The live show coverage continues in full force here at DaveCromwellWrites. With the first half of this year favoring live performances over new recorded works, that pattern continues here once again. Returning to a venue last visited at the end of 2024, two favorite bands now appeared there for the first time. Having experienced these artists spectacular live shows multiple times at other storied locales, the opportunity now presented itself once more in a unique and well-respected arena.
It was just over a year ago when a show at the House Of Blues in Orlando, FL dubbed “The Goth Prom” was attended. Performing that night (and seeing for the first time) were two of the best Tribute bands on tour. Both Lovesong-The Cure Tribute and Strangelove-The Depeche Mode Experience put on dazzling shows of exceptional interpretation at the highest level. In the 12 months plus that followed, more Lovesong shows would be attended at a number of nearby popular Orlando-area venues. Thrilled to see that *both* bands would be performing together again on June 19th at The Plaza Live made attendance there a must.
Opening the show was the band we've become quite familiar with over the last year. Having caught multiple shows by them all over the Orlando area, Lovesong The Cure Tribute present a stunningly accurate re-creation of that English Goth bands entire catalog of music.
They kicked the night off with one of their most recognizable songs "Just Like Heaven," much to the packed crowds delight.
That was followed by the equally beloved "Inbetween Days" - the whole show was pretty much one Cure hit after another.
With the fan favorite "Pictures Of You" serving as further evidence.
Deeper tracks began to emerge, with the still wildly popular "The Walk"
The moody and mysterious "Fascination Street"
Quirky/cute pop of "Let's Go To Bed"
Trippy fever dream "A Forrest"
Heartfelt angst with "A Night Like This"
An anticipated show highlight was the visually stimulating fire-on-screen projections for "Burn." Robert Smith and peak-era drummer Boris Williams wrote and recorded the track specifically for the 1994 film "The Crow."
Another expected moment was the band playing their namesake composition "Lovesong," which comes complete with romantic video screen images of Robert Smith and his wife Mary.
That was followed by the creepy-cool spider musings of "Lullaby"
Since it was a Friday night, it could have been more appropriate to hear them play "Friday I'm In Love"
They closed out their show with The Cure's first hit and probably most know song "Boys Don't Cry."
There are a number of opportunities to catch Lovesong live in the days ahead.
Getting a second opportunity to see and hear Strangelove-The Depeche Mode Experience on this their 40 years of Black Celebration 2026 World Tour was a thrill once again. With a few back-end personnel changes this time around, there was no loss of quality in both sound and overall performance. Front men Brent and Leo still carry the show, with rock solid drummer Chris (a more live upgrade over electronic beats) and new keyboardist/harmony vocals Kaleb all contribute to a show that the one and only OG Martin Gore says is “such fine detail that's it's scary.”
The show opened with "A Question Of Time," the third single and sixth track on Black Celebration. The visuals of various clocks on the projection screen behind them set the tone for all that followed.
That was followed by "World In My Eyes," an instantly recognizable and wildly popular DM single from their seventh studio album, 1990's Violator.
"Get The Balance Right" was next, delivering a perfect rendition of this 1983 single (and first with Alan Wilder as an official member).
The sometimes maligned "People Are People" from 1984 was delivered with precision. A chart topper at the time, both Martin Gore and Dave Gahan thought the song was ultimately "too commercial" and stopped playing it live in their shows.
Less pop and more in line with darker themes saw the band perform 1985 single "Shake The Disease." Brent leading the audience with his "understand me" vocal is a particularly sublime moment.
Returning to Black Celebration, the moody lead single from that album "Stripped" was played. Sometimes confused with sexual connotations, it's more about stripping away all of your trappings.
A brilliant version of "Halo" from 1990's Violator album.
Brent really puts all his heart and emotion into the tender relationship ballad "A Question Of Lust."
Going back to the early days, 1981's "Just Can't Get Enough" was DM's only 3rd single (and first release in the US), and one of the few to be written by soon-to-be-leaving the band Vince Clarke.
Another early gem, 1983's "Everything Counts" is still so relevant with it's satirical critique of corporate greed.
Since this day was actually Brent's (a/k/a "Counterfeit Martin") Birthday, the guys from Lovesong (and his own band) came out and presented him with a birthday cake, and an audience serenade to him.
The always popular "Policy of Truth" from 1990 album Violator was another show highlight.
As was the deep groove "It's No Good" from 1997's Ultra.
It's always a celebration (black or otherwise) when the tribute band plays their namesake song, as was the case here with "Strangelove."
