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Showing posts with label the crushing violets. Show all posts
Showing posts with label the crushing violets. Show all posts
Sunday, December 29, 2024
Best Of 2024 Year In Review: New Music and Live Show Coverage
The final month of 2024 offers an opportunity to highlight the best works presented over the whole year. For this music site, its annual “Best Of” collection celebrates the most significant artists written about since the beginning of this time period. Studio recorded music and video continued to dominate the bulk of analysis, with a significant return to detailed live show coverage included as well. Compiled here in monthly chronological order is the “2024 DaveCromwellWrites Best New Music Reviews and Live Show Coverage.”
Friday, June 28, 2024
Cerebral Inquiries Into New Full Album Releases
Full-length Album Reviews are the DaveCromwellWrites focus this go round, as the Summer has now officially begun. Extensive track-by-track analysis is delivered on new releases from artists whose earlier work have been previously featured here on this site. Glam-fronted punky pop rockers share space with a brilliant recreation/tribute to one of the original glam-rocker’s finest works. Rounding out the feature is a new full album release from creative alternative pop rockers.
It’s been far too long since DCW had the opportunity to review new music from enduring Queens, NY rockers GIFTSHOP. Fortunately that wait is over as the band has just released their latest 9 track album “A Bunch Of Singles.” Comprised of some previously released (and reviewed here) singles, five new entries complete the collection, giving us a broader spectrum of rock to dig into. Additionally, a music video accompanies the song that represents their hometown neighborhood and the people who inhabit it.
An unexpected piano-driven power ballad is the first new (to this site) song “There’s You.” With slow moving open arpeggio piano chords and rim-clack percussion, Meghan Taylor’s intimate vocals express a longing nature in lyrics shared. “Oh, so lonely - and oh, it shows - and though I'm broken -you know, no one knows.” Out of this sadness, an uplifting moment arrives with the beautifully harmonized, simple four word chorus “and then, there’s you.” Distinctive guitar figures are placed at just the right moments here, adding necessary accents. The second verse has the piano dropping out, leaving a low bass hum as an even more personal sonic field for Meghan’s heartfelt delivery. Fuller drums kick in behind the subsequent chorus, which adds a pivotal change “and then, it’s true.”
A re-visitation of early era favorite “Spooky Halloween Christmas” adds a “Too” now, while injecting Ska/Rockabilly horns into this macabre delight. Meghan’s vocals are less Debbie Harry (as on the original) and more her own, with fuller emphatic delivery. The walking bassline is still dominant, while appropriate sleigh-bells accompany monster-mash “ghoulish ride” aside voices. The accents are crisp and tight with the head-bopping, catchy chorus “It's Hallows' Eve with Christmas Trees!
Skulls are hanging from the evergreens.”
Built on a deep, chugging, stoner-rock groove, “The Breakthrough” contemplates on the things you’ve needed to do in becoming the person you now are. Giftshop never wastes anyone’s time in getting to the hook, however and it’s a singalong beauty with the lyrics “nothing can stop us now – Are you with me?” Lyrical insight and introspection point out how “glittering gold” is “too good to be true,” and “the journey of lies turned into the truth.” A mid-point breakdown shifts the rhythm while providing a bit of uplift and hope after all the “compromises.” Delivered in call-and-response fashion, “you make a living by when you get” is followed by “you make a life by what you give.” The addition of a rising slide-guitar here provides musical gravity to this ultimate realization “breakthrough.” Repeated vocal “wow” at the end drive home this necessary point.
Arriving with a cameo-filled video of local friends and followers, the already live show favorite sing-along “Astoria” delivers on it’s promise. Opening the footage with quick shots of their favorite hometown places, the bass guitar driven intro meets buzzing-bee axe for the musical throwdown. With copious amounts of live show footage from local favorite bar “Dominie’s” 2023 annual celebration event, the camera follows glamorous lead vocalist Meghan into the venue. The essential riff is sharp and precise, with drums and guitar accenting the changes. Long time fans are visible in front of the band as much of the footage is shot from behind. Quick cuts of the band members are of course necessary and included, as views from both inside and out of the space dance across the screen. Lyrically the song is as instantly classic as “New York, New York” or “I Love LA.” This time, however it is a love tome to a prominent NYC borough. “Drop me off at the Broadway stop
NO! Not in Manhattan - This is my happy place - Join the Queens bandwagon.” The brilliant simplicity of the songs single title word chorus is all you need for fist pumping fans to leap on that bandwagon in that joyous moment of camaraderie.
