitar-centric member of the band confirmed he was very much a fan of the GNR guitarists playing. Moving inside the intimate space, both Sarah and Molly Buckley greeted us with warm smiles and overall friendly demeanor. The conversation was lively and casual, as we explored a variety of topics regarding the bands inception up through and including their current direction.
The band were featured at the end of October during the Byron Bay Film Festival where they premiered their new documentary, Take It As It Comes. Capturing their time recording current EP of the same name at East Iris Studios in Nashville, the docu is dedicated to their mentor, friend and guiding hand Chris Murphy (who sadly passed away in 2021). Some of the songs were also written in direct response to the devastating floods their home country has been facing. “Have you ever slowed down – stopped to take a beat – listened to the sound – of two hearts in harmony. Could we all take a step back – be thankful for what we have – lend a hand and stand together- through times of uncertainty” is how the opening lyrics go on the title track. The band explained how this sentiment refers to their hometown community coming together in a time of crisis.
Co-written by all 3 members along with rising Nashville star Jared Hampton of the band LANCO, Molly explained “we wrote this track at the very end, a day before we went in to record.” Noticing what sounds like a minor chord on the changeover word “uncertainty,” Lachlan confirms it and adds “it's actually a minor 7th.” Such is the subtle sophistication of their compositions. Asking who's voice is doing the “1, 2, 3 go” count-up bridge between gentle acoustic opening and the song's mostly upbeat remainder, Sarah states “that's Jared on there – we kept it from the original demo.”
More positivity is revealed with subsequent lyrics that go “I don't know where the winds blowing – I don't know where the road leads – maybe left is right and right is wrong – but maybe all we need – is to hold each other closer – is to love a little longer, and stop searching for a reason to divide and disagree.” That leads into the BIG Chorus “Take, Take Take A Look Around – the Clouds are gone, the Suns Come out. Gotta Take, Take,Take it as it comes – cause you might not get another one.”
[With vocal steps rising ] “oh, oh, oh, oh – as far as I know – nobody knows – we make it up as we go.”
[resolving the musical circle] “Gotta take it as it comes.”
Listen to this gorgeous song and view the accompanying video here:
Initial single and the EPs second track “Oops I Love You” is a bouncy pop-country gem that showcases all of the bands appealing qualities. Sarah's vocals deliver universally relatable lyrics with lines “Our love is overrated, promises break, I don't like complicated, the movies are fake yeah. Ain't it so lame how they all end the same damn way. Now I never believed.” Moving quickly to a vocal hook, Sarah and Molly harmonize “But You ooo ooo – taking me down – I don't know what to do – nowwwwww.” Leading into the most-catchy, earworm Chorus: ““Oops I love you, don't mean that I want to baby – Oops I kiss you, don't pretend you didn't want it – my mistakes are yours to take so please do .”
Second verse delves into the natural laws of attraction in this modern society, stating “So where the hell you from? And what were you thinking – walking in, messing up everything. If it's true, then why'd you do - I bet you do it on purpose. You think it's so cool. You're probably worth it.” The accompanying video features footage of them performing at East Iris Studios in Nashville, with Lachlan playing an angular, inverted guitar hook on the upper half of his double-neck guitar. The second pass through shows him playing the riff on the lower half. Asking him if the combined guitar is actually needed to cover different sounds, he confided “sure, the 12 and 6 string halves each serve their own purpose,” plus he added “it's also looks pretty cool.” A nod to Jimmy Page as visual influence in this regard was cheerfully acknowledged, though he cites Jimi Hendrix as his primary inspiration.
Watch and Listen to THIS wonderful track here:
Deeper tracks like “What Ya Gonna Do About It” opens with a forceful drumbeat, chugging bass-heavy low-end notes and higher register guitar accents (that have some kind of wiry effects on it). There's even an organ chord dropped in there for good measure. Sarah initially sings in a lower-pitched, intimate vocal reading, before changing over to a fuller, passionate voice. A rising step bridge to the chorus continues the feeling with lines ““Would you believe me if I told you that I loved you – would you try and stop me if I let you in – put your money where your mouth is – your mouth on my lips – yeah, I want your kiss.” On to it's captivating chorus: “So what'cha gonna do about it” [sung in harmony with background “oooh oooh oooh's”]. “It took you long enough so listen – I wondered when you figured it out.” Enhancing this chorus are three big descending progression guitar chords, prominently featured in the changeover to the next verse.
