The month of July is always a reason to celebrate. Two important (personal) birthdays share this 31 day stretch with peak middle-of-summer enjoyment. Along with trips to parks, beaches and the pool, time has been allotted to critically examine the most compelling new music. While all the reviews here are of recent releases, more than a few tracks have been developing over a number of years. Trusted labels continue to support artists whose independent output are far more interesting than anything the current trends offer. DaveCromwellWrites does its part as well in this regard, with the below investigation.
When friend-to-this-site Shore Dive Records shows up with a new album to promote, it’s always a reason to take notice. When it’s a beloved artist previously reviewed here, there’s pretty much certainty it will receive a careful listen. Such is the case with the Phil Wilson lead project The Raft. The Liverpool, UK based musician’s full-length album “Summerheads And Winter Beds” was given a detailed review here a few years back. Subsequently Phil’s guest vocals on Xeresa album “IV” and the song “Fall Into Unknown” was given a thorough analysis as well. Now Phil is back with a new full-length “Look At The Patterns,” which receives a DCW focused review below.
Opening track “Save Me” starts immediately with Phil’s vocals, a cappella but layered and touched with processing. A single guitar stroke ushers following vocal lines, then finger-picked open note guitar figures fill in going forward. Fuller instrumentation joins in for the gentle, minor-chord enhanced chorus that states “I don't wanna change the world, it's not what I cling to. When love is failing . . . and fear remaining – doesn’t matter what I do.” The second verse adds clack percussion for change and depth, while lines “Stayed here for lack of anything else to do - And what you are is what I knew” is an insightful observation. Halfway through a whimsical guitar solo weaves around repeated vocal line “what I do” (as in it “doesn’t matter”). Following that are unanticipated heavy distorted guitar chords emphasizing lyrical thoughts “We've been praying lately for something to shape me -
Skimming books and papers - Looking for a clue.” A Trumpet plays for a bit and then back to the power chords on what has now become a powerful chorus.
Follow-up cut “Far Away From Here” bursts out of the box with a joyously bouncy groove driven along by off-kilter “wobbly” guitar tones. It’s a peppy pop song for sure, with Phil enlisting a back-up vocalist that adds emphasis to key vocal line. The single-phrase song title line chorus hits hard with near-gazey guitar chords and throbbing counter-melodic bass. The vocals punctuate it all with a catchy “Ah-Ah-Ah” end cap. With declarations to “hang on to my health,” the goal is still to find “a new start” – where? Well, “far away from here.” 2:15 in and a gentle picked guitar solo presents itself against that wonderfully churning warble backdrop. Additional lyrics “If I could only be around instead of underground - I could see you shine. It's hard to be a better man - Living up to all you can” add insight into the desire to get “far away from here.”
Check out this amazing track here:
Third entry “Calling Out” makes full use of that three-quarter time 1-2-3 waltz progression as beautifully as any Sundays song. A pair of Claire’s contribute female vocals in a primary way, adding further credence to the Sundays comparison. The chorus flips to a male dominated vocal blend, with dreamgazey guitars washing over it all. A tasteful blend of plinking guitars, throbbing bass and deep textured drum sounds complete the audio spectrum. A final 30 second coda appears with an a cappella vocal of the lyric “you don’t even know me.”
A slightly funky bass and drums groove serve as the initial underpinnings for “Memory Of A Day #7.” Blended vocals come on tweaked and textured as one is encouraged to “feel the breeze, see it in the leaves” so that “for a while we are free.” Soft female vocals join in for the second verse (the two Claires) “What a scene - We're a dream - Moment to moment - And for a while we are real.” All of that leads to a lush, dreamgaze chorus that reveals the albums overall title. The second pass through reveals the song title with “into the soul the memory goes.” The track is a brilliant blend of almost folk-music (quiet guitar picking) single brass elements (trumpet) and heartfelt emotions. “Windows reflect back two souls. Look at the patterns. Memories or dreams?"
A precisely syncopated drum arrangement and chiming Robert Smith style guitar tones guide fifth track “Wanda.” One more trio of backing vocalists are engaged on a sensuous chorus that implores “you can always smile.” Bass guitar and it’s six string counterpart create just the right length bridge to immerse yourself in yet-another luscious chorus.
