Dynamic Reviews of Live Shows and New Music Releases

Leaving the busy place you’ve called home all your adult life for less-stressful pastures is a choice as well as an adjustment. For this writer, people and bands that were seen there regularly are now hoped they’ll come to your new locale. The good news is a number of them have, and the opportunity to catch their shows again has not been wasted. When a new album offers fresh source material along with an appearance, a deep-dive-analysis is the only way forward. As is often the case, some of these shows also introduce performances by artists previously unheard in the live environment.

Beloved and long-time adored band The Raveonettes have been doing a live show retrospective of all their albums since 2024, their first proper tour in a decade.  Feeling a bit of FOMO as they played city after city, it was exiting news indeed when they announced a Florida date for April 1, 2026.  Arranging for a modest road trip, the trek was made from Orlando to Ft. Lauderdale to experience once again the dazzling sights and sounds of this glorious band.

The location was venerable Ft. Lauderdale. Florida venue Culture Room.

 On arrival a lengthy cue was already waiting to get in.

Entry didn't take long, and after opening act Astari Nite (more about them later) The Raveonettes were on stage.

Opening the show with "Blackest" from their most recent album “Pe'ahi II,” it's descending “detective story” guitar melody is instantly recognizable. That suddenly drops out leaving behind changeover “ooohs” and a stark rendition of the songs lyrics. “When I rise on my wave - the moon shows her face. A lonely dot at sea - a lonely girl coming straight at me.”  

Immediately following that was another track from the same album (it would eventually be discovered that the entire setlist would be blocks of songs from one album, before moving on to another) and a personal fave track "Killer."  It's chorus hooks you in immediately with the battle-scarred relationship lines “Kill for love, and make it so I don't care. Most of the time, I felt so alone.”  

On more from that same album with the forward charging rocker "Speed."  True to the song title, it’s fast paced, tasty guitar lick driven.

Choosing to play only one song from their 2003 debut full-length studio album, Chain Gang of Love, they went with the albums most recognizable track "That Great Love Sound."

Moving to their 2005 album Pretty in Black, first up was single "Love In A Trashcan."  

Followed by "Red Tan" from that same album.

As well as "You Say You Lie."

Pivoting to their 2002 debut mini-album Whip It On, "Attack of the Ghost Riders" was up first.

Followed by "Veronica Fever"

As well as the blistering "My Tornado"

With "Cops on our Tail" as a fourth entry from that record.

Shifting focus to their 2007 album Lust Lust Lust, "Hallucinations" was first up from that heady period.

Followed by "Dead Sound"

Then it was on to their 2014 seventh studio album Pe'ahi with "Endless Sleeper." Fuzzy bass, shuffling percussion and deep twang guitar figures alternate between dense layers and open spaces. Lyrically, its one part songwriter Sune Rose Wagner recapping a near death experience from drowning while surfing a number of years back. Sudden bursts of quick flashing pulses match the tracks violent sonic outbursts, which in turn perfectly underscore appearances of tranquility abruptly exploding into violence.    

Followed by "Sisters" from that same album, with it's frenzied guitar destructiveness and sonic landscape of beautify mayhem.

Breaking the album block cycle, they dipped back into Pe'ahi II, for a brilliant rendition of "Strange" with its familiar Every Brothers-style blended vocals.   Then a cover of the 1967 Velvet Underground classic "Venus In Furs."

Perennial pre-encore show ender (and Lust Lust Lust album opener)  "Aly, Walk With Me" is always a high point of every show.

For the encore Sharin took the spotlight singing lead vocals on their 2010/2013 Dr. Martens commissioned cover of The Stone Roses "I Wanna Be Adored."

Along with Sune handing his guitar to drummer Jakob to throttle, while he went solo on the mic for the 2011 album Raven In The Grave classic “Recharge & Revolt” 

Show complete, the backstage shenanigans came fast and furious.

It's always a pleasure catching up with these amazing musicians and great people.

Looking forward to future shows down the road in sunny FLA.  

Follow them on their Social Media at Facebook, Instagram and YouTube.

A complete track-by-track review of “Pe'ahi II” can be found here.

A full review the first “Pe'ahi” album (along with links at the end to 8 other Raveonettes reviews) can be found here.

An interview with Sune Rose Wagner on this site can be found here.

Finally, at full track-by-track review of all 12 "Atomized" song can be found on this site here.

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Opening the show was alternative/dark wave band Astari Nite.

Originating out of the Miami, Fla alternative scene, frontman Mychael Ghost provides a visual center and primary focus on the songs he writes and performs.

Accompanied by a solid guitarist and multi-layered keyboard player, the electronic trio filled this venue with a captivating sound and light show.

“Your perfect light – makes me shine" Mychael sings.

"I always wanted you"

"Bowie In Daydreams"

Cathedral lighting and atmosphere further enhances the power of each song performed. 

