Extensive deep-dive analysis is always the primary focus here at DaveCromwellWrites, and this month of March review continues that practice. Storied legends returns with their much-anticipated brand new studio album, delighting fans old and new along the way. Additionally, a frequently reviewed, trusted music label presents yet-another dazzling new find. Rounding things out is a side project from more recent new friends of this site, all helping to unlock the secrets of this universe.
It would be difficult to name a band more influential on the life of this site’s writer and extended family than The Jesus And Mary Chain. Their now 40 year recording career has served as the soundtrack for nearly every significant passage experienced in this matrix called life. Throughout their inception in the late 1980’s and prolific “first run” albums of the 1990’s made permanent marks on all of our most significant life events. The “second phase” JAMC revival commencing in 2007 brought numerous live show opportunities shared among those of us who understand how this all matters. Many a feature on those shows have been covered and detailed here on this site. When the band finally put out a new studio album after 18 years, it too received deep focus attention. Now the Reid Brothers are back with a brand new album “Glasgow Eyes” comprising of twelve original songs. As is only right, a close listen commences with detailed analysis of it all right here.
The album opens with electronic pulses and motorik drive that confirms early promo statements of “Suicide” and “Kraftwerk” influences on the first track “Venal Joy.” An instantly catchy hook “I’m on fire – piss on fire – don’t piss on fire,” leads into the first big power chords segment. A second female harmony voice joins Jim on subsequent lines “venal heartbeat filled with hate” touches on the bribery themed song title. Rising synth twiddles share space with the bands oh-so-recognizable lyrical style. “No I won’t give up and die” is a rallying cry for us all (especially those of their own generation).
“I’m alright – I’m OK” becomes the final message as the pace slows down to conclusion.
A tinkling keyboard nursery rhyme feel, plinking guitar strokes and vocal “ah ah ah’s” opens second cut “American Born.” The initial lyrics of doing things “with Americans” is inter-cut by chunking guitar bits and over-modulated keyboard stabs. Appearing to be a looser offspring of the more realized composition “Los Felix (Blues and Greens)” from their previous album, one would hope William is still being sincere with this homage to his on-going “new home” (that being ‘Merica), if one can still call California that. “Mediterranean X Film” continues the odd beep and boop sounds, while mixing in more prominent forward-plunking guitar. A female voice is first heard, reading off a list of items, before William himself sings the words “Churchill and De Gaulle – Berlin and the wall.” Here the instrumental backing is looser than previous rigid beats, with the drumming in particular displaying a touch of that “jazz” referenced in press releases. A minute in has the band shifting to a quicker tempo enhanced by twangy guitar. Williams continued vocal recitation echoes the playful, “less disciplined” style of his later stage demos.
Reaching the fourth (and “focus track”) “jamcod” once again draws on an electronic “Kraftwerkian” motif at the start. This time a more traditional JAMC style descending rhythm soon emerges. Jim’s vocals are front and center when he sings “the monkey’s organ grinder isn’t grinding anymore.” It’s classic Jim self-critique about having “seen this dream before” and “tears are what you want – tears are what you’ve got.” That all sets the stage for a momentary blast of HUGE powerchords and then back to that familiar downward-driving bassline. “Breaking up and then falling down and my heart beats much too slow” Jim continues, followed by the clever “notify the other brother there’s no place to go.” Another pass through the bridge and power chord (chorus), leading to a bridge of “vegetable, mineral, animal – I don’t know, what you want – what you need.” It all ends on a buzzy synth wig-out while the song tile is spelled out repeatedly.
Check the video out for it right here:
Fifth entry “Discotheques” continues the conclusion of those oddball synth space noises, sprinkled around the primary descending guitar lines. William returns with his wispy vocals “everywhere around the world, every type of boy and girl, body heat and beat and sex, welcome to the discotheque.” Additional descriptions of William’s real (or imagined?) music venue with their “decks, drinks, pills and [fr]rills” are backed by this quaint, demo-level instrumentation. Points for the plunking guitar leads woven in and through the end-out. The album’s mid-point serves up the more serious, slow grinding “Pure Poor.” William vocals once again, “I wasted my time – this planet is mine – baby I was pure,” comes the late night foggy-trip delivery. The guitars are fuller, with some distortion mixed in alongside sludge n’ chime. A bright tambourine rattle provides midrange focus for the multi-layered noodling swirling around it all.
“For millions of years – and oceans of tears – baby I was – pure,” William implores. The final poetic riddle comes in the form of going to “the store” and discovering to be “poor.”
Bigger production values are present on the deceptively titled “The Eagles and The Beatles.” Deceptive in that one of those two bands are never mentioned, yet we get a litany of other legendary faves. Most notably, the center chorus hook goes: “I’ve been Rolling with the Stones, Mick n’ Keith and Brian Jones – Bill and Charlie have gone home.” Other than the early squealing synth noises in the beginning, it’s a more tight progression based around clean piano chords. The list of influences mentioned include “Dylan, Beatles (mentioned only once), Sex Pistols, Crystals, Beach Boys, Faces, Andrew Oldham (The Stones manager). Notoriously missing are The Ramones and The Velvet Underground - though a full song “Hey Lou Reid" – yeah – spelled like their own last name – closes out the album. Solid guitar chords and quality use of “Sgt Peppers”-style horns over a tight hand-clap percussion all contribute to it’s precise pop presentation.