"Behind The Wheel" is another deep dive into the bands catalogue, from their 1987 album Music for the Masses.
Moving ahead two decades, "Suffer Well" is from their 2005 eleventh studio album Playing the Angel. It was their first single written by Dave Gahan, and first single not written by Martin Gore since the above mentioned "Just Can't Get Enough."
Dipping back into the Ultra catalog, the fourth and final single from that album "Useless" is always a crowd pleaser.
As is the bands most successful worldwide hit "Enjoy The Silence." The Violator track because their highest-charting US single, and has since amassed over a billion streams.
That is rivaled by the other huge Violator single "Personal Jesus." The first release to enter the US Top 40 since 1984's "People Are People," it was also their first gold-certified single in the US.
Closing out the show was live show crowd pleaser "Never Let Me Down Again." A fitting end to a satisfying 20 song concert, leaving everyone buzzed by the incredible audio and visual experience.
A hand signed setlist always a treasured keepsake.
Pre and Post Show chit chat were the order of the day, engaging with our favorite usher Natalie (we see her at Hard Rock Live all the time as well) and of course two of the Strangelove superstars.
Lovesong's Nick Bomleny is always great to catch-up with.
All the fun of the fair.
Recognition for the positive Florida turnout.
The tour rolls on throughout the summer.
Including a number of dates continuing "Love Is Strange" with Lovesong.
It’s been a minute since DaveCromwellWrites covered a live show (well, last November to be precise). While all too true that the recent focus has been predominantly on recorded works (not always the case as densely covered live event were a common occurrence on this site, not that long ago), this current feature celebrates a dazzling, multi-performance show. Also included are two distinct interviews (something else that was once as staple here) along with some studio recording reviews as well. It all adds up to yet-another thoughtful and detailed probe into this thing we call “rock music.”
When it was announced that Live Nation was putting on an “Eighties Goth Prom” at House Of Blues in Orlando Florida earlier this month on May 3, the opportunity to catch this event was there for the taking. Headlined by world renowned Depeche Mode tribute band Strangelove, the lineup also included The Cure tribute Lovesong, Not Nine Inch Nails tribute to NIN and The Electric Duke tribute to David Bowie. Having established a prior working relationship with the multi-skilled Julian Shah-Tayler via his solo work, the occasion to see him do his Bowie show and as an essential member of Stranglove was too good to miss. In addition to the performance, an interview was arranged with Julian and all the members of Strangelove. That full discussion follows below, along with a review of their recently released album “Rendition.”
Based out of Los Angeles, STRANGELOVE-The Depeche Mode Experience is a dazzling concert event. Bringing to life the very best DM songs, they draw from the artists 40 plus year career with accuracy and authenticity. Under the guidance of Brent Meyer (a/k/a “Counterfeit Martin”) his portrayal of DM mastermind Martin L. Gore on stage is a joy to behold. Frontman and vocalist Leo Luganskiy (a/k/a “Ultra-Dave”) is both a visual and vocal dead ringer for the charismatic Dave Gahan. Julian Shah-Tayler (a/k/a “Oscar Wilder”) is no stranger to this site, having reviewed a number of his albums here previously. James Evans (a/k/a "In The Fletch") is the bands Andy Fletcher in every similar way possible. Chris Olivas (a/k/a "Chris-tian O-gner") is the quintessential drummer every band would love to have.
The Golden Ticket
Necessary item for a smooth experience
Sitting down with the band an hour or so before they were to perform on this Saturday evening, the Q + A flowed in a professional yet-casual fun filled exchange.
DCW: Getting right to the heart of the matter, where do you see your place in this huge rock and roll music landscape?
Brent Meyer: The Question is do we have any back story beyond being a tribute band entity, because everyone views us in that light – in the context of coming to these shows. I started this project 18 years ago, and some people who’ve followed me from those early days only see me in this context are surprised to discover I do other things.
DCW: It’s the “onion” concept where there is more to an individual than just what you see on the surface.
Julian: And much more to make you cry (laughter all around).
DCW: Leo, what else do you do when not at this? Do you have a solo project?