The band also includes a cover of the groundbreaking classic 90’s Radiohead song “Creep.” While the band charges through it’s progression with thunderous glee, Meghan let’s loose with a powerful voice that hits every note. And who hasn’t at some point in their lives related to the lyrics “what the hell am I doing here? I don't belong here." Tacked on the end is a 41 second punk rock short that joyously concludes with the chanted lines “loaded diaper.”
Earlier released singles from this album are reviewed here: “More Than That” / “Kewl With Me” and “Stylish Junkie”
Previous Reviews Featuring Giftshop can be found on this site here, here, here and here.
Follow GIFTSHOP on their Social Media: Official Website - Facebook - Instagram
Putting his immediate unique personal stamp on opening track “Future Legend,” bold synthesizers provide an ominous background for the spoken word apocalyptic vision. Julian’s proper English accent and voice is deeper than Bowie’s reedier tone, and today’s modern production qualities add a richness that the DB self-produced original couldn’t accomplish in 1974. The lyrics still strike hard as when first heard by this writer back then: “Fleas the size of rats sucked on rats the size of cats
And ten thousand peoploids split into small tribes.” A dystopian world is all that’s left, and will end “any day now."
One more spoken word phrase sets up the title track, as Julian delivers the pivotal line “This ain't Rock'n'Roll - This is – Genocide!” Having performed, produced, mixed and mastered everything by himself, Julian stays true to the originals chunky guitar riffing and cowbell percussion. Lifting his voice back up into more familiar Bowie register (the steady #bowietribute shows he does surely solidifies and hones this skill) the initially (and still) amusing lyrics “As they pulled you out of the oxygen tent - You asked for the latest party.” The younger, more reckless version of myself could almost relate to this. The next line “with your silicone hump and your ten inch stump,” however was far more of a head-scratcher. Other catch phrases like “mannequins with kill appeal” always stuck and are delivered here by Julian with aplomb. The chugging Rolling Stone-like chorus turns the mood a bit more rock and roll party, singing “come out of the garden, baby - you'll catch your death in the fog.
Young girl, they call them the Diamond Dogs.” Julian adds new touches to certain lines, like the “Halloween Jack” verse where sonic echoes enhance the lyrics “so he slides down a rope.” Special mention to the bass playing here, which playfully adds wonderful counter rhythms.
Not content to simply re-hash Bowie's most covered track, Julian turns the signature opening riff of "Rebel Rebel" on it’s head with a bass and drums intro, followed by keyboards in place of that recognizable hook. It’s as if Alan Wilder-era Depeche Mode is responsible for this delightful 80-90’s (decades after the original) recreation. Not to sit on one musical statement too long, buzzy guitar does make it’s appearance in that riff spot on the second pass through. The pure joy of these rock and roll lyrics still remain with us all, so many years later. “You like me, and I like it all - We like dancing and we look divine - You love bands when they're playing hard - You want more and you want it fast.” Additional musical interludes like the extended “bongo” production on the “Don’t ya?” segment is curiously inventive.
Julian returns to his dead-on Bowie croon for the Geoff MacCormack co-written power ballad “Rock and Roll With Me.” Noteworthy as being Bowie's first co-writing credit on one of his own albums, the song made the album having been salvaged from a planned but never-completed “Ziggy Stardust musical.” Julian gives it a proper rock and roll treatment, building it around guitars, bass and drums. Memorable lyrics from those formative and impressionable days like “lizards lay crying in the heat” and “I would take a foxy kind of stand - While tens of thousands found me in demand” are still a delight from this 50 years after perspective.
Electric piano serves as the primary musical force behind the William Burroughs/George Orwell inspired “We Are The Dead.” Believed to have been lyrically constructed via Burroughs's famous "cut-up" technique, Julian puts his all in the vocals during big production sections. Still enamored by the line “but I love you in your fuck-me pumps” (stylish teenage lust is hard to shake, even at this advanced age) it’s still a grim resolution “Because of all we've seen, because of all we've said -
We are the dead.”