Celestial angelic folk is taken up a level on the Jon Anderson and Vangelis sounding “Next September.” While the lyrics may be more earthly than those two aforementioned spiritualists: “You were lips you were eyes . . . You were hips you were thighs . . . Spent the night every night - Held on tight,” that sonic impression remains. A song of desire – to rekindle something once had - “Maybe I'll see you in Manchester next September. I'll come and stay the night re-live our nights in paradise.” The male-female tandem sung vocals are nothing short of gorgeous.
Heavy bass guitar plod and similarly paired drum stomp supply framework under the 2/4 time parable “The Boy Lives On The Wind.” It’s a marching progression with that bass guitar reminiscent of Paul McCartney’s inspired playing on “The White Album.” Interesting chord changes deeper in allow for a sonic respite and prevent repetition fatigue over it’s five minute length.
Check this one out here:
Reverberated guitar chords chime from multiple directions on curiously titled “The New Brighton Witch.” A previously unheard female voice adds a response melody in counterpoint to Phil’s primary lead vocal. In fact, the apparent actual subject of the song’s title turns up to convey a spoken word incantation at the tracks end.
Quick chime guitar strumming and precise counterpoint bass notes introduce the dream-folk tinged “She Gave Me A Crystal.” A trio of background vocalists are carefully synthesized into key sections, the first being a rising step “I can never tell you what you are – the sun and the stars.” A minute and a half in on this over 5 minute track has fuller instrumentation filling everything out. In particular, a buoyant bass guitar creates figures between the more grounding drum beat. The harmonies are lush, ethereal and utterly exquisite.
The album’s final entry “In The Morning When You Rise” builds around finger picked acoustic guitar notes, strummed backing chords and subtle “ahh ahh” backing voices. Quick in pace and ¾ time (or is that 6/8?) soft opening lines ask “What can I do? What can I say to get out of the way? What can I do to be fully alive?” Exploding into a full-on dreamy-gaze rock production with stabbing guitar figures, a once-again soft plateau is reached. Tender male and female voices blend together asking “how can you shine?” before revealing the songs title line. One more lovely build up of cascading voices, full band and an emphatic chorus leading the track (and album) to it’s conclusion.
There seldom is too much passing between musical releases from Sheffield UK based indie-gaze band The Suncharms. Having reviewed their full-length album “Things Lost” here last October, the band is now back with a contributing track on Sunday Records recently released multi-artist collection “Beautiful Noise.” This isn’t the first time they’ve contributed to one of these collaborations, as their track “Liquid Through My Hands” on 2021’s “Something Beautiful” release was featured here at that time. Anticipating a glorious listening experience once again this time around, their track “Saddest Sound” is given the DCW analysis.
Beginning with ambient synth-like textures, open string guitar figures lay out the four chord progression. Secondary guitars enter in with subtle pitch bend counter melodies as drums, bass and jingle tambourine fill out the sonic spectrum. Lead vocalist Marcus Palmer soon emerges with his familiar sandpaper vocals offering a soothing delivery of the song’s title via subtle psychedelic layering. Rhythms pump back and forth underneath as extended guitar note melodies ride over top and ever-present tambourine-on-snare beat marking time. After minute and a half in, a second melody line emerges echoing the opening refrain via clean twangy guitar. The heartfelt vibe is easy-going, with a touch of bluesy greats like Knopfler and Clapton. The descending bass guitar pattern warmly ushers in another round of Palmer vocals. One more guitar line enters the mix two minutes in with a deeper tonal quality, ultimately blending in with those other guitar figures already in progress.
It was just a year ago when this site did an extensive review of SoCal pop rockers sparkle*jets u.k. and their indie hit covers collection "Best Of Friends." Trusting the recommendation of frequently reviewed Burbank, California label Big Stir Records, an over 800 word highlight analysis of that record was produced. The band is now back with “Box Of Letters,” their first album of original material in over 20 years. DaveCromwellWrites turns it’s audio-scope on these brand new tracks, searching once more for the continuing evolution of what is “pop rock” music.
It’s a bold move to open an album of new material with a cover, but that’s exactly what happens here with the purpose statement “This Will Be Our Year.” Tapping the ageless Zombies classic, it serves as a testament to the endurance of finally breaking through. Packed into a succinct 2:29, the core members of Michael Simmons, Susan West and Jamie Knight make their presence felt immediately. Michael’s lead vocal tone and register share the same reedy quality of those guys in Squeeze (either Difford or Tilbrook, I confess to blurring who is who), with a touch of McCartney as well. Ultimately it’s a celebration of something that “took a long time to come.”