Leo: Yes, I do my solo work and also a couple of side projects. Something I’ve been pursuing over a decade. Coming from a teenage dream to be the next alternative metal artist. Combining the elements of songwriting and being inspired by bands like Deftones, Korn and an archetypal teenage angst. Other influences are more sophisticated such as the Swedish progressive metal band Katatonia. Focusing on a heavier writing style with the music, but the vocals are very song oriented. As an artist you kind of want it all. To be equally appealing to the common show business factors, but you want it to be beautiful to anybody. It doesn’t matter if it’s techno, synthpop, rock or metal, sometimes you get lucky and discover a band that makes you overlook anything you ever thought you might like. When I was growing up I was in to more electronic music, which is completely opposite to something that is post-punk or heavy music. Then I discovered the band Placebo and it changed how I think of any of that. It was so completely out-of-the-box and it was the right time to discover it. They’re all stylistically different but there is a mood that you feel. For me, it’s the mood and the atmosphere that the band is bringing that matters more than what style it is. So when you are creating something of your own, you end up taking bits and pieces from all of that, while still trying to be tasteful if you can.
DCW: It’s been well-documented that keyboardist Alan Wilder left Depeche Mode due to the lack of credit he was given for all the work he did in the band. Would you agree with that assessment?
Brent: Absolutely. He was basically uncredited at least as co-producer on every album he was involved in. The quintessential Mode albums that defined their sound for most fans.
DCW: When I listen to his solo project Recoil, I hear so many of those distinct audio qualities.
Brent: The sound had all the Depeche Mode signatures, but it moved away from a pop sensibility, that melodic songwriting core, it was more about the atmospherics and sonic landscape. He chose to explore that, and who knows what Alan’s songwriting capabilities might have been in the band, given the chance.
DCW: James, your role as “Fletcher” in the band has playing keyboards and singing back-up vocals. Which do you feel more accomplished at.
James: I think I sing better than play keys. My vocals keep me going while I’m playing one handed Fletch lines. The ironic part was that he had more keyboards set up than any of the other guys, while playing fewer lines.
DCW: I saw Depeche Mode play Giants Stadium in New Jersey back in 1990 with the Jesus and March Chain as support. That was an incredible show, and I believe it was right when Martin started playing guitar with the band.
Brent: It was pretty much right then, that tour and the one before, the “Music For The Masses” one.
Leo: Arguably that might never have happened if “Black Celebration” and “Music For The Masses” didn’t lead up to what they did there. You can hear that stuff in songs like “Behind The Wheel.” If you reverse engineer some of their songs – their callbacks – and what they ended up doing in the future – the melody of “Pleasure Little Treasure” is basically “Personal Jesus” in a way. It’s re-conceptualized with an entirely different impact.
DCW: Do you think that’s intentional, or just a natural occurrence?
Leo: It’s both. Coming from their integrity and style and some of humor about it. Sometimes they’re really mopey and dark, and sometimes they’re really ironic. There’s beauty in that, and keeps you kind of wondering.
DCW: Have you ever met any of the DM band members?
Brent: Yes, absolutely. Martin is a big supporter.
DCW: He likes you?
Brent: He’s spoken very favorably about us in press and print. In a fairly recent press junket in New York Dave was kind of ‘taking the piss’ about how much time he spent watching our videos online.
Julian: Leo and I both worked indirectly with Ava, who is Martin’s daughter.
Brent: I have as well.
DCW: That’s cool. I caught a show by Dave Gahan’s daughter Stella Rose way downtown in NYC a year or so back.
Leo: I’ve seen some of her shows and met her briefly.
Brent: We’ve seen her in tiny clubs.
DCW: And she knows what you do?
Leo: She doesn’t exactly what I do, because it was more of an accidental meeting after one of her shows at Pianos. She’s more involved with her peers and the new generation of younger musicians that might not know about all the older stuff.
DCW: Some do, some don’t. I was always curious about what came before I was alive. There was a period of immersion into 1940’s and 50’s jazz, inspired by Kerouac’s “On The Road.”
Julian: Brent’s degree is Ethnomusicology. He’s the nerdy center of all this.
Brent: We’re both kind of the conservatory of things, with Julian and his Classical Music background.
Julian: We’ve occasionally done shows with a U2 band and they’ll bust out the Passengers song “Miss Sarajevo” and when Brent does the Pavarotti opera solo there is not a dry pair of knickers in the house! (Much laughter all around).
DCW: At one time you were training to be an opera singer?
Brent: I never had any illusion that would be something I could make a living at, but I did want to pursue the training that afforded and follow the through line in terms of symphonic composition. It benefits in terms of arrangement, even though it’s all midi and electronics, it still all directly affects this. Alan Wilder, very much a classically trained musician himself, even stuck little sampled bits into the recordings. The chords that start “Never Let Me Down Again” references Carl Orff’s “Carmina Burana.” There’s also Wagner samples, there’s Mozart Requiem, there’s all kinds of little easter eggs that he’s placed there in Depeche’s music. In fact they had a b-side of him playing Beethoven’s “Moonlight Sonata” straight up on piano, and I think that’s pretty cool.