There’s a subtle trap-hop element to the percussion on Julian’s adaptation of the Orwell inspired “1984.” While acoustic tone guitars initially move around the edges, an unexpected fiddle-sound saws away through center. Funk-guitar is introduced on the second verse as the narrator once again ultimately warns “Beware the savage jaw – of 1984.” Chunkier power chords move in to augment the “come see, come see, remember me?” change section. Things move deeper into a soul direction for the third “I’m looking for a vehicle” section, especially via bass guitar propulsion and funk strummed chords.
The final entry “Big Brother/Chant of The Ever Circling Skeletal Family” finds Julian keeping true-to-the-original reading of the initial rock portion. Tandem bass and drum propulsion with slithering buzz guitar notes around those memorable lyrics. Referencing “dust and roses,” the fey aside “or should we powder our noses?” ultimately give way to “give me steel, give me steel, give me pulses unreal.” The hook always delivers “Someone to claim us, someone to follow - Someone to shame us, some brave Apollo - Someone to fool us, someone like you - We want you Big Brother.” The songs original concept was meant for an adaptation of Orwell’s totalitarian future society 1984. When that project could not be made, at least we got this song here. Julian captures those delightful mid-track melody lines via unique synth tones. Similarly, the reinterpretation of the final chant (which is meant to echo Winston’s “two minutes of hate” depicted in Orwell’s book) benefits from modern production qualities here, and brings the album to it’s conclusion.
Connect with Julian Shah-Tayler/The Singularity via his Social Media: Facebook - Instagram
Last summer DCW reviewed the first single and opening track “Superflower” from The Crushing Violets forthcoming full length album “Filaments of Creation.” That album is now here in it’s entirely, and naturally curiosity has been peaked about what the other tracks sound like. With Antanina (vocals) and BP Brooks (guitars, vocals) writing all the songs, Mick Hargreaves mixed, engineered, played some additional instruments and co-produced with the band. It was recorded at Lantern Sound Recording Rig, in Manorville, NY.
Taking a sequential approach through the album, first new (to this site) track “Hollywood” emerges out of a rat-a-tat drum intro. The progression moves forward at a power ballad pacing and vocals come in tandem, with BP’s male tones out front. Those vocals are further enhanced by guitar lines echoing it’s melody. Not really about California’s movie making capital, the title word’s singular reference comes in the lyrical sequence “now the house is gray - here's a ghost inside these walls today - Hollywood seems so far away.” The following cut “It’s 2am” is an acoustic guitar (only) powered folk song ruminating on introspective thoughts had in those early morning hours. Where “your ghosts will haunt you,” “can’t find what you lost,” and “can’t hide from who you are.” Even though “you got lost among the stars” it’s important to “remember who you are,” and that you belong there.
A chugging Rolling Stones style guitar progression followed by solid drums and bass kick off “Then You Shine.” It’s laid back “Exile On Main Street” vibe echoes that watershed album’s soulful voices with Antanina’s contributions on each verse title line resolution. While BP’s vocals (and all the backing vocal production overall) deliver the poetic lyrics clearly, his guitar solo near the 2 minute mark really sings. Bigger rock production and well placed minor/seventh chords in the songs progression enhance the Antanina voiced “When We Dream.” It all comes together gloriously on the lyrical hook “We’re going where the summer’s waiting - I’m dreaming of enchanted places - We’ll be” and the powerful guitar-bass-drums instrumental section that follows. A return to introspection runs through the acoustic guitar only, predominant BP vocal on “Anyway.” Antanina adds tender harmonies to lyrical content that emphasizes “darkest dream,” “the end of time” and how ultimately “the world is a stage.”