As the band is know for alternating lead vocals, “Goodbye X3” becomes the first entry from Susan West. Written with fellow bandmate Jamie Knight, classic rock and roll keyboards drive the songs rhythm. Sung with a bratty, adolescent flair, the title line chorus brings to mind 80’s pop sensations Scandal and their hit “Goodbye To You.” It’s a breakup song of course, and a sending off of “yesterdays problems.”
An initially twee sentiment with playful piano chords and clacking-shell percussion introduces the ultimately scathing “Princess Needy.” Blending Burt Bacharach style songwriting with bigger faux-horns production, the lyrics hit the mark again and again. “How dare the rest of us make her sad? Don’t you people know the world revolves around her?” Two minutes in, there’s a sudden tempo shift into a funky progression where 70’s “soul” voices proclaim “She’s gonna tell everybody about it.” From that point on it morphs between the initial rhythm and what sounds like the orchestral band ELO, perhaps not so subtly referencing bits of their hit “Evil Woman.”
Susan returns as vocal protagonist on the lyrically cheeky “Love Burn.” Straightforward twangy guitars are joined by shorter melody enhancements for a fun reading. Comparing heartbreak to something that can be remedied by a “bucket full of salve” is an amusing take. Two minutes in and a mad distorted guitar solo (of sorts) commences, before ultimately giving way to the all-important cowbell. Wrapped around that is a rather melodic chorus featuring a somewhat perplexing repeated line “I’ve got a heart in my song for you tonight.”
The obvious Beach Boys musical reference (“Don’t Worry Baby”) on the intro to featured cut “I Can’t Wait For Summer” is a welcome touch. Michael Simmons immediately pivots to his own melody as his lyrical story unfolds. Taking some poetic license here (or perhaps this SoCal resident *did* experience “cold, snow, bare trees” at one point in his life) references to “sandals on” and “drive the coast” seem more appropriate. Lush harmonies fill the air on key moments “someday soon the sun will shine” and “when we take that magic ride.” There’s even a touch of Phil Spector on a brief “Be My Baby” sonic breakdown. As well as a harmonica solo that fits perfectly during the “A magic summer” outro.
It’s a deliberately measured pace “stroll” progression driving Michael’s existential view on “Little Circles.” Contemplating our importance in the world, and “hoping that someone will notice” is offset by the knowledge that “we’re nothing special outside of our own little circles.” Classic Beatles-y harmonies make it all sound lovely nevertheless.
Co-written by all three principal members, the Susan sung title track “Box of Letters” emphasizes quick rhythmic changes on story telling lines (“Way – back – I remember.”) Looking back in time on a lengthy relationship that produced a collection of physical correspondence seems quaint in this age of digital communications. Those “frozen moments” and “pictures too” are now the domain of Social Media. While Susan belts out each line with gusto, it’s still the little things – “a matchbook, flower, and a napkin of embarrassing poetry” that matter the most.
70’s era soft rock/r+b electric piano (with that very specific reverberation) creates the sonic territory for Michael’s “Where’s The Moment.” The feel is similar to Paul Carrack’s 1974 hit with his band Ace “How Long (has this been going on).” Wrestling with making plans and “trying to recapture something great” takes away from the joy of living in the “now.” That provides the impetus for pop hooks “Why can’t I stop and just be? Just tryin’ to shake anxiety,” and “but where’s the moment? I can’t find it, somebody tell me how.”
Susan’s voice is used for maximum pop potential on the bouncy, Michael penned “You Complete Me.” Built around brightly strummed guitars and electric keyboards, clever lyrical turns like “I’ve got 90 cents, you got a dime – you turn my change to dollar signs” is as playful as it sounds. There’s even a surprising Electric Sitar solo in the middle, giving it all a late 60’s feel. However the catchy chorus of “thing is youuuuuu complete me baby (with full handclaps) does that make us co-dependent or what?” is what sticks in your head.
Chunky, distorted rock n’ roll chords and slithering bass are featured on the lyrically clever office-worker anthem “I’m Away From My Desk.” Anyone who has ever had this sort of employment can totally relate to this running out the clock behavior. “Making copies, pourin’ coffees, killing time” leads to thoughts of “putting in for some Personal time.” Fellow label mate (and previously reviewed here) Nick Frater is credited with “Abbey Road Handclaps.” and their layered impact is felt. Additionally an 8 year old Julian Knight chips in on the soaring, harmony-laded background vocals as well.