Photo by Mel Butler
Clean, higher-production electronica provides the musical base for the lyrically amusing “Silver Strings.” “You got nuffin’ but a deep fake lake of tears. You got one billion – shiny – fings (things) - I got six dirty silver strings.” Synths are used more traditionally as ambient string sections. Plunking guitar lines and paired bass comes properly synced to the drums. There’s also the curious secondary theme lyric “you get in the way – in the way – in the waaaaaay.” Reaching one of the album’s official single releases, the much-needed Jim vocals on “Chemical Animal” is highlight material. Everything that has ever been great about a JAMC song is rolled into this composition. Brooding, dark, tension, honesty, self-reflection and the things that troubles you inside. They lyrics are brilliant and perfectly match the musical mood. “Simplify – to get by – to nullify. There is something you should know. There is something I don’t show. I fill myself with chemicals. To hide the dark shit I don’t show.” William provides the necessary plunking tonal guitar lines between Jim’s cool, emotive vocals. “Please illuminate – please don’t hesitate. I’m not pleased to meet you. I don’t need to meet you. I don’t want to meet you. You don’t want to meet me too.”
Tenth track “Second Of June” is the more upbeat version of Jim and also a welcome treat. Clearly a love remembrance of the brothers dearly departed (and Sainted) Mother. Interesting to see this song of positivity and hope immediately following the bleakness displayed in the one just prior. Reciting their own band name, lyrics follow “there’s a storm behind my shoulder, there’s a blood moon on the rise.” Those final six words are repeated over as the overall instrumentation and vocals becomes elevated to a classic MaryChain conclusion. Reaching the penultimate album track (which also comes with an official video) is the love tome to Jim’s longtime relationship “Girl 71.” It’s a sprightly undertaking in both sonic and visual form, with Jim seated and strumming a guitar. There’s frequent Japanese writing flashed quickly as the guitar crunch powers everything along. With a “Wully Bully” style chopping organ rhythm running alongside the more dominant guitars, some have noted the progressions similarity to Judas Priest’s “Living After Midnight.” Duly noted, first impressions here thought it pointed more towards Lou Reed’s “Vicious.” Lyrically straightforward, it goes “girl, you got me – you got nuthin.’” The first run through its marvelously classic JimAMC chorus delivers the hook most needed. The video imagery often looks like multiple camera film panels next to each other. The “Girl 71” eventually shows up (it’s Jim’s actual partner) and becomes a duet of sorts. “Hey – we got sumpthin’ – I got you – we’ve got sumpthin’ – you got me – we got love.” As previously stated, the chorus is great: “And that’s gonna last a day – another day – another day. We’re gonna take the time – I cant get by without you – we got what we need. Hey – Hey – We got what we need."
Check out this upbeat track here:
Speaking of the VU icon, final cut “Hey Lou Reid” (spelling duly noted) is a bass heavy ramble from William of unintelligible garble and his trusty twisty synthesizer. That’s for the first two minutes, anyway. Clocking in at the longest song on the album, it morphs into a softer musing about “girls,” their “eyes” and “cold Alaska nights.” It plunks and twangs along for these back-end four minutes, before floating away in twinkles.
Glasgow Eyes is out now on Fuzz Club Records. Order it here.
Additional Jesus And Mary Chain features on this site can be found here:
The wonderful gazey, post-rock label Shoredive Records has an uncanny knack for finding the best music out there. Many features on this site have covered previously unheard gems introduced from their catalog. This time it’s an impressive dreamgaze unit from Florence, Italy – We Melt Chocolate - delivering the goods once again. The band's latest album "Holy Gaze" is now featured in the Shoredive catalog, bringing further attention to it.
Featured track “Holy Ramen” comes with an inventive video putting the viewer in front of a bowl of that title-referenced soupy noodle mixture. Swirling gaze sounds commence and the image switches to a table view hosting that meal. Clarion bell guitar tones begin to strike as the face-down-view of ramen bowl also swirls. Much like JAMC’s “Girl 71,” Japanese language letters float into view and a screen behind the meal table projects clouds blowing by. As the dominant progression commences, well-placed snare drum percussion and hard-edged bass guitar drives a sophisticated undercurrent along. Dreamy female vocals begin with associated pale-faced, full-lipped, doe-eyed, properly-fringed hair representation. Two women appear opposite each other at the table set, engaging in conversation. The chorus hits hard with the full emotional power the best dream-gazer bands can deliver. It’s romantic, emotional, lyrically-vague, guitar-driven and uplifting.
While guitars supply a steady flow of hooky melodies, the bass rumbles along like Simon Raymonde of The Cocteau Twins. The two women (who may be the same one in split screen, one with sunglasses the other without) continue their meal and “conversation” (singing the song). The adorning chorus comes around again, bathed in an ambient wash of epic proportions and female harmonies. Drums stay powerful and focused, like Colm Ó Cíosóig in MBV or perhaps Daniel from Ringo Deathstarr. Three minutes in, a plateau is reached where sparser guitar notes and rumbling bass mark out a holding pattern. That leads to an explosive burst of sound and quicker-cut imagery. One more glorious chorus run encapsulating everything you love about this style music. The sonic headrush-to-heaven, angel-faced (and voiced) “dream-gaze” girl, and beautiful, heart-tugging melodies. The men even make a brief appearance dining at the table, enjoying that ramen delight across from each other.