Julian speaks to the audience
DCW: Let’s talk about your Strangelove recordings, specifically the “Rendition” album. Were you all in the same room when you recorded this?
Brent: Never! (laughter) Our original track and the Depeche songs were all done separately. The only one’s that had any of us physically together were when Julian and I did a live stream of all Martin songs and a couple of those are on the album.
Julian: “Sublime” is the song that Leo and I wrote. I had sent him a couple of tracks and he came up with something fabulous, vocally. We then threw it back and forth continuing to develop it, and then everyone put their parts on.
Chris: That track wouldn’t have sounded as good if I hadn’t gotten my drums on it the way I wanted.
Leo: That’s true. The ideas and construction were because of the combination between a very modern drum sound and a very live one. That’s why in certain moments you notice we kept the drums “naked” – a dry and clean sound.
Chris: When I got the general track, there was no vocals on it. There was maybe only the verse part, and a few other tiny parts to it. I got the vibe though, and put down a John Bohnam-esque beat. A similar feel to what I play on DM’s “Useless” and “Never Let Me Down.” There was a point where I wish I would have added a little bit more later on and do things a little bit different, but overall it worked out well. Eventually they started to cut things up and Leo added his elements of new electronics stacked on top.
Leo: Right. For instance some of Chris’ drum samples are more like a room sound, while others are from places that were bigger. You always want to go back and forth with the blending. Even back to the demos, where you like the original consistency, and combine that other sounds to make something truly unique. You don’t want it to sound like anybody else, and that’s what takes more time. When it clicks with everyone, is no longer distracting and it’s working, that’s when we say “yeah, this is us.”
Julian: I have to give a lot of credit to Darwin Meiners who mixed what we sent him, which was a lot of stuff.
Brent: A herculean task.
Julian: He did such a good job with it and made it sound like we might even be in the same room together to record it.
Brent: Which was definitely not the case. He had to craft all that together.
DCW: “Sublime” is positioned as the album’s tenth entry (with two remixes of it after that). The primary version is a guitar-centric, buzzy ambiance affair with forward drive drumming in support of Leo’s heightened vocals. The “thoughts of loving you/hating you” express universal relationship turmoil. “Let me in - I will disappear with out a trace - when i get what i want” becomes the emotional center. While “The pleasure and the pain - cuts me right out” suggests a release of personal ego, when experiencing the “sublime” of immersing yourself in the one you love. Heavy, chugging guitar leads a bold sonic conclusion that includes soaring vocals and elevated percussive elements.
DCW: Leo, do you write a lot of songs?
Leo: I think it’s safe to say “yes.” It’s an ongoing process for all of us. I can’t really call myself a “musician” (at this point) because you kind of have to be more well-known, but definitely ideas are happening all the time. Ideas, concepts, side projects – until something really clicks with a lot of people – this is when you become an artist. This is where people start putting you in a category “oh he’s a rock artist or a goth artist.” I think of those labels as something like winning an award. You can’t really give it to yourself, it has to be assigned by other people.
Digging deeper into the bands "Rendition" album reveals a treasure trove of audio delights. It opens with a wonderful re-interpretation of “Useless,” this time with emphasis on Brent’s sharp guitar figures coupled with Leo’s surprisingly fluid bass playing. The expressive lead vocals and precise harmonies from Brent and James are of course there. Julian’s keys and Chris’ drums also deliver at the exact levels the song calls for.
Ultra’s “Sister Of Night” leans on keyboards and electronic percussion to support Leo’s passionate vocals (with Brent and Julian background vox). “In Your Room” is essentially a solo track from Julian Shah-Tayler. He plays everything on it and does all the vocals. Having reviewed a number of his albums outside of this band already, the familiarity is not only in the song, but it’s overall production.
“Insight” comes from those “live lounge session” Brent referred to, and features his expressive vocals and Julian’s piano and backing vocals. The ability to bring this song to life in an intimate live setting is most impressive. Fifth entry “Mercy In You” flips the script with a solo piano and vocal performance from Leo. The “Songs of Faith and Devotion” entry becomes even more poignant in this stripped down form. “A Question Of Lust” comes by way of Julian back in his studio, building a solo version of this classic with all the tools and talents at his disposal.