An instantly pleasing guitar-drums trade off opens the vocal ladder climb “One Two Tango.” The Cheap Trick influence is strong here on the “one two three four five six seven ten” followed by “I’m counting on” background vocals refrain. Robin Zander would surely approve. In fact Rick Nielsen and Bun E. Carlos might nod approval as well on the tight rhythmic back-and-forth between guitar, bass and drums.
The album’s closing track is a cover of “Hey Grandma,” Moby Grape’s opening cut from their 1967 debut album. Showcasing the bands live sound, the track was recorded that way to show off their stage chops and dispel any illusions they can only play in a controlled studio environment. It’s a boisterous rendition, and a fitting send off for an album that has so much packed into it.
Alternative, electronic, dreamgaze, power pop and progressive jazz all share space here for this month of September. The artists chosen for review are not random, but selected via thoughtful consideration. Familiarity with the quality of their work and a willingness to take interest is what is being written about them is weighted heavier than other factors (like mass popularity or aggressively financed PR campaigns). Chances are taken on new stuff as well, but are ultimately held to the previously stated criteria.
Turning attention to one of Shoredive Records recent releases finds this site focusing on the recording project Xeresa. Simply titled “IV” (as in album number 4), the fully named Nicolas Pierre Wardell (previously only known as Label boss Nico Beatastic) serves as the bands primary catalyst. Painstakingly recorded between 2019 and 2022, each song features guest vocalists, some who have full releases on the parent label. Each track was built in the more common now than ever way of sending instrumental basic tracks to each respective artist for their creative additions (predominantly vocals).
Opening cut “Wish” pairs Wardell's basic track composition with first collaborator Daydream Deathray on vocals and guitars. Emerging out of synth tones and light percussive pulsing, classic-gaze pitch-bended guitars propel a fragmented time-signature chord progression forward. As the ticking percussion gets busier, melodic guitar figures enter the mix as an alternate foil against the initial tone. Ghostly voices commence over top as ticking, pulsing movements churn underneath. Dramatic breaks emphasize quick-burst-clatter stops, against those dual guitar melodies. This cycle morphs and evolves with dream-like qualities with a reverential nod towards the vague beauty of MBV's “Loveless.”
Deep buzzing bass-synth notes introduce “Untouched,” a co-write collab with vocalist Dorothea Tachler. “They say – don't touch – don't touch each other” are the first lines from this bewitching female voice ascending over synthetic hiss-clacks and open note guitar figures. As the rhythm continues to develop and fill out, further exhortations of “don't shake my hand – don't hug me” play against an increasingly busier backdrop. Additional developments present vocal lines delivered with quicker urgency, cleverly built on top of that initial basic synth-pulse intro. Guitars, higher-register synths and electronic drumming all share sonic space with this lovely harmonized voice that ultimately shifts the narrative to (post-pandemic) human contact again. Dorothea also delivers a cool guitar solo and optimistic vocal end-out over a rising synth backdrop.
Abrasive guitar textures usher in “Bye Bye,” a pairing with vocalist Hiacynta Szulc. A loping drum pattern lays out central movement against those modulating guitars, while yet-another appealing female singer straddles the edges of Liz Fraser/Cocteau charm with her delivery. The title-line chorus pivots away from harsher tones, emphasizing romantic overture, and contrasts well against the rougher guitar undercurrent on verses. A lengthy final minute coda merges vocal mantra (“I'm not as strong”) with hybrid melodic and drone guitar textures.
Rising swells and bird-like warbles (reminiscent of Yes's “Close To The Edge” intro) usher in the Omega Vague partnership “Burn.” The swirling void gets stretched out further, now moving deeper into The Orb's “A Huge Ever Growing Pulsating Brain” point of reference. Voices ultimately emerge, with understandable lyrics “soon it all it ends the same – through it all we can't refrain – setting fires to the flames – just let it go to pieces.” What started out as a potential ambient music soundscape, ultimately evolves into lyric-heavy storytelling. “All you ever need is someone to be on your side.”
Plunky open note guitar chords and buzzing synths serve as introductory basis for “Fall Into Unknown” featuring Phil Wilson (aka The Raft) on vocals. “All I can do is wait for you,” Phil coos - “wait to lose control” over a bed of quick-pulse electronic percussion. Subtle changes oscillate through those beats, generating forward motion under Phil's soothing vocal style. A dramatic halting just past the midpoint emphasizes synthetic strings approximating full orchestra. Vocals resume with climbing stair-step cadence and gentle passionate payoff, ultimately fading out with a final :15 seconds of tubular bells-like tones.