Check out this gorgeous gazer song here:
Follow We Melt Chocolate on their Social Media - Facebook - Bandcamp
Connect with Shoredive Records via their extensive LinkTree
Towards the end of 2022 this site did a detailed review of UK Power Pop Rockers It’s Karma It’s Cool’s single release at that time “A Gentle Reminder.” Lead vocalist Jim Styring is now back with a side project Solitary Bee and their debut single “Love Wakes Up.” Along with the track comes an accompanying official video. The DCW audio-videoscope digs down into this new output, in search of it’s essential atmosphere.
Melodic, finger-picked guitar notes float over syncopated drums and bass as the song commences. Jim’s vocal start soon after, stating “I caught the breeze of summer, time for our luck to change – the sunshine brought those memories, those long day feelings that remain.” The video comes in black and white imagery with gray overtones, depicting an impressionistic style of the human eye. Vocals continue “she said she’ll do much better, now that the sun’s her greatest friend – and all those colours blooming, will take her home again.” On to an uplifting chorus that goes “when the love wakes up - I’ll be right beside applauding." Now the video begins to add more images of families coming together on holidays as vocals continue “won’t ever let you go.” The images of mother and child in soft focus, holding hands and running in front of the ocean is paired with lyrics “maybe a little rain has fallen – but we needed it to grow.” String synthesizers become more prominent in the audio mix, adding tenderness to those sentiments.
Crunchy guitars begin to make their presence felt as seagulls fly over the oceans in sepia tone views. Voices continue “how green the grass plays restless, announcing winters gone – and all young couples courting, to build new lives upon and on.” Opening lyrics evolve on second pass through as “the warmest breath of summer, time for our luck to change – the sunshine brought those memories, to come flooding back again.” Once again to the lovely chorus, with it’s sophisticated bass guitar counter rhythm and lush keyboards. The video now depicts holding hands at candlelit cafe tables, mothers teaching children at the family keyboard and oscilloscope screens. Other images of vintage era outdoor gymnastics and similarly classic car rides. Lyrics continue “and petals are confetti, the ceiling’s not the sky – like a heart shot into orbit, exploding satellite. And the birds came back to visit, from a million miles away – but the weather was so perfect, they decided all to stay.” One more glorious chorus with staccato-stab guitars powering it along. A momentary pause, then back into a fully backed, gentle synth melody driven chorus. Coda lines “I caught the breeze of summer, time for our luck to change” is pleasantly followed by the softer echo “Love Wakes Up” vocal fadeout.
Check out this light hearted, inspiring video and song here:
'Love Wakes Up' is taken from the EP Bloom. Available from all good digital stores.
A long-time favorite has re-entered the DaveCromwellWrites world with a brand new full-length recording. Alongside that is a previously never-before heard artist offering up their unique take on a 90's era classic. Finally an often reviewed, most-respected label has remastered and reissued an earlier catalog EP. Every song on all of the above mentioned releases now receive the infamous DCW track-by-track review.
Press releases indicating that new music from long-admired Cloudland Canyon had been trickling in over the last few months. Having already been a devoted fan of the purposefully vague and mysterious output from this creative force since the mid-2000's, each new single release added to the excitement. Now the full-length album is here, and for this reviewer it brings back all the memories and reasons for that initial fascination. Led by former New York and now Memphis based electronic music master Kip Uhlhorn, the artist has tapped into the mutual admiration of Spaceman 3/Spectrum's Sonic Boom (Pete Kember) for production assistance. The result is a magnificent collection of otherworldly music tuned into those dreamlike states some of us experience with each night's sleep.
Opening track “Circuit City” bursts out in full motion with no buildup, careening along at a bustling pace. Familiar deeply reverberated male vocals commence over (or is that under) a repeating AI voice pattern that sounds like the word “my, my, my” in perpetuity. There's a distinct pop chord progression at play, complete with a chorus (even if the lyrics buried beyond recognition). While the title line can be made out occasionally, that's hardly the point. Many wonderful sonic elements emerged throughout this over 6 minute opus. The percussion is busy, with bongo-like textures fluttering up (and then away). A driving synth-bass takes a dominant position at the 4 minute mark, with the previously bubbling sonics fading back. That sets the stage for a “battle of robotic sounds” (of sorts) to follow.
Follow-up cut “Internet Dreams” wraps itself in a dance-floor ready krautrock beat that pulls elements from both German electronic pioneers Kraftwerk and Tangerine Dream. Vocals come delivered with primary force from a strong female voice. “Losing time – barely there. Lose myself – light as air” are her opening lines. The hook comes in the form of a “Oh, Oh-A” vocal resolution at the end of each line delivered. “If I felt your touch – I might break apart” she initially concludes. Reading the artists statement that this song deals with something “you've already lost” and “our tendency to romanticize the past,” play out with the lyrics “old dreams light up my screen.” The suggestion that these “in tattered dreams” may be more “destructive” that we initially realized are summed in the the final repeated vocal hook “since you went away.”
“Future Perfect (Bad Decision)” taps into the dreamlike state and relaxed ambient pastel groove that initially caught the attention of this reviewer on their previous releases. Even though the rhythm is clearly defined with strong percussion, there's something about those vague and heavily reverberated vocals that instantly satisfy. Perhaps it's the dream pop and “gazey” music of initial practitioners like The Jesus and Mary Chain (and later on The Raveonettes) that has forged a connection with this sound. Something about the shifting voices that are just out of reach (like in a dream) find an emotional touchstone. The melody is romantic and builds slowly, creating the sensation that some kind of angelic experience is just over the horizon.