Dipping back into their “live lounge sessions” Brent and Julian serve up an electric piano and synth extravaganza with the recent (2023) DM song “Soul With Me.” Brent’s powerful and expressive voice reflects the original’s beauty with resonance and reverence. Moving over to earlier era DM, 1985’s “Shake the Disease” features all the bandmembers (minus drums) with a stripped down entry. A near acapella version from all four vocalists, the minimal instrumental backing is all that seems necessary.
Final “rendition” is a solo vocal and piano entry of “I Am You” from Leo. Subtitled “Audition Version,” and given the short 1 minute in overall length, one wonders if this was an actual submission to gain entry into the band. Regardless, it’s beautifully done. The first “Sublime” remix comes by way of Julian Shah-Tayler’s recording studio laboratory. Extended in length, all the instruments from the original are stripped away and replaced by an array of synths and electronic percussion. Ambiance abounds with plenty of open spaces, allowing for Leo’s vocal track to stand out a bit more. Final entry is the second “Sublime” remix – dubbed the “Entre Nous Remix.” Stripped once again of all previous instrument, new keyboards and percussion tracks provide a bed for Leo’s lead vocals and the remainder of the bands backing voices. Both remixes are decidedly dance-floor ready.
Strangelove continues to tour throughout the summer and beyond. Check their Official Site for all the dates.
In addition to the Strangelove interview, a second one was conducted on this night with no-stranger-to-this-site solo artist Julian Shah-Tayler, shortly after his opening performance as The Electric Duke Bowie Tribute show. Numerous recorded works of his have already been reviewed here previously, and now the opportunity presented itself to interview the multi-faceted man in person.
DCW: Watching you play piano in your videos (outside of this band) you are very accomplished. Did you have classical piano training?
Julian: Yes, I was classically trained.
DCW: Yes, you also mentioned in a recent video interview that you were also on a path to be a doctor. At the same time as this, were you also getting piano lessons?
Julian: Strangely, my Grandmother was a music teacher, and she was very proud of my uncle who was a doctor. My mother is a lawyer, but she is also very musical. One year she won a Welsh music competition, and was very proud of that. So she would encourage me with music all the time. However, my family would have all liked me to be a doctor, but it just wasn’t my path.
DCW: When did you first start playing piano?
Julian: I was 5 years old. I loved playing instruments and doing musical things, but I didn’t particularly enjoy practicing.
DCW: Could you read the musical notation charts?
Julian: Yes, of course I read music.
DCW: At some point with the emergence with the 80’s synth sound and morphed over to playing these electronic keyboards?
Julian: I’m a little younger than that, so I didn’t really get into synthesizers until I joined this band here, Strangelove. Everything I did up till then was about recording studio work. Brent was previously describing how Alan Wilder would take pieces of orchestral works and include them. I did that as well, without any prior knowledge of what he was doing. I would take Beethoven or Stravinsky or Benjamin Britten and I would stretch my selections to make an orchestral sound for the stuff I did. I didn’t have any synths, only pianos so I would improvise in other ways. Like I would take the sound of a squeaking door, sample it and use that as a sort of keyboard sound.
DCW: At one time were you on a path to be a classical piano player?
Julian: I would have never been a classical concert pianist. I was, I wouldn’t say mediocre – I was good but not great. When you listen to Lang Lang you hear how spectacular and brilliant they are. I was always interested more in composing, and if you want to do that, you don’t become a classical pianist.
DCW: Early on you had the songwriter bug?
Julian: Yes. I wrote my first piano piece when I was nine years old, and my first song when I was 14. I needed to be self-expressive, that was very important to me.
DCW: When did you first make the move to the United States?
Julian: I came over with a band named Whitey, who I co-wrote a lot of stuff with. We had songs in “The Sopranos,” “Breaking Bad” and we did very well. We went on a tour with Peaches that was really good. So, that’s how I ended up in the USA.
DCW: You originally grew up in Leeds, UK?
Julian: I was born in Leeds, but didn’t grow up there. I went to boarding school in Durham, which was the basis for Hogwarts in the Harry Potter world. I then went to University in York and later moved to London when I was old enough to do the whole thing with music.
DCW: You’ve been a solo artist from your earliest days, but you also do these other projects.
Julian: I like collaborating with people, and especially with very talented writers. If something like Whitey comes along, it helps me learn. The same thing with Leo here in this band. Another I’ve worked with is Tiki Lewis who has really spectacular stuff. If I find people I like working with, that is a welcome diversion. However, it will never be my focus beyond what I do – it will be just another thing.