A curious backward motion guitar effect introduces the full bass and drums accompanied, BP lead voiced “Lost in Space.” Reaching the catchy chorus hook in under a minutes, both voices harmonize on the lovely sentiment “if you just hold my hand, we could walk in the sand - Lost in Space.” A wonderfully tasty Dickey Betts style guitar solo graces the song’s midpoint, adding musical sensitivity, sweetness and light. A surprising tempo change commences at the two and a half minute mark, lifting the overall progression to a higher level. Album closer “Back to Neptune” has Antanina weaving a tale of “two lover churning deep beneath the waves” on that giant blue planet. An interesting mix of mellotron-style flutes serve up an instrumental interlude between vivid imagery of “flashing cosmic rays” with “200 billion stars to light the way.”
A full review of the albums opening track and first single “Superflower” can be found here.
Check out this wonderful video here:
Check out the full album on their Bandcamp (including how to acquire it).
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Julian Shah-Tayler is one of those multi-disciplinary musicians who appear to be always busy. In addition to writing, recording and touring his own music as The Singularity, he still finds the time to play live shows as a key member of very popular Depeche Mode tribute band Strangelove. Not content with all of that, he also does an impressive David Bowie show, encompassing the thin white duke’s beloved catalog. In that regard he has released a “50th Anniversary of Diamond Dogs full cover album.” DCW digs down now into this ambitious project, listening for a new interpretation of a treasured classic.
Julian drops his voice down into a lower register for the introductory sequence on the piano-driven 8 minute opus “Sweet Thing.” That quickly shifts to the more Bowie-esque tenor on the line “and isn't it me, putting pain in a stranger?” before going full also on "Boys, Boys, its a sweet thing.” This vocal flex shows Julian’s ability to reinterpret the original croon while simultaneously putting his own stamp on it. Thematically depicting sex-for-sale as transactional commodity, it gets woven into “hope” being a “cheap thing.” Wonderful buzzy guitar lines ride over top of the primary piano chords, leading into the “Candidate” midsection. Notable high harmonies grace the lines “some make you sing and some make you scream - one makes you wish that you'd never been seen” while making pop culture references to Charlie Manson and Cassius Clay. Rattle tambourine quickens the pace behind desperation lines “Anyone out there? Any time?" and “When it's good, it's really good, and when it's bad I go to pieces." The resigned nihilistic partners agree to “buy some drugs and watch a band - then jump in the river holding hands.” Julian masterfully handles the “Reprise” section, going full falsetto on final powerful lines “then let it be, it's all I ever wanted. It's a street with a deal, and a taste. It's got claws, it's got me, it's got youuuuu.”
Check out this amazing album in full here:
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Dig in to the whole album, including how to acquire it here:
Follow The Crushing Violets on their Social Media - Official Website - Facebook - Instagram – Bandcamp
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Tuesday, July 25, 2023
Individualized Review Appreciation for Recent Single and Video Releases
The summer season is in full bloom with block parties, beach adventures and live show shenanigans. Gatherings with old friends inevitably lead to new contacts, which more often than not present fresh music review opportunities. Four separate recording artists become the recipients of these recent connections, motivated by an attentive listening (and viewing) of their current output.
Meeting creative new bands in personal, casual settings through mutual friends has become a preferred method of discovery. Spotting Singer, Songwriter and Record Producer Vanessa Silberman at a number of recent live events presented by like-minded artists led to some lively chats. Further investigations has now provided ample opportunity for discovery of her duo project LOVECOLOR. Collaborating with Musician, Drummer (and Actor) Ryan Carnes, the two member band strike the same kind of attractive visual imagery of acts like The Kills, The White Stripes and The Raveonettes.
The band themselves namecheck Sinead O’Connor, The 1975, Chvrches, Lana Del Ray, St. Vincent and M83 as guideposts. Having toured considerably over the last few years, Vanessa is also an accomplished studio engineer, producer, shredding guitarist and runs her own record label Diamond Heart Productions. Ryan is a well-known actor who also seeks an outlet for his musical passion. Playing drums live with this band allows for a different kind of artistic expression. LOVECOLOR has two singles out so far, written and produced by Vanessa, with capable assistance by Ryan. A detailed exploration of these two tracks now follow.