“SEA TACT / Whispering Waves” opens with a pulsating drone that continues while aggressive drumming thunders up from underneath in the mix. A variety of sound patterns begin to appear, some melodic and others adding to the hustling chaos. The halfway point introduces an elongated background vocal counterpoint to this otherwise hyperspeed sensation. Those vocals evolve into a more semi-coherent chanting phrase that sounds like “you don't say it's alright.”
There's a distinctive (once again) Jesus and Mary Chain feel on the slow, rambling two-chord appeal of “Recursive Excursions.” Choosing an undistorted guitar tone (like much of JAMC's 2nd studio album “Darklands”) sawing easily between chords, rattling tambourine and backing synth pads join in. Vocal delivery comes on soft and casually harmonized “we're not disappointed – just look where we've been.” Continuing in the aforementioned Reid brothers style, harsher electric guitar chords commence. From this point on, the actual Velvet Underground inspired source is more clearly revealed.
Another focus track “Two Point Zero” takes the quicker paced dance-floor electronica of earlier offerings and combines that with the preceding JAMC style vocals. A deep twang tone serves as a sonic balance point within shifting cacophony. With all that intentional aural chaos, a vocal hook “I don't want anyone but you” is purely evident. Plucking synths are pared with just enough percussion to generate the necessary forward motion. A timeless 80's through 90's feel abounds throughout, as if everything Depeche Mode, Howard Jones and other synth-pop pioneers of that ilk were put in a blender and poured out into this song.
Reaching deeper tracks, “LV MCHNS” combines buzzing brass synths, mechanized rhythms and icy female vocals that taps into the realm inhabited by bands like Ladytron. “Spacebar Blues” comes off as a less calculated studio jam, based around Kip's guitar and voice working out this “blues” progression idea over a ticking drum beat. Additional sound layers added on give it a fuller off-kilter appeal. Final entry “Gimme Tension” returns with full force everything that makes Cloudland Canyon so engaging. Swirling synths – check; forward charging percussion – check; anthemic dreamgaze vocals layered and distorted beyond recognition – double-check! Like most everything on this entire album – it's music to fall in love with someone - in an alternate AI universe.
Acquire this album at their label Medical Records HERE
Every now and then you get a message from a contact on Social Media that you haven't really interacted with. Such is the case with an Italian musician who puts out recordings under the name I'm The Villain. His latest release is a personal tribute cover of the song “Nutshell” by Alice in Chains.
Starting the track off with an acoustic guitar and 808 drum machine, an introspective, homespun feeling is the initial vibe. Getting right to the vocals, you can hear passion within his lyrical delivery. He's got Layne Staley's vocal inflections down, as he retells about “misprinted lies,” “the path of time,” and how “I fight this battle all alone.” Soon a series of slinky, echoed telecaster guitar riffs enter the mix adding depth and texture overall. Reaching the second verse and the desolate lines “my gift of self is raped” adds on to the guitar layering creating a near metal-slide feel amid the echo. While the acoustic strums throughout, those wirey guitar figures weave around with determined anguish. Building to an emotional sonic peak, the percussion, guitars and synths come together in a cacophony of sound. A single high-pitched guitar figure continues to rise, leading out the the ultimate conclusion of the strumming acoustic.
A recent release from our friends over at Shoredive Records find label boss Nicolas Pierre Wardell (a/k/a Nico Beatastic) reissuing his 2015BEATASTIC EP number 2 in newly remastered form. As the record was originally the second in a series of four, it's title goes by the numerically accurate 02 2002 02020 2 (Remastered). A careful listen inspires ideas, thoughts and words below.
Epic opening track “Butterflies” clocks in a nearly 10 minutes in length. As one might expect, there's a lot going on in that timeframe. Buzzy brass synths kick it all with quick rhythm, panning back and forth the sound field. Other synths begin to wade in, creating a more drone-like effect. As Kraftwerk-ian percussion clips and hisses, a distinct bass guitar pattern emerges creating movement underneath. Gazey guitars begin strumming busily and the thump and crack of drumlike percussion enters the fray. At the 3:20 mark a momentary halt and held ambience serves to set up oncoming vocals. Delivered in elongated diction, it's more like a mantra, before something approximating a chorus emerges. That's followed by some hard-edged (and ear pleasing) bass guitar riffing. Halfway in and the drums, drone and vocals run through that melodic chorus once more. At six minutes the track breaks down to a synth only segment that reprises the songs intro. Backward looping over top always gives this reviewer a Jimi Hendrix-in-the-studio sensation (since that's where it was first heard) or perhaps even Beatles “White Album” vibe. Vocals float in and out with “ohhh ohhhh ahhhh” placement showing keen awareness of what a studio recording can accomplish. Pushing forward into the final 2 minutes, all the previous sonic elements return in full force for the grand finale.
Following cut “The Ebb And Flow” comes on with high-pitched synth pulses, before solid drumming and vocals join in with a full progression. Fast strummed “gazer” chords are positioned over top of it all, along with harmonized melodic vocals. A shearing guitar and drums instrumental breakdown adds powerful juncture to the final vocal conclusion.