The aura is dramatic with touches of goth-rock melancholy. 

"Unisex Games" - vocals draw from Bowie influence in both tone and diction.  Early Peter Murphy (in Bauhaus days) is another point of reference.

Meeting the artist post show is always a rewarding experience.

Follow this darkly dreaming glam wave band on their Social Media - Facebook  -  Instagram  -  YouTube  -  X  -  Official Website 

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There was a period of time in the year 2019 when this site covered live shows by the electro-art collective A Place Both Wonderful and Strange seemingly ever other month. The history goes back even further with a detailed album review in 2018 and very first live show personally attended in 2017. Along the way the band members took a hiatus from apbwas to do other things, including their wildly popular ADVENTURE[s] Robyn Party, acting, art projects and living their lives. After this writer moved to Florida, it was a pleasure to catch up with Russ and Laura in 2024 for their appearance at Crux in Orlando. Now back again for another Crux/Orlando show, the band also has a brand new album “Matter and Desire.” A deep dive analysis on all of this commences below.

Finding inspiration from Andreas Weber’s book “Matter and Desire: An Erotic Ecology,” the band completed their unfinished songs (some 8 years in the making) that focus on “the moment before something changes forever.” Opening track “Intro444” combines ominous background sounds with spoken word lines (delivered by guest vocalist Devery) that state “I have a theory” morphing into “I HAD a theory.” The swirling, pulsing ambiance progresses mysteriously as vocal declarations float in and out “you have to honor me” and “in this house – renewal – creation.” It’s tense film-score sensations as voices continue with statements “to crawl, to walk, to run.”

Follow-up cut “Shedding Velvet” emerges via percolating machine-driven synth arpeggios that have been the staple of club music since forever.  A solid 4-on-the-floor beat powers underneath orchestral melodies floating above.  The rhythm is quick and motorik with synth stabs and ghostly voices adding depth during both it’s quieter and more frantic passages.

Third entry “Crying In An Uber” leans on world music percussion to establish it’s rhythmic base. Vocals are purposely buried deep into the mix, serving as one more ambient element, rather than direct storytelling. Liner notes, however indicate someone is witnessing “an apocalypse happen” (watching nuclear destruction coming this way?!) which would be more than enough to make anyone cry. Cryptic clearly-heard vocal inclusions such as “a light at the end of a tunnel” add more questions than answers to the heavily percussive outro.

“A Map For Birds (Behind The Glass)” is a hypnotic deep space meditation that seduces the listener into a trance-like state.  As the lengthy (over 5 minute) recording evolves, hard-slap percussion, throbbing sonics and female vocals are interwoven for otherworldly effect.  Liner notes indicate they’ve been developing this one in their live shows “for what feels like a decade,” before finally being able to “capture it on record.”

Featured track “It's Not That Bad, Muffin” also comes accompanied by an Official Music Video. Depicting a “Groundhog Day” scenario where Russ repeatedly wakes up at 7 am and goes about his daily routine. Against a heavy synth-stab and trip-hop percussion beat, the image of someone stalking him (Laura) appears, cut in with bloody drops in the snow. As the music rises in intensity, with higher-pitch synth notes cutting through, Laura’s murderous voice drifts in and out with dramatic audio quick stops. Russ ultimately stops in to a bar to get a drink. When the bartender steps away, menacing Laura takes his place, forcing him to make a run for it. However, there’s no escape from “murdering” Laura, who ultimately takes the 7 am wake-up place as the videos final scene.

Check out this deliciously macabre video here:

A majestic orchestral intro is first heard on the ultimately Lynchian rendition of 17th century Irish Gaelic poem “Táim Sínte Ar Do Thuama.”  Numerous artists have covered this authorship-lost-to-time piece with it’s more recognized anglicized title “I Am Stretched On Your Grave.”  For this version, Laura is tasked with an unsettling vocal rendition, with low-end percussion and layered sonics.

Penultimate cut “Vegetation” rises out of a pulsating electronic backwash, with Laura commencing another spoken-word segment.  Much like the dense thickets of its title subject matter, additional audio layers roll in and further obscure ones ability to traverse and cut through.  With a subtle jungle thump emerging, Russ now joins the fray with more intense shouted vocals.

Final entry “Dissociation (A Map For Birds)” serves up an alternate dub mix of previous (behind the glass) version.  With less background activity, emphasis is placed the voices recorded, rising up (and then out) of the mix.  A more playful audio trip, it serves as a perfect closer to this overall fascinating collected recordings.

In addition to this wonderful album's debut (both studio version and live renditions) were many curious sights encountered in this arty village and gallery/bar.

On arrival a majestic and relaxed cat was spotted, seemingly owning the streets outside.

It was soon discovered this was Lulu, the "mayor" of the venue and neighborhood.

With honors this regal individual so obviously deserves.