DCW: It sounds to me like you’ve gotten a number of songs in films, television shows and/or video games. Is that something you put out there to be found, or do you have people contacting you for specific projects?
Julian: Both – all of those things. Currently I’m working on a tv script based around my music. It’s my story, and is a written 13 episode arc. The pilot is fully written, and the next 12 episodes have synopses.
DCW: Do you have the people in place – the contacts, to bring this to life?
Julian: I had all that before the global shutdown of 2020. A couple of production companies were interested in making it. I currently have one production company who is now interested and I’m collaborating with over the next couple of months to bring it to fruition. We will make it happen because I’m fairly confident the person I’m working with has the means to do it.
It was truly a pleasure to finally meet Julian in person, as well as all the other wonderful musicians working on this night.
Also performing on this night was an amazingly accurate The Cure Tribute show by the mesmerizing band Lovesong.
This show was the closest thing to attending a Cure live show, without it being the actual band! Frontman Rusty has got his Robert Smith down in not only sound, but all the physical movements diehard Cure fans have come to know over decades. In fact, the whole band is a precise, well-honed machine that reproduced every song brilliantly.
Even before details were hashed out with contacts in Depeche Mode Tribute Strangelove, a spot at this event was secured via Lovesong’s “win a ticket to the show” contest running on social media leading up to the event.
- - -
Even though ultimately not needed, the gesture was most certainly appreciated (and told them so in a brief chat after the show).
The unanimous consent among anyone who has experienced their show is they are the premier Cure live show out there (other than the actual Robert Smith and company).
Listen to this clip of "Just Like Heaven"
Who doesn't love the achingly beautiful "Pictures Of You"
Or the sheer uplifting joy of "Inbetween Days"
Perhaps it's time to go for "The Walk"
Or get lost in "A Forest"
Nothing captures the balance of doomy wonder than the instrumental passages of "Fascination Street"
I'm glad I got to see "The Cure" this year!
Lovesong continues their tour throughout the upcoming days as well.
New independent music labels and old friends provide the catalyst for this months comprehensive DaveCromwellWrites reviews. Heading down unfamiliar paths can often lead to surprisingly pleasant discoveries. At the same time, checking back in with previously covered artists whose work continues to burn at a high level confirms those original impressions. Taking all of that into consideration, we now dive in to the mid-February 2022 reviews.
Finding their way into the DaveCromwellWrites universe is Kool Kat Music label's new release “Wish I Could See” by Cheap Star. Fronted by Swiss-French musician Remi Vaissiere (who wrote, sings lead and plays guitar on all the songs) there is a distinct 'Americana/Powerpop' vibe running through it all. This is in large part due to the artists long-time relationship with seminal late 80's/early 90's Posies frontman Jon Auer. Brought in to produce and mix the record, Jon also plays a variety of guitars and keyboards on nearly all of the tracks. The Posies connection doesn't end there as respected drummer Brian Young (a member of that band during their major label years from 94-98, before moving on to The Fountains of Wayne and then The Jesus and Mary Chain) delivers outstanding percussion on every one of these new songs. The star cast doesn't end there however, with Brendan Benson (The Raconteurs), Gary Louris (The Jayhawks), Matthew Caws (Nada Surf), Roger Joseph Manning Jr. (Jellyfish) and the legendary Mitch Easter all contributing to a number of tracks. With that tantalizing introduction, what follows here is track-by-track commentary on each and every song.
There's an easy, slow shuffle groove on opening track “Lifetime,” with chiming guitar figures and prominent deep-thump drumming. Over that hypnotic pattern, Remi's sandpaper-soft vocals introduce a stream-of-conscious story recounting “looking for a sign,” being “happy as a child” alternately tempered against “love hurts” and how “you're gonna learn in your lifetime.” Precision harmonies emphasize and punctuate dramatic moments, as do additional layers of sonic enhancements that feel like strings (but could be keyboards or even extended note guitars). Follow-up cut “Flower Girl” comes on quicker right from the outset, with it's driving progression and orchestral FX'd guitars. Poetic lines surrounding the need for the songtitles subject matter, whether “in the dark” or “singing with me in the park” defines an elusive object of desire. Rhythmic changes emerge early and subsequently repeat, emphasizing a descending pattern that offsets nicely against the initial straightforward pattern. Additional lush vocal layers of “I want you” on the song's outro create one more romantic pop element.