“Perfect Moment Perfect” emerges out of an ambient mist, before high-hat and snare percussion enter in. Vocals come on initially softer and introspective – as single line guitar figures weave around. As the synth pads rise and fall back, percussion stands out in front of the mix – as muted voices sing about taking a “moment” and “make it perfect.” More guitar lines step forward in a dominant way, as the song moves to it's conclusion.
After an ominous deep-buzzy synth intro, “Try Harder” quickly shifts gears as it bounces along bright strumming guitar and a solid drum pattern. Vocals come on in a softer, undistorted way, providing contrast to the bold rhythmic undercurrent. A Cure-like bass guitar and drum break provides thunderous reprieve before vocals return with the song's repeated title-line. “Stop Crossing Oceans” takes that bass guitar driven, matched with higher note six string guitar pairing and rolls it out in classic (once again) The Cure-style slow-build progression. Distinct forceful drumming joins in and the lyrical story commences. The dynamic chorus leans into gazey guitars (not really Robert Smith's thing) moving everything over to a more modern dreampop vibe. The song “ends” (then it doesn't) as a two minute coda floats everything away with textured guitar finesse.
The previously unreleased “Winter Bliss” emerges out of rising muted percussion before full-blown gazey guitar shear over top. The track then alternates between quiet verse passages of intimate nature (repeating the word “birthday”) and the shearing guitar enhanced chorus that goes “embrace me with a kiss – feeling the winter bliss.” Final cut “The Ebb And Flow (Country Version)” replaces the original's “fast strummed gazer chords” with down-home pedal-steel variations. Bass guitar and drums fall into an easy slow groove as the vocals are given an appropriately fresh reading as well. Country banjo pickin' can be heard within the mix, behind fiddles and those haunting pedal-steel strains.
Listen to and find out the multiple ways to acquire this album here:
Previous recent features covering Shoredive Records on this site can be found Here and Here.
October swung heavily towards live concerts, all happening within the first two weeks of the month. Incredible shows from Mahogany, The Jesus and Mary Chain, Nine Inch Nails, A Place To Bury Strangers, The New Tarot, Apollo's Ghost and Kite Base were attended and captured inside of the first thirteen days. While newfound friendships and collaborative partnerships were formed at some, decade-long relationships provided additional spark at the larger and more grand events that attract this level of participation. A unique perspective focuses on both the dynamic audio and visual sensations experienced at these shows.
Mahogany is a band making beautiful extended musical pieces that defies any one singular category or genre. Combining the talents Andrew Prinz and Jaclyn Slimm, a dreamy (yet often beat heavy) swirl of instruments and voices propel the listener into a world of symphonic sound and graceful dance trained movements.
Playing an early evening set at Williamsburg's Brooklyn Bowl on October 7th, the unit took full advantage of it's larger room sound system and spacious stage.
Having established a new found professional alliance earlier in the evening with emerging live show photographer Toktamism.concert, a number of compelling shots from that lens (like the one above) are featured here, further enhancing this event's visual.
With close proximity to the well lit stage, numerous @davecromwell shots also served to capture much of this enticing performance.
Breaking from previous set list patterns, the band opened the night with the brand new Jaclyn penned song "A Scaffold." A brief :15 second capture of it's overall mood and feel can be heard here. Lyrical themes of "liberation," "nihilation" and "transcendence" can be found within it's sonic textures.
Photo by Toktamism.concert
Alternating between adding rich guitar textures to Andrew's full orchestra of sound, Jaclyn frequently picked up the mic to sing unencumbered while gracefully moving around.
Photo by Toktamism.concert
A lovely version of “Polyvalance” was captured and can be experienced here:
There is a delicate power in Andrew's twelve string playing on this, that at times evokes the abstract and free-flowing style of Kevin Shields less bombastic work with My Bloody Valentine.
Along with being a concert venue, Brookyn Bowl functions as an actual bowling alley, and those partaking in that activity benefit by having the band's images projected on screens in front of them.
Moving seamlessly through their set, favorites like "A Third Prism" (with the lyric "We got a message in a digital flag, In pristine code from another land") and "Commutator" (a brief IG "story" clip being captured here) warning "they will knock out your towers and plunge you into darkness" filled the cavernous room with their enchanting sound.
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Photos by Toktamism.concert
That was followed by the emotionally uplifting "In White Rooms" which perfectly captures the dual purpose essence of Mahogany's appeal. Against the doubled 12 string chiming guitar strums (that's 24 strings in total, people) Andrew sings the stick-in-your-head hook "Jackie's kisses, all my love all my love" with sincere warmth and enthusiasm. Jaclyn then sang her part in the mysterious (and adorable) French language, while adding a curtsy to her movements. Andrew's rising motion guitar work behind it all heightens this upward sensation, with Jaclyn moving back in with her own guitar techniques. Check out this all around lovely sonic and visual experience here:
"Universal Promenades" had Jaclyn putting the guitar down once more to deliver her falsetto vocals as the lead singer, while a chugging, jangling percussion came paired with Andrew's guitar patterns.
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Other tracks played included "Resistance and Release" and "Keystone Sonata."
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Photos by Toktamism.concert
With the live set version of lengthy recorded work "Phase Break" being pared down to the workable edit "Phase Caress."
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For their final song of the night, they rolled out an all-encompassing guitar churning buildup that precedes Jaclyn's vocals on “Express Clean Power.” With a motorik percussive pattern ticking away, frantic washes of guitar overtones envelope the senses. In between mysterious vocal lines, Jaclyn delivers a powerful atmospheric guitar burst.