Vanessa's vocals are powerful and yet ethereal in that Liz Fraser Cocteau Twins way. There are multiple overlays of distant backing voices to go along with a steady percussive thump. At 2:45 in, everything drops back leaving open space for a single keyboard line. That sets the table for backward run voices, creating a pleasant yet slightly unsettling textural mix. Like all great pop songs it closes out with a big, grand finale chorus (with the word “love” frequently pronounced as “lo-E-ove”). Crunchy guitar chords emerge at the very end for good measure. The band has been quoted as stating this track is meant to be “sultry,” while being about “a relational dynamic and see someone truly and purely for who they are rather than what we’re projecting onto them via our past experiences.”
In the meantime, we DO have a video for the bands previously released single “Dangerous.” Opening to the sound of a telephone ringing, the track bubbles to life as the image of a glittery, glamorous, neon-lit Vanessa descends the staircase to a club. “Taste the scene, make me weak – Dangerous,” she coos into a microphone as images of Ryan behind a clear drum-kit bathed in blue lighting emerges. Starkly lite in neon shades of purple and blue, Vanessa's face is enhanced by reflective jewels. We then see Ryan walking down the club's staircase like a secret agent in long leather coat. The bridge is again reached in under a minute with close-ups of Vanessa singing against keyboard rhythms and finger-snap percussion. Reaching the chorus, visual clues continue to emerge, specifically in the form of an origami crane which symbolizes hope, healing and wishes to come true. Ryan's video character is given this symbol in a drink glass from the bartender.
The musical rhythms are pulsating, with deep bassy synths driving a rough edge underneath. Vanessa exudes a sultry presence at the microphone, calling out to “set me on fire” and “you're all I desire” inbetween the singular repeated songtitle. With a minute to go we're treated to a brilliant blusey guitar solo that adds a perfect rock and roll element to it all. Deep saxophone style horns enter the mix as Ryan continues to ponder the origami symbol in his hand. The video ends with him dropping the crane down as audio pivots to the opening phone line, seemingly now gone unanswered. The band has explained how this song and video “is about a few things.” Like “being so drawn to someone that it's almost dangerous” - and how you should strive to “ being free and open with your sensuality.” About “being fully aware, alive and sharp in the world” where one can “fully embrace their whole true selves.”
It's been a year since the ambient duo Cielo Oceano has provided this site with new material to dig in to. The Philadelphia and Baltimore based collective are now back with a brand new track “Cycle Eternal.” Released on Andres Alfonso Lugo's Jak Jonson Tapes label, the collaborative artists recorded this new composition at Laboratorio Soniko Studio Middletown, PA and Where Are We Going Studio Lab in Baltimore, MD. This synergistic process features Andres on guitars, and Tom Lugo on bass, guitars, synth, voice as well as composing the lyrics.
Deep synth pads and a tinkling sequential keyboard pattern over it are the initial sonics opening this track. Bold wind rushes quickly emerge and usher in layers of ambient guitars along with a timekeeping percussive drum beat. Busy bass guitar patterns join in, adding a melodic force to it all. Tom's vocals begin “I want to break free – get rid of the chains – I may have forgotten, how to play the game.” Synth backing is kept static at this point, with the snare drum shot standing out in the forefront. At this point the “gaze” takes over and a wall of ambient guitars create a driving force behind hook-filled lyrics “there is no beginning, there is no end - into to heavens, we will ascend.”
Soaring guitar notes are laid out in a slow and deliberate manner, while gentle chiming keyboards , hustling bass and strong percussion carry on underneath. The sonic field goes quieter once more as Tom delivers a second verse “lose yourself again, a small price to pay - with your eyes wide open, the illusions all fade.” Those lofty, climbing guitars return once more as the final chorus goes further into an ethereal realm, where bass and percussion become alternately buried in the mix. As those chorus lyrics are repeated over in a mantra-like manner, all the instruments come together for a lift-off into the sky.
Back in February of 2021, this site did a deep dive track-by-track review of The Crushing Violets album “A Dream Without Color.” That enjoyable experience is now revived with the news of a brand new single from the band “Superflower.” Conceived by songwriters Antanina (vocals) and BP Brooks (guitars, vocals), the track was recorded at Lantern Sound Recording Rig, Manorville, NY. Engineered and Mixed by Mick Hargreaves (who also played bass on it), co-production is shared between the band and Mick. The big surprise is getting legendary drummer (and local Long Islander) Corky Laing to feature his noteworthy skills on it. Nothing less than a thorough investigation is required.