“Fool Me” is a country-western ballad driven along acoustic guitars and rim-clack percussion. “I wonder where you are and I know I shouldn't – everyone's asking what we're doing. I don't know what to say – how about you?” Sarah sings. “Everything moves it's own motion, watching you move has got me holding my breath – and you are too” she continues. The bridge rises with lines “This flame, it keeps burning – is burning – perfect (with the final word stretched out “perrrrrfeeeect”). Right into the smooth chorus: “Foooool me again – I want you to fool me again. Baby we are what we are – we both know what this is. I can't not let you in - So Foooool me, fool me again.” A song for those times when the fantasy and illusion of something more is good enough for now.
EP closer “Love Me Wrong” (which is currently topping the Australian Country Music charts) emphasizes an easy, breezy style, with high-end bended/reverberated guitar notes leading the way. “I've been waiting for the real thing,” Sarah emotes, “and it feels like this is it, yeah it could be” she continues. Clever twists on traditional themes, like the line “trying to fit a square into a round heart” create an endearing sentiment on loves possibilities. “You can't take it baby if you don't break it – I will give you all the space in my heart” becomes the singalong hook. With the ultimate request that you “DON'T love me wrong,” the songs title is a subtle deception. The charming addition of film clip audio adds one more appealing element to it all.
Other miscellaneous topics covered in the interview were things like current books being read. Molly confessed to presently reading Keith Richards outstanding memoir biography “Life.” That lead to lively chatter about it since I had devoured all 547 pages of it on it's initial release. Sarah mentioned to also being a fan of biographies, with “Julie Andrew, Blondie and Carole King” being the most recent coming to mind. Molly put forward that “Lachie is a surfer” as one might expect from growing up in the Bay community. “Yeah, I'm a surfer boy - a surf rat,” he chimed in. Sarah mentioned how they're “into fashion” which Molly quickly interjected “yes, we looooove fashion.” This was immediately apparent from one look at their very stylish, but not necessarily practical for walking around New York City shoes. The ladies acknowledged indulging in bit of a “Carrie Bradshaw, Sex In The City” appreciation in that regard.
It was a pleasure to interview this bright and talented band of budding superstars!
Keep up with The Buckleys on all the popular Social Media as well as Their Official Website.
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Back in May of this year, ambient dreamgaze collective Sueño con belugas were reviewed here on DCW for their introductory track “Normal” in anticipation of upcoming album “Memoria Cósmica.” With the release of that full eight song album, a chance to dig deeper into their sound is now available. While collaborative in both writing and recording, the prime motivator behind these “dreamers of whales” is Héctor Caolo Alvarez (known also as bassist and key member of Puerto Rican dreampop band Un.real).
The full album continues with that experimental concept first heard on “Normal,” which emphasizes collaboration between a number of like-minded musicians throughout Puerto Rico's independent music scene. Designing the recording to flow continuously like a single piece, each of the eight compositions come together for an uninterrupted listening experience. Opening track “52 Hz” floats along a gentle strumming of electric guitar, background drone and additional layers of brighter guitar notes.
A singular synthesizer textures takes over for it's conclusion, bridging into next cut “Agua Atómica.” At nearly seven minutes long, the albums lengthiest track evolves out of a mysterious shimmering undercurrent. A slow, chugging progression emerges after a minute in, with solid, easy-groove drumming and clarion bell guitars. Soft, sensuous female vocals commence, and the feel is like a deliberate journey desert terrains. The beat drops out momentarily, allowing the voices to elevate skyward. As the journey commences once more, full beat, background vocal layers and rough-edged guitar distortion all come together for a final push.
“Caracol” rises slowly out of natural field recordings that lead into a spoken-word segment. Deep humming tones are blended with the sound of ocean waves and loops of unknown origin, paying homage to Brian Eno's more experimental ambient pieces. That leads into previously reviewed cut “Normal,” which features bold electric guitars, throbbing bass and cymbal-wash enhanced drumming. Heavy guitar and bass interplay provide strong rock and roll hooks between female voiced Spanish language vocals. Belugas can be heard swimming in the tracks final minute. “Fantasma” changes course with it's opening strains of gentle acoustic guitar. A whispery, near childlike voice begins to sing, as a rising pitch ambience builds from underneath. A dream-like lullaby feel permeates throughout, from start to finish.
“Gris” comes on like a proper rock song, bass guitar driven with clearly defined guitar chord changes and precise drumming to match. A male-female vocal duet takes alternating verse lines, before coming together in richly textured vocal harmonies. A deep bass and drums instrumental midsection thunders along with higher-register guitar lines soaring over top. Those guitars are given an additional bass-and-drum-free segment, sounding like the kind of break The Smashing Pumpkins build into their songs. All the instruments return for the driving conclusion.
“Detrás del Volcán” changes the tempo considerably, with an introspective, soft-vocal presentation. Open note guitar chords provide initial musical accompaniment, before gazey, quick-strum washes and a steady drum beat fill-in midway through. The final (title) track “Memoria Cósmica” extends out those “interludes, field recordings and cosmic experiences” promised in the liner notes. That eventually morphs into fuller guitar washes with ticking time-clock percussion. Low-end notes seems to double-down further on what Beluga whales might sound like, if we could listen in to them out in the deep oceans of our planet.