After a quick changeover, powerhouse instrumental trio Apollo's Ghost took to the stage and crushed out an impressive, well-crafted set of music.
Photos of Apollo's Ghost by Toktamism.concert
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The band is a tight three-piece unit that incorporates a number of different styles and genres - often within the space of one single three and a half minute song.
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At times there was an easy going western feel within various extended passages. Ben Curtis' guitar work provided a number of distinct melodies over top of bassist Dave Sutkin and drummer Ray Mazza's rumbling precision rhythm section.
Inside of appealing, uncomplicated chord patterns, a series of structured rhythmic breaks and moving bass lines revealed a deeper sophisticated approach to songwriting.
Headlining the show on this night was the dual sisters fronted occult influenced act The New Tarot.
Photos of The New Tarot by Toktamism.concert
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While Monika Walker commanded the stage with a charismatic presence and strong vocals, sister Karen complemented the sound with her own potent vocals along with playing all of the keyboards.
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With the release now of their 10 track debut album Book of Promises (which you can listen to streaming here), the Walker sisters present a determined, coordinated effort to advance their collective ideas.
Calling their album "a sci-fi rock opera," introductory track "Kingdom" leans on slow building ambiance, stark piano, plucked strings and dramatic-to-intimate Kate Bush-like vocals.
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"The Skinny" marries industrial and trip-hop beats to a middle-eastern vibe while questions like "are you crazy?" stand out in contrast to more complex thoughts being conveyed.
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Probably the most surprising track on the album is it's closer "America." Incorporating subtle elements of country and folk along with their own unique perspective (and deep synths), a lyrical story attempting to see things from all sides emerges, leaving enough room for your own interpretation of the intended message.
A few days earlier, an opportunity too good to pass up presented itself as New York City's reigning kings of noisy psych rock - A Place To Bury Strangers treated their fans to a live in-store performance at the Dr. Martens store in Manhattan on October 4th.
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Not knowing what to expect from a show in a shoe store (albeit the very cool Doc Martens), it was a big of a surprise to see everything set up at ground level, right in front of the merchandise.
Lio Kanine helped set the mood with a DJ set of steady 90's Dreampop, Psych and Gaze classics.
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APTBS wasted little time as they lurched into fast paced set of classic face-melters mixed in with newer material.
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This show also doubled as a pre-released celebration of their brand new remix album Re-Pinned.
Midway through the set, Dion bull rushed the crowd (tethered bass still very much plugged in) and waded into the audience, much to the delight of all in attendance.
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And the band raged on.
The first casualty of the night - Dion's bass.
Stoked audience members, soaking it all in.
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Royal guitars, pedals and stompboxes
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Check out this wild performance of their wonderful Transfixiation song "We've Come So Far" from this appearance here:
Reflected energy
Space bass
Social Media Shenanigans
Numerous DaveCromwellWrites features on APTBS (and Dion Lunadon, solo) can be found at the links below:
When the announcement went out way back in May that Nine Inch Nails and "special guests" The Jesus and Mary Chain were going out on tour together in Autumn, an archaic level of hysteria from a previous bygone era was created.
Forcing eager attendees into what they called a "Physical World Presale," the justification for this was explained this way [with personal thoughts and commentary added in brackets, in between]:
The promise of a world made better by computers and online connectivity has failed us in many ways, particularly when it comes to ticketing. Everything about the process sucks and everyone loses except the reseller. [And yet - this did not prevent any reselling profiteering - in fact it actually added fuel it]
We’ve decided to try something different that will also likely suck [and it did], but in a different way. [Did that make it "better?"] We’re hoping many of you will be happy with the results, while some may do what they always do and bitch about it. [Nice dismissal of their fans concerns]. Here’s how it works:
You (an actual human being) show up at the box office, interact with the ticket seller (another actual human being) and purchase up to four tickets that will actually be handed to you on the spot. The tickets will not be available online or anywhere else before or during that day. All seats (including the best seats) will be available first come, first serve. You may actually encounter other actual human beings with similar interests likely wearing black clothing during the process and potentially interact with THEM. [Right - because there is no other way to do this - oh, right - how about every time you go out to a local club?] The experience has the potential* to be enjoyable. [with the smug asterisked addition *not guaranteed - and it wasn't] Nine Inch Nails has always been about bringing people together, living life to the fullest and good times.** [** not entirely true - One more attempt at humor?] Any remaining tickets will be sold at a later date. [And of course they were - hawked relentlessly by "authorized" resellers at marked up prices - online. Please explain again what this "Physical World Presale" accomplished or prevented?]
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Sufficiently whipped up by this hype and the "need" to be there when "our heroes" took the stage - the planning and ultimate execution of this near military-like mission was undertaken.
After five hours of standing in the pouring rain, treasured seats were ultimately secured. The fact that only days later two more shows were added in Brooklyn (which is the exact same "regional market") - selling those tickets the new fashioned way - online - only added further to the absurdity of the "physical presale."
Ultimately once showtime arrives, all the costs both physical and financial are pushed aside by the anticipation of the event you are about to experience.
Massive lighting trucks squeezed onto busy Manhattan side streets just outside provided an indication of what was to come.
Inside the visual aspect of this storied theater conveyed an impressive display of grandeur from decades past.
The Grand Foyer
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With more modern offerings like reasonably (!?!) prices beverages.