The band wastes no time getting their special guest star involved with the tracks opening sounds involving tom-tom strokes. The guitars chime in and the percussion shifts to high-hat and snare-drum rim clack. It's an easy chord progression groove that sets the pace before Antanina comes in with her vocals. “Superflower magic finds the sun” she sings, with vibrato emphasis on the end word (“suuu-uuuun.”) The hint of rasp and Patti Smith-stylings in vocal tone provide central focus as this lyrical story unfolds. Visions of “oceans,” “timeless waves,” “the dawn” and “emotions” that show how “we are one” emphasize a metaphysical theme. With Corky high in the mix and delivering an emphatic lead-in, a big vocal passage of continuous “ahhhhh's” in rising progression elevates things further.
A second verse continues the odyssey as “constellations” and an “endless mental journey” can't help you “find salvation,” because “nothing in the world can turn back time.” A crisp snare-drum roll leads into the lyrical existential nature of the superflower's “magic” that “blooms” from a “garden of dreams where we sleep.” Mr. Laing's sensitivity and professional approach to this section is quite noticeable, with focused emphasis on high-hat work, leading the track out to it's coda. This is where guitarist BP Brooks is given room to shine with his tasteful, dominating blues licks.
With the video having been shot in the rural settings of Lake Placid, NY, Tarra's mostly-white rock and roll outfit (complete with guitar) and single amp in the road stand out in stark contrast. The sound of crickets chirping are the first thing heard, before the clatter of sawing guitar chords commence. A variety of characters slowly emerge, such as mysterious individuals in hazmat suits – before the protagonist suddenly runs off to a cabin. There we encounter a “double” figure (also played by Tarra) in black, singing the lyrics. Meanwhile white-suited Tarra is quick-cut in to help the vocals along. Not content with just two looks – a third emerges in the form of a yellow rain slicker complete with mosquito-net covered hat and fishing pole. The instrumentation relies on a heavy fuzz-bass (played by main squeeze VramShabouh) and psychotic synthesizers. An individual dressed as a wine box adds one more level of absurdity, before the hazmat clad crew scoop up yellow-slicker attired Tarra and haul her off. The closing line “what is going on!?” perfectly sums up the farcical nature of this production.
Follow Tea Eater via their Official Website / Facebook / Instagram / Twitter / Bandcamp / YouTube
The current single “Pure Love” emerges out of a deep buzzing synth texture before kicking in fully with driving melody and percussive beat. Vanessa's vocals are ambient, reverberated and floating on the initial verse. Intentionally structured to pop criteria, a bridge is reached under the first minute with descending melody and echo keyboard line. That leads to the payoff hook chorus that lavishly states “Oh-wah-oh – can you feel it – can you see it – can you taste my pure love,” and “can you touch my pure love.” Returning to that 80's darkwave synth rise from the intro (bringing to mind classic albums like Human League “Dare” and their more ominous tracks like “I Am The Law”).
Check out this brilliant track HERE
A music video for this song is promised to be coming soon.
Check out this awesome track and video here:
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Listen to this incredible track here:
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Check out this soulful track (including how to acquire it here:
Follow The Crushing Violets on their Social Media - Official Website - Facebook - Instagram - Bandcamp
A previous feature of The Crushing Violets on this site can be found Here.
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Having written about the boundlessly energetic Tarra Thiessen's previous musical projects over the last few years, it only makes sense now to delve into her latest incarnation – Tea Eater. The debut single “Double” was recently released and is available everywhere via @adiamondheartproduction / Amethyst Trax (@symphonicdistro) in collaboration with @lafamrecordings & @jasnoswarez. With Tarra writing, singing, playing guitars, keyboards and even some percussion, the previously reviewed above Vanessa Silberman added her engineering and production skills to the vocals. This release also comes with a complimentary video directed by @tinehill that emphasizes amusing madcap imagery.
See for yourself:
The full album 'Obsession' is scheduled for an October 6 release via A Diamond Heart Production/Amethyst Trax and La Fam Recordings.