It's not too long before shearing guitar distortion returns, this time providing the fade-in on “Ghost In Your Mind” (Ft Ural Mountains). Rat-a-tat drumming soon joins the fray as the fuzzy wall of sound pushes forward. It all suddenly drops back as the surprising romantic vocal style of the mysteriously named Ural Mountains commences. A pleasant mix of clean guitar chords and mixed-bag percussion provide undercurrent for a vocal style similar to the band Crowded House. When the wall-of-fuzz guitars return, both vocal cadence and rhythmic propulsion become more active. A quieter plateau is eventually reached, featuring spacious guitar chords, rumbling undertow, synth strings and further vocal recitations.
Gentle chiming guitar chords open "Where Could It Have Been" (Ft Aura Zorba). A syncopated electronic drum pattern soon joins the mix providing counter-rhythm. With ethereal vocals commencing, a pliant guitar figure bounces between those lines. Deeper bass synth enters in after the initial cycle, conjuring a rising step melody. Along with the title line, other fragmentary thoughts emerge like “what's on your mind?” The final minute presents a descending coda of instruments, “ooooh's” and spoken word.
The albums only solo-penned cut “Slavic Stars” is a tour-de-force of low buzzing synths, gentle guitar strums, electronic percussion and higher-register synth-melodies. With clearly defined chord changes and structured segments, this is no rambling instrumental soundscape. Vocals appear a third of the way in, adding to an overall wistful feeling. Bright clarion guitar notes are carefully slotted in open spaces for one more level of audio delight. “Where the sun you gaze at meets the water” becomes a thematic mantra in subtle changing forms (“where the sun meets the land meets the water”) of psychedelia.
A 1-2-3 time signature establishes the basic cycle for “Could Have Done Better Than That,” Ft Jackie Kasbohm on vocals. Alternating lyrical segments place emphasis on contrasting singing styles and associated rhythm cadences. Jackie's repeated title line follows that primary descending thirds pattern, while the second voice moves in contrast to it. A quieter centerpiece lays down one more counterpoint, before the circuit begins again with blended voices going forward.
Odd timbre spiky synths herald in the album's final offering “Retrospection,” which features the artist Glassmanet on vocals, strings, extra guitars, keyboards and programming. Bright drumming and a clearly defined melody soon joins the mix, setting the stage for the gossamer vocals that follow. The voices are soon amplified with layered harmonies, enhancing the listening experience. That primary melody line is meted out via a deep-hued synthetic horn texture. There's a violin quality to segments of the synthetic instrumentals along with open air wind-instrument tones supporting downy vocals. It all floats to a glorious conclusion of Cocteau-level beauty and wonder.
UK Power Pop Rockers It's Karma It's Cool recently released the first of what is to be 6 singles over the next few months. Initial track “A Gentle Reminder” comes accompanied by an in-studio style video performance, providing visual imagery of the band performing. Along with James Styring on vocals, Martyn Bewick (Guitars / Recording / Production / Mixing), Danny Krash (Drums) and Mikey Barraclough (Bass) is the inclusion of noteworthy multi-instrumentalist Peter Holsapple (of The dB's, R.E.M., Hootie and the Blowfish fame) on keyboards.
The song opens with a gently reverberated acappella reading of introductory lyrics “We outgrow the ghost, and get gone - With our slogans and cold ones - Turn the stereo pop on.” The band then kicks in full throttle with thematic title lines “Here's a gentle - Here's a general Reminder for you. Don't you look up with vertigo, if so, the sky comes fallin.' Along with the basic guitar, bass and drums plugging away, you can clearly hear the Peter Holsapple keyboard additions adding a richness in those open spaces between. As the band bounces along with crisp precision, there are elements of Feargal Sharkey's well-known vibrato in Jim's vocal style. A cleverly turned reference to XTC also pops up in the lines “Drive into the city and the radio was makin' plans for Nigel.”
Reaching the high-point peak catchy chorus that goes “We all find our feet, when we run - And our shoes have come undone - Spark-out the circuit breaker,” finds the Holsapple touch churning organ tones and rhythms to delightful effect. The chorus continues with those opening acappella lines now fully embedded where they clearly belong. Multiple camera angles keep the video fresh and unpredictable, with shots of tapping feet and some really amusing “rawk” faces from drummer Danny. Also kudos to bassist Mikey for best overall hide-in-my-long-hair moves. Two minutes in drops everything out to a single guitar figure before launching into a full-on ride with rolling keyboards, distant-effect vocals and more distinct rising guitar melodies.