As well as the obligatory feeding frenzy at merch counters.
The visual splendor of this building's Art Deco architecture comes into greater focus once seated.
Opening the show was the duo Kite Base, who along with a lot of keyboard electronics boast the distinction of both members playing bass guitar.
In fact dark haired member Ayse Hassan also serves as the bassist in the more well-known band Savages.
Taking full advantage of the larger stage, lighting and sound - the two woman band filled the arena was their sonic waves while early arrivals found their seats.
Vocalist (other bass and keyboard triggering) Kendra Frost sang with a distinct English accent and vocal phrasing which, along with the songs progressions had the feel of Siouxsie Sioux fronting an industrial act. Which is certainly an appealing combination.
The equipment changeover was something of an eye opener as the sheer number of stagehands scurrying about seemed a bit excessive. At one point it appeared there were 20-30 individuals on stage at the same time. However the conversion was quick and seamless, so one would have to assume each and every individual provided a necessary task.
Soon enough it was finally time for the co-main event (for some of us the main event) The Jesus and Mary Chain. Playing a crisp tight set of "greatest hits" they opened with arguably their most well-known song "Just Like Honey."
Surely aware they were "on the clock," little time was wasted before launching into the classic Automatic album cut "Head On." The band is super tight now (which was not always the case) and Jim Reid's voice sounds as good as it ever was. They're a band that "makes you wanna feel, makes you wanna try - makes you wanna blow the stars from the sky."
Next up was the first major highlight for this uber fan - and the first dip into their current Damage and Joy album "Amputation." Devoted fans who already knew this song originally as a Jim solo cut called "Dead End Kids" have seen this reworked version grow over the last two years. His biting lyrics remain unchanged from the original showing maturity and honest appraisal of the world around him. “Try to win your interest back, but you ain’t havin’ none of that. We’re just like a ship in a bottle, kissed today but fucked tomorrow - I don’t know, I guess that we are through. Fucked up girls like drugged up guys, but that won’t keep them warm at night. It’s just like a grape in a bottle, it’s wine today but piss tomorrow – I don’t know, I guess that we’re all through." The song reaches it's high point with Jim leaning into the lyric "Amp-u-taaaaayyyyy-shun" while brother William lets rip with shards of buzzy guitar riffs.
The other big MTV hit from Automatic - "Blues From A Gun" continues to delight with it's dirty Peter Gunn riff and nod to Bob Dylan's lyrical imagery.
The only other song played from Damage and Joy on this evening (very different from their tour last year which obviously showcased many tracks from their just released album) was the William Reid penned "All Things Pass." William's dominant guitar riff and rich deep-boned licks provide the melody for ironic and amusingly self-deprecating lyric "I have taken a vow - to prove myself -to find me - I'm regrettin' it now - 'cause I found me!" An elongated quick stop break has been added in the middle, showing how this one continues to evolve.
A mainstay in their live show since that very first reunion in 2007, "Some Candy Talking" epitomizes the bands ability to balance between quiet build-up and explosive release. There are times when Jim sounds like he's singing with western drawl on the verses, as if channeling Lee Hazlewood. Of course there is William's star guitar moment after Jim signals that with the single word "talk."
Fourth studio album Honey's Dead provided a number of classic songs that garner steady inclusion in the live show, and "Far Gone And Out" is certainly a worthy one. The bass-heavy, fuzzed-out three-chord stomp shines as Jim sings “It’s like a heart attack!” Further lines like “well I’m television sick and I’m television crazy” indicate the songwriting has always been equally about insightful lyrics. “Ah hey hey HEY! She’s the meanest mean. Ah hey hey HEY! She’s the sickest sick. Ah hey hey HEY! She’s the blackest black. Ah hey hey HEY! I gotta get her back. She's never comin' back. Ah, no no no!”
Drawing from their "final" (before this latest one) studio album Munki the buzz-fuzzy "Cracking Up" was played. A caustic self-psychoanalysis where being a “freak” gives you “the view of a rat king's son.” With the further declaration that “I guess I'm new and I don't know what to do. I'll judge you fine in my mind in my...”
Dipping back into the Psychocandy album, the track that inspired much of A Place To Bury Strangers sound "In A Hole" was given the large venue treatment. The band delivers this sheering squall as Jim sings “I step crueler - But less defined - Striped cats cooler - But so is mine - And I want to see - What I want to be - And I see me on a touching screen - And I'm dancing to a scream.” However, it is genius or insanity to come up with a rhyme that goes “How can something crawl within - My rubber holy baked bean tin!”
Live show staple (and third from Automatic on this night) "Halfway To Crazy" delighted the audience with it's slight country-meets-pop-rock sound.
Building this tight-schedule, limited-time-allowed set to reach it's peak at the end, the gloriously noisy "I Hate Rock 'n' Roll" (with it's own biting lyrics about "people with nothing to show") explodes into a veritable psych-rock guitar jam between William and Scott.
With Jim announcing we've reached the final song of the night, he thanked the audience for attending and the host band for having them. Bassist Mark swapped out the one he was playing for a different one, no doubt due to having that 4 stringer correctly in tune for the high-point grand finale "Reverence." This particular Honey's Dead track has now become the sonic tour-de-force where William truly soars. While the band thunders on furiously underneath, William takes off on strong melody driven forays of guitar explorations. It has really built into this massive psych-rock psych-out that embraces it's Iggy Pop "Now I Wanna Be Your Dog" lick appropriation and runs much deeper into the jungle. Drummer Brian is given a moment take a spotlight roll with a full band breakdown wrapped around it. Better effects are now added to Jim's voice as the echoes of "I wanna diiiiiieeeee - just like JFK - on a sunny daaaaaaaaayyyyy" fill the venue.