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Thursday, February 18, 2021
Advanced Study on New Audio And Video Releases
As we continue on into the early parts of a new year fraught with uncertainty, questionable information sources and increasing attempts at deception – four must review features bloom here in the ever-expanding DaveCromwellWrites universe. The act of writing is a solitary pursuit that requires inspiration to make it work. The artists covered here have provided ample amounts of that, allowing sentences to spark and flow from a rewarding listening experience. With that, we dive in to the mid-February 2021 DCW reviews.
Pulling together a collection of songs written and recorded over the past two years, Indiepop veteran Tom Lugo has now released his latest Panophonic album “AWAKENING.” The Philadelphia based musician has been running his own independent Patetico Recordings label for a number of years now, putting out a steady flow of albums, EP's and singles with a variety of bands and collaborations.
Under his Panophonic brand, Tom works as a solo artist (with only one single collab on the final track), writing everything, playing all guitars, bass, drum programming along with producing, mixing and mastering the tracks. Quite an impressive feat, even in these more accessible home-recording times. Opening track “Shine” comes out blazing, with razor-sharp slashing guitars, counterpoint bass melody and synthetic hissing high-hat percussion. Vocals are pitched low, reverberated and delivered in that William Reid style heard on early Jesus and Mary Chain recordings. After 45 seconds the chorus erupts with additional guitars layering over a sea of vocals creating the blissful sensation more aligned with the band Ride.
Ethereal dreamgaze guitars leads the way into the mechanized beats and floating melody-line of “Formless.” A strong bass guitar progression provides more solid footing for the MBV-inspired vocals and overall feel of this composition. “Never gonna let this go,” combines spacious atmospherics, buzzy, syncopated paired bass and guitar melodies with rat-a-tat percussion. A pervasive sense of melancholy is felt throughout the verses, bringing to mind Neil Halstead's classic Souvlaki-era work with Slowdive. “Radiate” continues with the overall dreampop feel, bringing together swirling, phased guitars and easy groove trip-trap percussion. Vocals are purposely less-defined, buried behind the sheen of effects and layering.
A wall of distortion envelopes the opening chords of 7th track “Solitude.” Clean, straightforward bass guitar and drums soon emerge, along with a distinct pop melody on guitar. The Jesus and Mary Chain influence returns as Tom once again does his very best William Reid homage on vocals. While Jim Reid has always been the better singer between those influential brothers, one can't deny a certain charm to the occasional track Willy has put his voice to. Tom has done his homework here, with most impressive results. The “last one on earth” lyrical theme touches on the sobering topic of mass annihilation.
“Resigned” momentarily dips into an ambient percussion pool, with that quickly overwhelmed by peculiar guitar figures. As the track progresses, an overall meditative feel emerges through the lyrics, vocal delivery and amorphous guitar wash. A stand-alone bass guitar figure provides the opening tones for “Nothing that we can't do.” Bright tat-tat-tat snare drumming and hissing cymbals soon join in, with FX'd open-note guitar chords filling out this progression. Measured vocals mark out the songs theme, eventually giving way to extended amped-up gazey guitars, busier drums and that ever present dominant bass line.
The album is now available on all digital platforms, including this one:
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The essentially album-title referenced opening track “Iridescence” slowly rises out of the mists with billowing delicacy. With each passing minute of this 8 minute composition (nearly all of the eight tracks are 8 minutes or longer – creating another form of symmetry) additional elements are added to the rushing waves of ambience. Flute-like melodies emerge along with quick-paced percussion rising up from underneath, only to submerge, and then repeat the cycle over. “Sea of Crises” shares a similar slow-rise-from-the-depths intro, which allows the composition to breathe at it's own pace – a luxury afforded to it's eight and a half minute length. When the bright keyboard chord make their way into the mix along with speedy, rippling percussive undercurrents, a sense of kinship can be felt with the incredible body of work Tangerine Dream alumni Ulrich Schnauss has innovated.