Check out this perfect slice of powerful pop music right here:
It's a rare occurrence when an instrumental jazz album inspired by the Sumerian mythology of ancient Mesopotamia turns up here for review. However, that is exactly what you get with pianist & composer Connie Han's latest release “Secrets of Inanna.” Drawing inspiration from the 1900-1600 BC poem The Descent of Inanna, Han crafts 12 sophisticated piano driven compositions based on this detailed metaphor of femininity, grace, and poise. To that point she's also mastered the art of stunningly gorgeous imagery. Being young, pretty and physically sculpted is a great starting point for all that. What follows here is a detailed track-by-track review of the entire album.
Opening track “Prima Materia” instantly establishes the modern jazz trio concept with graceful affluence. Lightly reverberated electric piano serves as initial melodic source, accompanied by an expected high level of bass and drums. A flute tone provides additional melody, with quick-burst piano lines woven inbetween. As a point of sonic reference, the overall sound design is akin to Angela (Theme From 'Taxi') by Bob James. The extended piano flights on this over 5 minute piece are next-level sophistication, however.
“Ereshkigal of the Underworld” comes on quicker with an angular time-signature, driving deeper into the finesse of jazz trio interplay. The drums and bass are allowed to expand their repertoire under the free flowing piano improvisation. “Gilgamesh and the Celestial Bull” continues with a similar tonal quality, while incorporating that “hammering” technique inside the piano melody. An impressive left-hand lower-note rhythm creates counterpoint for the high-flying right-hand forays across the keys. A sense of similarity with the master Chick Corea comes to mind.
“Morning Star” employs brushes on drums and a sensual saxophone melody, leaving the bandleader to support with block chords at first. Midway in the sax drops out for an extended piano solo, before returning to close it out. “Vesica Piscis” continues with the tenor sax as slower moving melody over active piano figures. The mood is melancholy and subdued, going without bass and drums that place emphasis on melodic instruments only. “Young Moon” returns to the Fender Rhodes electric as primary keyboard tool, with Ms. Han exploring melodic possibilities against attentive and accent-laden drumming. A bass guitar driven interlude provides space for that essential instrument.
“Ninshubur’s Lament” is a half-minute tone poem on drums, with toms receiving up-front focus before closing out with a perfect snare press-roll. That leads into the buoyant seven minute piano and sax driven “Wind Rose Goddess.” With a sense of joy embedded in it's rhythms and overall vibe, ample room is given for extended piano improvisation, with equal emphasis on saxophone phrasing. “The Gallû Pursuit” revisits Corea's Return To Forever hyperdrive style, with fluid piano lines driving both melody and rhythm. The bass and drums hustle to keep up with a frantic pace that encourages the listener to hang on to this wild ride.
Check out this wonderful composition here:
“Dumuzi of Uruk” doubles down on the Wayne Shorter-style saxophone, with shifting rhythms underneath. Momentary space highlights piano movements, before lurching back in to the full band drive. A walking bassline sets a pillar in which flowing piano lines can improv off of. A quieter presence initiates the nearly eight minute (and album's longest track) “Desert Air.” Brushes are once again employed on the drums and the extended time allows for a number of sub-movements within the overall framework. Space is once again provided for stand-up bass improv against that soft brush drumming. What remains consistent however, is the tinkling of keys on multiple flights of fancy that frequently pay homage to the inspirational influence of Kenny Kirkland. Final track “Enki’s Gift” is a relatively quick study with emphasis on flutes, bass, rim-clack drumming and (as one might suspect) quick-fingered piano.
With 2021 now finally upon us, a fresh start to the year featuring brand new artists' material serves as the driving force on this JanuaryDaveCromwellWrites entry. While the records reviewed are recent, some of the creators have been honing their musical skills for a number of years. Trusted media brands continue to shine light on works most deserving by songwriters and sound designers worthy of the deep dive their music receives here.
Returning to a seemingly bottomless well of brilliantly formed dreamgaze artists, Shore Dive Records' January 1, 2021 release “Summerheads And Winter Beds” by The Raft is a stunningly beautiful collection of 13 tracks. Conceived by songwriter and multi-instrumentalist Phil Wilson (who has been writing, recording and performing under the name The Raft since 2003), an elite group of dreamy female vocalists are employed throughout the album, providing necessary lush counterpoint to Phil's own voice.