Check out the brilliant performance of it from this very show:
An alternate view (from closer seats) can be had by viewing fellow JAMC acolyte Andrew's recording here (which includes the previous "I Hate Rock and Roll" as well).
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With no bad seats in the house, a center front location in any of the mezzanine sections afforded a high quality viewing and listening experience.
Of which attendees were more than happy to enjoy.
Soon emerging from a cloud of smoke and lights, headliners Nine Inch Nails kicked off their show with "Mr. Self Destruct" from their 1994 (and personal favorite) album The Downward Spiral.
A steady barrage of explosive lighting assaulted the audience for the next hour-and-a-half-to-two-hours.
Along with that came a twenty song set that spanned their entire career arc from 1989 debut Pretty Hate Machine up through and including their current 2018 release Bad Witch.
Second song in, 1992 Broken EP standout track "Wish" delivered on all the pent up aggression and violence some of us felt (and sometimes still do) at whatever point in life we first heard it. While the chorus of "Wish there was something real, Wish there was something true, Wish there was something real, In this world full of you" begs for some kind of meaning to our existence, the verses deal with self analytical disgust at more grim realizations. "I'm the one without a soul, I'm the one with this big fucking hole. No new tale to tell, Twenty-six years, on my way to hell! Gotta listen to your big-time, hard-line, bad luck, fist-fuck! Don't think you're having all the fun - You know me, I hate everyone!"
Lyrics and sound that won a Grammy in 1993!
The live band is a finely honed unit incorporating the best that technology in 2018 has to offer along with obviously skilled musicians. While everyone at every level now uses audio enhancements (what has been commonly referred to as "backing tracks" - look no further than your local club band at the smallest venue with the laptop as an essential "instrument"), ear-worm trigger sounds like instantly recognizable percussive ticks now come as part of the package. That said, the majority of sound still appears to be emanating from Trent Reznor's voice and guitar (and anything else he choose to honk or poke at during the show), first mate Atticus Ross on keyboards, super-stud guitarist Robin Finck, trusted bassist/keyboardist (you can never have too many keyboards in this band) Alessandro Cortini and madman drummer Ilan Rubin (who puts on a helluva show!).
Moving on to newer material, they played "Less Than" from their 2017 Add Violence EP, which is a excellent track in the same style of their early (and best) work.
Another The Downward Spiral classic "March Of The Pigs" followed, with the more introspective, quieter offering "The Lovers."
Taking things even further down the rabbit hole of "anxiety, advanced self-awareness and amplified chaos" another Add Violence contribution emerged with the late-period Bowie influenced "This Isn't The Place."
The first major high point arrived via the brilliantly scathing Downward Spiral classic "Reptile." A truly complete musical composition, percussive audio elements and overall pace do as much to conjure up the image of slithering movement as any of the lyrics do. However those lyrics are truly inspired in their tale of willing engagement in depravity. "Devils speak of the ways in which she'll manifest. Angels bleed from the tainted touch of my caress. Need to contaminate to alleviate this loneliness. I now know the depths I reach are limitless. Oh my beautiful liar, Oh my precious whore, My disease my infection - I am so impure."
Check out how they sounded playing it at THIS show:
Much has already been made since the start of this tour about how NIN is now playing the 1997 contribution to David Lynch's film Lost Highway track "The Perfect Drug" live for the first time ever. It's inclusion in this evenings show added another special moment in being there.
Midway through the set, a three song arc of brand new album "Bad Witch" material was presented.
With "Shit Mirror"
"Ahead of Ourselves"
and "God Break Down the Door" all making the cut.
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Some clever shadow lighting was employed for the song "Copy of A," which was a single released from 2013 album Hesitation Marks.
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Another Broken gem "Gave Up" was rolled out to the enthusiastic audience.
Taking a moment to pay tribute to his friend and collaborator David Bowie, Reznor and the band launched into a note perfect cover of Bowie's own condemnation of misguided thinking "I'm Afraid of Americans."
Following that with another cover, Joy Division's "Digital."
Along with 2005 album With Teeth track "The Hand That Feeds."
The big pre-encore show closer was arguably (and not surprisingly) their most recognizable song "Head Like A Hole." One of the most scorching rebukes of "money worship," a universal anger boils over at this "god" and it's relentless dominance for all the wrong reasons. "God money's not looking for the cure.
God money's not concerned with the sick among the pure.
God money let's go dancing on the backs of the bruised.
God money's not one to choose. No you can't take it
No you can't take it
No you can't take that away from me!" All who refuse to accept this way of life defiantly choose another path while condemning those who willingly accept it. "Head like a hole.
Black as your soul.
I'd rather die than give you control.
Bow down before the one you serve.
You're going to get what you deserve."
Check out fellow attendee Andrew's capture of this incredible performance (listen to the crowd sing along) combined with the previously played "The Hand That Feeds"
Coming back to do the expected encore, they played "All The Love in the World," "Over and Out" and a dramatic, spotlight rendition of the much beloved "Hurt."
Post show revelry and the shared experiences with friends are the best reasons to do anything.
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.