“You Don't Want To Change” builds off a solid percussion backbeat with acoustic guitar and piano notes delicately intertwining over top. Remi's vocals come across in a more intimate manner, with less effects and a deeper level of sincerity. “Do you ever get that way?” he asks on the first change, followed by “I'm happier somehow.” The initial sentiment “I just want to take you back” ultimately morphs into a repeated “I just want to take it back.” Piano becomes more prominent as the song progresses, defining a rising melody leading out to the ultimate conclusion. Fourth track in and the album title piece, “Wish I Could See” launches off some heavily echoed tom-tom drums, twangy guitars and good-timey handclaps. “On another day, in another town” kicks off a story of searching curiosity, guiding towards a hooky chorus “I wish I could see - on the other side – I wish I could see.” While coming in at a brisk (and radio pop friendly) 2:21 in length, the artist manages to drop in an ambient instrumental breakdown before an unanticipated “will you marry me” choral vocal coda.
“Holding On” turns up the nostalgic charm with it's descending guitar pattern, syncopated snare drum beat, tambourine rattle and Roger McGuinn/ByrdsRickenbacker-style chime. “You never tried enough – you never had the force,” serves up just one lyrical snippet pointing towards somehow falling short. Dual layered lead and sugary background vocals (especially on the chorus) create an idyllic sensibility. A tasty (if ever so brief) guitar solo emerges two-thirds of the way through, providing additional weight to the pathos running through this entire composition. “Move Away” leans more on a traditional chugging rock and roll rhythm, while pitching vocals down into lower, measured pace delivery. “I – never take it easy – never throw you away – for you I try” serves up the opening lyrical foray. Heavier guitars join in with subsequent passes, as do piano notes descending with gentle counter melodies. Ghostly background vocals emerge with a melodic purpose of their own, creating an almost soulful feel to the proceedings. The final ten seconds serves up guitar feedback and scratching noises for an unexpectedly odd closing.
More than one could hope to expect is packed into the one minute and 46 second “Under The Synapse.” Another impressive, straightforward drum pattern kicks it all off, as bass-heavy guitar rumble rides roughshod over top. While references to nerve impulses and neurotransmitters may have factored into some of the lyrics (and at the very least the song's title) an audible hook of the line “that's ok with you” is clearly discernible. Ten seconds (or so) of mandolin strumming on the outro adds a nice finishing touch. Home recorded acoustic guitar and distorted Rhodes keyboards figure prominently on “In Your Head.” With a tambourine rattle keeping time on each snare shot, an inverted, angular riff serves up the tracks primary melody line. The vocals are softer and more intimate, with background harmonies used more sparingly (though just as effectively) on the end of key words (“head, heart”) and over the outro guitar solo.
“Slow Down” opens with Remi's voice and acoustic guitar only, creating a pensive ballad effect. Once the drums kick in the track immediately morphs to power-ballad, with banjo accompaniment adding a slight southern country feel as well. “I've been dreaming that you were right – about the place I call my own – the things we've never shown” is how one key harmonic passage goes. The final half-minute features a blistering guitar solo from the iconic Mitch Easter, adding one more glorious element to this emotional piece. The albums final (and longest) track “What It's Like” builds off of a staccato drum pattern, shaker percussion and snaking guitar suitable for a detective story. “You don't understand, what it's like” serves as the essential harmonized vocal hook. The final minute lays out a tasty blend of deep bass, synths and electric guitars for a fitting coda to this wonderful album.
Listen to these songs and find out how to acquire this album here:
The music of Dead Leaf Echo is no stranger to this site, having covered their recordings and many live shows for over a decade. Notwithstanding some personnel changes one could hardly be surprised at over that length of time, the current lineup has been relatively steady the last few years. Recently completing their first Latin America tour, a new six track EP is now available. “Milk.Blue.Kisses.And.Whalebone.Wishes” is the mysterious and poetic title, serving as something of a hybrid to the songtitles on it. A full track-by-track review follows below.
Opening cut “Milk.Blue.Kisses (Foil in Motion)” dives right in with swirling guitars, hard-edged bass and deep-echo stare drum shots, forging the same impeccable slow-build pageantry The Cure so masterfully generated on their “Disintegration” album. While emotive vocals commence, the undulating wash of gazey ambience continues to swell, extending across the entire sonic space. Like most gazey dreampop, lyrical content tends to serve more as another instrument, rather than traditional storytelling vehicle. However, based on the overall songtitle, there's something romantic going on here, with the audible reference to “your body” being a “perfect foil in motion.” An icy, rising texture adds further weight to the overall measured pace, leading out to its conclusion.