An even slower, more deliberate build-up is experienced on “Nirmala II.” With subtle natural-sounding components like dripping drops and twittering birds, it's not unlike early 70's prog-rock band Yes and their imaginative intro to “Close To The Edge.” While that band came in thundering after a minute with fragmented jazz-like figures, this track holds off :30 seconds (or so) longer to introduce quick-paced percussion and other mysterious tones. The effect and sensation is remarkably similar, although no actual prog-melody opus eventually reveals itself here. It's as if that three minute intro (total time) goes on here blissfully for over eight and a half minutes (and even ends in similar fashion).
The final and longest track on the album (something of an outlier as well, coming in at a scandalous over 9 minutes) “Sky Beyond Sky” materializes out of cloud swells and distant regal horns. While a casual listener might be tempted to make comparisons with the “new age” music of an artist like Vangelis, overlapping compositional layers posit it closer the slowly disintegrating variations of Brian Eno's “Discreet Music.” As for the song's theme – what exactly IS the sky *beyond* sky? Outer space? Heaven? With this album of brilliant, seamless compositions, a soundtrack is now provided to contemplate all of those heavy questions.
The album can be acquired here:
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There's a charmingly nostalgic feel to opening cut “Sugar Cookie Sunday,” with it's uncluttered intro guitar chords and simple-pulse bass-drum beat. Vocalist Antanina Brooks delivers lyrics with a diction and nuance that taps into Patti Smith's style. Harmonies emerge, with tambourine and organ filling out the quickly developing sequence. Subtle wah-wah pedal guitar adds the element of “psych” for the title-line repeated chorus on this vocal-emphasized pop song.
“Embers” comes on with a grittier feel as the chunky guitar chords weave around a busier bass-line and percussion. Antanina digs deeper into the NY poet muse with lyrics about “when the darkness haunts you,” and “shadows speak your name.” The song's progression and overall feel has an early-era David Bowie feel to it – akin to someone off of “Hunky Dory” or “Man Who Sold The World.” The track's final 30 seconds serves up it's high-point coda (title-check lyrics “embers in the flame”) and a quality guitar solo behind the vocals.
A thoughtfully measured bass-guitar figure and singular keyboard stroke produce necessary foundation for the slower-paced “Topaz.” Introspective in both chord selection and lyrics, room is carved out at points for some tasty, soulful guitar runs. Poetic references to being “lost inside a dream,” “velvet skies,” “sun on melting wings” and “pools of rain” all contribute to a sense of mystery and wonder. “Spirit Box” evolves out of a bass-drum emphasized beat where the vocal line and heavy guitar riff mirror each other in cadence and melody. Bluesy guitar figures are set loose and a chorusing effect can be detected on various vocal passages. A quieter bass guitar and drums only passage leads into chiming guitars on top until the concise track's final notes.
Guitarist BP Brooks takes a vocal turn on the arpeggio chord driven “Day After You.” Providing the lead vocals on this gentle ballad, Antanina joins in with harmonies throughout. Drums eventually make their way into the mix just past the tracks mid-point, as the two vocalists sing “yeah when I dream, you'll be there.” In contrast, “3 Days” serves up a raw, swampy blues progression, once again built around Antanina's vocal storytelling. Cinematic lyrics like “you're feeling suicidal, reaching for the gun” suggest a film noir scenario. BP's guitar is given room to shine here on the albums longest track (over 4 minutes) with some blistering blues licks. That's followed by a well-constructed descending-riff turnaround and more tasty guitar soloing.
Selecting a song to cover is often a personal one (as there is every song ever recorded out there to choose from) and this band applies their touch to The Mindbenders 1966 hit “A Groovy Kind of Love.” Updating the opening riff guitar sound from the original's clean chime to a chorused, buzzier haze, the tempo is also slightly reduced. Reaching the classical music hook “when you're close to me, I can feel your heartbeat” additional guitars and harmonies add a richness that the original only hinted at with it's simpler, studio-hired generic female backing vocals. Guitar riffs also replace the echoed “groovy kind of love” background voices (a considerable improvement to that 60's era cheese). The central guitar solo is also much improved here with slide and wah-wah work tapping into all the greats who ply those six string tools. Fun Fact: The melody to this song is from the Rondo from Muzio Clementi's Sonatina, Opus 36, No. 5. Even though Toni Wine and Carole Bayer Sager claim full songwriting credits, they mainly wrote the lyrics and just slightly modified Clementi's music.
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