Listen in and learn how to acquire this magical journey here:
Previous Features on this artist can be found Here and Here.
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Bookending Big Stir Records first major album release of 2022 (reviewed here way back in January) is their final release of the year, “Sounds In English” by Sweden’s Richard Öhrn. Best known as the guitarist and one of the songwriters for the indie pop band In Deed, this release serves as his solo debut. Taking the “solo” designation to it's utmost extreme, Richard wrote, arranged, recorded, played all the instruments and sang all the vocals. Coming together over a period of nearly a decade (while also working on other projects) out of a home studio in the Swedish countryside, a penchant for retro sounds spanning the '60s through '90s can be heard throughout the 12 tracks. The album title refers to what you hear when listening to songs – the sound of the words, rather than it's literal intended meaning. It also points towards the English and American bands that influenced many of the songs.
Opening track “Seal Your Move” dives right into an early 1960's pop feel, with chiming 12-string electric guitars leading the way. Sampled mellotron flutes inject a folky chamber pop quality as the track progresses. The title refers to a chess tactic where one seals their next move in an envelope, to be opened when resuming a paused game. The poetic parallel is urging someone to delay their actions until they can think it over one more time. A beautiful Simon and Garfunkel vocal-harmony inspired “5th Month Announcement” follows, with gentle finger-picked acoustic and deeper electric guitar accompaniment. The “announcement” comes as the result of discovering a pregnancy half-way through term. Shuffling percussion, bass and additional guitar licks contribute to an overall flowing river feel.
An agile toms and snare drum fill introduces the speedy power-pop gem “Time's Not Running Out,” an homage to the American Merseybeat-influenced style of the '90's. Referencing the aftermath of a breakup, “It never ends the way it started, the past is for the broken hearted” provides clever lyrical insight. Some sweet, ripping guitar solos commence midway through, enhancing the sweeping, forward driving experience. Piano and organ figure prominently on the 1-2-3 waltz time signature of “The Coolest Manners.” There's fascinating bits of Beatles-y nuggets (circa “White Album”) woven inside it's structure, and a tasty rough and tumble guitar solo throughout the final minute. “Someone To Forgive You” accentuates that early 60's Merseybeat vibe, with 12-string acoustic and organ prominent in the mix. A wordy tale of regrets and dealing with the fallout from decisions made.
An inventive hand-clap loop and gentle piano melody sets “Love and Friendship” in motion. As the positive story of reconnection unfolds, a string section plays in the space where a guitar solo might ordinarily occupy. While The Byrds “Bells of Rhymney” is evoked on the intro of “Take This Bottle,” it's their mentor Bob Dylan (and a touch of E. Costello too) serving as touchstone for the bulk of this track. The 12-string chime is apparent along with old-school acoustic piano. The chorus is perfect for a pub singalong, while vocal diction on lines like “now you're just a little bit too close” channels Dylan-esque phrasing. A circular snare-roll-to-around-the-toms drum pattern and distant reverberated clack sets up “Every Shade.” Minimal accompaniment under the vocals allows for lyrical focus on verses, and emphasis on the lush background harmony chorus. Measured slide-guitar forges an emotive element within the songs structure.
Alternating rising and descending piano chords serve as the rhythmic progression for “I Chose You.” Lyrically contending with end of a friendship (and not really knowing why), the songs title and associated words make clear who it was that initiated this relationship. There's a brass band backing to the New Orleans-meets-Country vibe of “Could Have Loved You More.” A particularly favorite line (and one that hits close to home) offers: “I don't dream – I only think while sleeping.”
Flamenco-style guitar and reverberated piano also factor into the overall experience. The piano driven “If I Could Read Your Mind” has an initial torch song feel, along with elements of Jeff Lynne/ELO emotive vocal/chord changes. Edgy guitars snake their way into the mix, adding an epic quality to the overall production. Final track “Spanish Moon” combines keyboard plucked strings with acoustic guitar and progressively ascending military-roll percussion. A fuller string sound ultimately emerges accompanied by the wistful fade-out line “someday you'll know.”
Dave Cromwell has been writing about music since the dawn of the internet age. In addition to the steady flow of features here on this site, he has been a regular contributor to The Deli Magazine (both Print and Web) since 2010. With numerous Print Issue cover features and weekly contributions on the Deli website, scores of artists have received the Cromwell point of view. Along with ongoing contributions to this site and The Deli Magazine, Dave has written for Dingus, My Social List, The Waster, Spin and Rolling Stone magazines.