Opening track “Clear Water” features the multi-layered vocals of co-songwriter Claire O'Neill, who morphs between soft breathy and full throated operatic styings. It's all mood and majesty against Wilson's and co-writer/co-producer Jpedro's dramatic instrumentation. Follow-up cut “There's No Going Back” holds closer to the alternative rock format pioneered by bands like The Cure, Stone Roses and Ride. Bright guitar hooks, driving bass and Loz Colbert-style drumming (presumably played by a combination of Wilson and JPedro) has Ms. O'Neill returning to sing harmonies on Phil's storytelling vocals. Third track “So Bright” drops the pedal harder on what “gazey” music is all about, without ever losing sight of melody or rhythm. Sure, there are moments of shearing guitar, and a full chorus of blended female backing vocalist (the aforementioned Ms. O'Neill, joined by Red Shelly, Ellie Long and Milly Winter), however distinct instrumental hooks also play a substantial part.
The truly gorgeous “Hold Back The World” serves up a heart-tugging, emotional tour-de-force of melody, rhythm and lyrics. As Phil sings in tandem and harmonies with his team of female vocalists (Liz Kramer the new addition along with O'Neill and Shelley), a perfect blend of keyboards, guitars, drums and tambourine lifts this track into the stratosphere. This song is so lovely, it can even melt the heart of the most cynical amongst us. “You're An Animal” pulls out the chiming acoustic guitar for this Mark Gardener and Ride-style vocal homage. While Phil's vocal timbre clearly resembles the aforementioned master, Ms. O'Neill's higher register harmonics continue to assist in pointing everything in it's own unique direction. “Skeletons” slows the pace down, as Phil and Claire present this unfolding story via tandem studio-sheen vocals. Eastern-influenced percussion dominates, while bright guitars and keyboards come carefully placed across the sonic field.
Jingle-jangle breeze runs through the sweetly sentimental “Another Day.” Acoustic guitars and electric melody lines are impeccably placed over keyboard pads in the just right measure, while Phil, Claire and Liz do that blended vocal thing so well. “Heavy Metal Eyes” comes on slow and deliberate, with Phil pitching his voice down lower into Jim Reid/JAMC territory. The female vocal tandem soon arrives with Liz Kramer, Red Shelley and newcomer Dani Mari providing their individual parts, and ultimately merged into sonic walls of bliss. “Thinking About You” pivots off a bass and percussion style most-often associated with “dance” music – without actually devoting any real time exploring that well-trod genre. Instead the lush vocal harmonies (Kramer, Shelley and Phil this go round) are complimented by guest keyboardist Mike Collings, who delivers an impressive organ solo.
The impressive Claire O'Neill takes the dominant vocal position on 10th track “Twisting.” With only an acoustic guitar backing for the songs first minute, Claire's lead vocals stand out, providing a “twist” indeed to what has come before. Phil's backing (and blended) harmonies fill out one more series of powerful melodies and lyrics. “This Is War” builds off the traditional 1-2-3, three-quarter waltz time signature. With a razor buzz sheen on Phil's vocals, Liz and Shelley are called in to provide harmonic depth. Clever layers of deep percussion and synthetic pulses are paired against more spacious, guitar-centric passages. Conversely, “You Need Me” chugs along like a straight-ahead rocker. Sung (mostly) in tandem with Ellie Long and/or Red Shelley, a strong guitar-bass presence matches Phil's vocal cadence. Concluding track “The Story Or The Song ?” returns to a ¾ time progression for it's epic length proportions. Claire appears one final time to join with Ellie and Shelly on backing vocals, adding the beauty and lift that is so apparent with every single track on this album.
Find out more about this artist, including how to acquire their album HERE.
* * * * *
Another recent release from Shore Dive Records is the debut EP by French duo Tender Tones.
Cleverly titling this record “Youth Retirement Club,” Manon Deruytere & Maxime Pargaud delve into the nostalgic side of gaze, synth and dreampop. The Ep serves as a partnered co-release between ShoreDive and American label Somewhere Cold Records.
Opening cut “In Dreamed Lives” puts the synths out front and center with a retro-pulsed fade in of arpeggiated brass tones. The percussion is clean and bright, leaning more towards the less-is-more scenario. Manon and Maxime sing in tandem with the lower male voice serving to support (in this instance) the female lead counterpart. Verse recitations come against fundamental percussive beats and individual keyboard stabs, which alternate against a return to the dominant opening hook and dreamy chorus. There's an intoxicating spacious minimalism to it all, luring you in with it's seductive calm.