Follow up track “Blue.Unto.You” applies echo-fx on single struck guitar notes to emphasize an initially angular pattern, while choruses wash all around. It's ambient, mysterious and delicate all in one, with a particularly engaging bending guitar tone for good measure. Those ethereal moments are soon met with harsher percussive strikes, establishing a center-point for additional higher-pitched intonations. The singular guitar textures return, this time with a three-note descending pattern, that shifts upward on the second pass through, culminating on a resonant full guitar chord. As one might expect on a fully instrumental composition over four and a half minutes in length, increasing amounts of subtle aural elements emerge.
Bright shimmering atmospherics, jagged tom-tom rhythms and a driving bass-guitar undertow power along third entry “Kisses.Silence.” The contrast of higher register sheen against a pulsating bass and drum rhythm expand its auditory depth-of-field for maximum advantage. While some glistening notes are held for extended periods, other rising melodies emerge, while additional bass-guitar patterns snake off in other directions. A change section develops past the midway point, where electronic “voice” approximations accent rhythmic changes against cymbal-oriented percussion. With bass guitar tones emphasizing Simon Gallup-style “gothic rock,” instrumental passages are set free to float over top.
Tambourine shake, plucked bass and chorused guitars introduce center-album positioned “And.Projecting.Windows.Of.Ice.And.Misconduct.” Deep tom drumming commences on the second passage through, providing an alternate percussive rudder under distinct melodic changes. Moving away from above-reviewed tracks Cure references, the feel here is more early Cocteau Twins, and the extended vocal-less ambience of those recordings. Midway through, forceful snare drum shots and tom fills thunder across and lead into a ringing bell texture. More percussion is layered on with urgency, while a bassy counter-rhythm modulates back and forth. As things get more cymbal-heavy, it all rises to an celestial apex before a subtle tempo change advances to its conclusion.
“Whalebone” continues the frosty sonic luster, probing deeper into Robin Guthrie and Harold Budd-style atmospherics. A lovely melody emerges amid the roil as ghostly percussive clacks rise and fall inside of it. Majestic guitar chords are strummed slowly and with purpose, further advancing a haunting melody. It all adds up to an elevated sensation encompassing an opulent audio experience.
Check out these tracks, including how to obtain the entire Dead Leaf Echo catalog here:
Previous features about the band on this site can be found here - here - here - here - here and here.
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In March of 2021, Austin, Texas heavy-groove blues-rockers The Dizzy Bangers received a detailed analysis here on their current-at-the-time track and video for “Under The Sorrow.” Nearly a year later the band is back with a brand new song “Painted Bruises,” showing off an advanced level of musicianship and lyrical mastery within the heavy rock genre. Once again the DaveCromwellWrites audio annotator finds itself aimed directly at the heart of this creative release, for another worthy review.
Glistening guitar chord open the track with a gentle touch, before a busy melodic bass and cymbal accents join in. Those quieter moments are short-lived as fuller band instruments mark out a forward progression via syncopated full-trapset percussion, rumbling bass and snaking lead guitar lines. Initially hushed vocals convey lyrics depicting a manipulative seductress who can “hypnotize even the best of you.” Shifting into higher register for subsequent vocal lines suggest a level of mania encountered, and how there's “nothing you can do.” Hitting the first chorus is a powerful shot with all three musicians coming down hard on this hook that goes “no she'll never pay for anything she's done - yeah she'll get away with everything she's done.”
With additional verses unfolding, the story reveals a struggle with someone who “don't sleep for days” and is “hearing things again.” As friends implore you to “walk away man,” because you're dealing with an “evil one” who's “will be done,” the mind control takes hold “when it's all a blur.” An intense rhythmic instrumental break rolls out here at the song's midway point, with strident guitar licks alternating against drums and bass throttle. The rhythm section thunders hard as guitar leads soar over top. Classic blues-rock power trios come to mind at this point, with those guitar lines executing a fluid style, while adding a growling edge to the tone. The same qualities that legendary musicians like Leslie West and his band Mountain electrified audiences with back in the 1970's.
Reverting back to that initial soft-vocal style on the final verse lines “from a steel cage looking out, how could this ever be,” morphing once more to higher register harmonies and eventual song title line reveal. The final chorus explodes with a combined vocal passion and rhythmic intensity that brings to mind early-2000's era power-rockers Deftones (who are still going strong today). Specifically where heavy, locked-together shifting drums, bass and abrasive guitar rhythm provide accents, hooks and emotional center. Emphasizing superior chops with intelligent, thought-provoking lyrics.
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.
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