“Strangers From Ultra” comes on at a quicker pace, with guitars and bass pulses working their way into a busier percussive mix. Vocals are now presented in a least two formations, with the first in pure tandem, while the second reflects a similar audio separation found on the opening track. That second vocal passage comes enhanced by rolling tom-toms and throbbing bass guitar progression. Catchy hooks abound on a beguiling chorus that recites the English language song-title with charming French accent pronunciation.
“Red Lovers” relies on deep rising bass-tones to apply sonic drama underneath higher-pitched synth swirls. Verses are then delivered against a sparser background, with dispersed percussion and airy open space. That allows for an alternating cycle of uncluttered passages followed by climactic resolutions. The overall feel brings to mind powerful 1980's recordings of bands like The Human League and their seminal album “DARE.” “Pay More Pray More” quickens the pace, while still relying on an electronic jungle-drum-beat, whooosing background synth-textures and blended male-female vocals in equal measure. With momentary levels of unsettling sonics building tension, a snaking synth-bass rumbles underneath vocal declarations. It's uncertain if the songtitle is meant in literal sincerity, or references continued propaganda of current times, and into some dystopian future.
The specialty music publicity brand New Dark Ages PR has also provided a steady stream of new and established artists to this site. Focusing on Gothic/Industrial, EBM, Black/Death/Heavy Metal and Hard Rock, there's always something compelling to dig in to. The latest to emerge on the DaveCromwellWrites radar is Goth-Industrial artist Night Terror, with their new full-length release “Freak On The Inside.” This solo work of musician Jeff Heveron presents a unique blend of deep goth-style vocals (straight out of the Peter Murphy school) with synth-driven industrial grooves.
Opening track “Wreck It” (accompanied by an official video release which can be viewed down below) bubbles up via arpeggiated low-register synths and complimentary rising singular note pads. Bass-drum thump lays down the steady heartbeat, before quick dropouts signal a percussive turnaround as the lyrics begin. As previously mentioned, there is a strong Peter Murphy vibe in vocal tone and inflection on what are autobiographical, yet poetic verses. Keyboard melody runs over percolating undertow make it clear this is a song you can actually dance to. However, frequent ambient passages and rhythmic divergence serve to avoid any sense of static monotony.
“Addiction” begins with a cinematic “movie score” vibe, sonic atmospheres one could perceive accompanying tension-riddled scenes in horror films. Synth stabs and factory-sound percussion undergird busier keyboard lines over top. “Oh my God I've lost this purity” serve as a lyrical reference to the tracks overall theme. In interviews the artist speaks freely about how his path to sobriety has led to a more productive life. Those who've also lived this journey know all too well the truth in this life-enhancing choice. “Get back to the dream I had – build a life” are inspiring lyrics of positivity.
“Go Now” builds off of an intriguing pitch-bended synth-texture. The combination of simple defined instrumental lines and busier rhythmic crosscurrents evoke similarities with synth-pop pioneers like New Order and Depeche Mode. “This darkness rises” serves as a lyrical tentpole for an unfolding internal struggle. “Maxxed out” combines spacious ambience, measured synth notes and distant spoken word “public service” announcements with more forcefully defined progressions. There's more urgency found on the mechanized advancement of “Get Out Of This Place.” Vocals come narrated more than actually sung here, which adds an ominous level the whole proceedings.
“Viral Attack” tackles the top story of 2020 and the fear this pandemic has wrought. Referencing the confusion and disinformation surrounding it as well points to a worldwide problem still gripping everyone's lives. “Beloved” plays undistorted bell-like keyboard lines against harsh pummeling rhythmic structures. As Murphy-esqe vocals return in full form, those busy industrial sonics throttle underneath creating an abrasive dancefloor groove. Buzzing brassy keyboard tones are employed as melody-motion for the word-heavy, lyric-driven “Falling time.” “I find my life on the ground – it's falling time again” is the sentiment, set against engaging syncopated percussion. Close-out track “Twenty Twenty” is a moody, entirely instrumental piece that emphasizes steampipe hisses, thumping heartbeat bassdrum, hand-clap percussion, and giant empty iron vessel atmospherics.
"Freak on The Inside" by Night Terror is out now on Tigersquawk Records, and can be acquired via these links:
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.
.jpg)