Being an art space, a variety of vintage photos (1921!) and paintings adorn the walls.

The night's theme was a Twin Peaks Costume Contents and the participants did an amazing job.

Out front with the best David Lynchian band there is.

Thanks for never forgetting to come to Florida!

“Matter and Desire” is on the Re:Mission Entertainment label and can be ordered here.

Follow apbwas on their Social Media:    Facebook    -   Instagram    -   Official Site

Previous DCW features on this artist can be found   here  -  here  -  here  -  here  and  here.

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Deep Probe of Admirable New and Recently Released Albums

Two full-length, track-by-track album reviews are the featured output this time here at DaveCromwellWrites.  An overdue return to greatness comes by way of legendary creators and long-time friends of this site.  It’s always satisfying when one can reignite feelings of excitement and admiration that an artist initially stoked in you.  These moments are what you live for, and should never be taken lightly. Equally important is a brand new album from more recent contributors (to this site, anyway) who’s timeline of productivity mirrors the first entry.  There’s a starting point for everything, and the focus here is on these latest works.

When the original “Pe'ahi” album was released by The Raveonettes in 2014, an in-depth review of it was conducted at this website. That actually served as the ninth full-length review of this bands work here spanning a time period from January 2009 through September 2014. The review writing done earlier (which goes back as far as 2003) is now lost to the wind and dead sea scrolls of now defunct hyperlinks. Post Pe'ahi (1), an epic 3,744 word review of their “2016 Atomized” album was published here in January 2017. Following that was an August 2018 one-on-one interview with the bands mastermind Sune Rose Wagner.  After a long hiatus The Raveonettes recently released a much anticipated follow-up to Peahi, simply titled “Pe'ahi II.”  DaveCromwellWrites now digs into every essential aspect of each track with recharged purpose.

True to the opening tracks song title, the album starts with horror movie sounding plinking toy piano notes on “Strange.” It’s a 1950’s style stroll progression before the primary forceful guitar chords commence to chug along with bass guitar in tandem. The familiar Everly Brothers-style blended Sune and Sharin vocals deliver opening lines “Whenever we try it's a waste of - my time – yeah. Whenever we fight do you feel it? You bring me to my knees and tears.” Melodic guitar figures follow, immediately underscoring what gorgeous songwriting this is. Wagner laments about losing someone to “a boy who looked like me,” pointing out how “strange” it is “to go from the other side to this.” It all leads up to an angelic chorus that states “when we try – can we feel it’s ok” – “and it feels just like love.” That euphoric moment is ultimately countered by sparser instrumentation and comedown sentiment “it’s a waste of you and I.” The tracks final minute is an ambient dreamscape of metronome clicks and hisses over a simple keyboard rendition of the melody.

Check it out:

Follow-up cut “Blackest” starts out just as mysteriously, this time approximating a jazz combo with busy free-form drumming and soft reverberated electric guitar. Pulsing bass notes soon begins and spoken word as if from a radio broadcast can be faintly heard. All of that is obliterated when forceful buzzing guitars burst into the mix, soon joined by a power-thump drum beat. One more layer adds on with a descending “detective story” guitar melody. All of that suddenly drops out leaving behind changeover “ooohs” and a stark rendition of the songs lyrics. “When I rise on my wave - the moon shows her face. A lonely dot at sea - a lonely girl coming straight at me.” The trademark Wagner long slithery guitar groove is never far away, and the one here is everything you could want. Cycling one more time through the lyrical passage, Sune’s guitar follows with a flurry of melodic lines against moody backing instrumentals and an eventual thump-n-bump drum beat outtro.

An official band lyric video accompanies this one:

A syncopated rhythm between driving guitar and stutter-stop drum pattern immediately kicks off third entry “Dissonant.” Harmonized Sharin and Sune vocals jump in, delivered quickly at one more alternating tempo. “Come and get beside her - just pretend you like her - this love is all yours to fake” is the opening, disillusioned sentiment. “I tend to harden up when our love is set to go - I wanna give it up for someone I don't know” completes the hit-and-run encounter. A musical callback to “Attack of the Ghost Riders” follows to much surprise (and delight). With that initial verse/bridge progression cycling though again, a quick stop deep bass buzz plateau is reached at the minute-and-a-half mark (and lasting over a minute) before it’s percolating build-up launches back into one more verse.

A classic, straightforward drum beat leads in the official lyric video enhanced track “Killer.” Melody kicks in by way of a tinkling bell sheen on its descending chord progression. Rough guitar chords slash underneath as dual sung vocals commence. While the verses are catchy in their own right, it’s the chorus that hooks you in immediately with the battle-scarred relationship lines “Kill for love, and make it so I don't care. Most of the time, I felt so alone.” After a second pass through it stops abruptly, with elegant piano notes and finger snaps in it’s place. Percussion returns, adding a steady current under the extended piano melody. Another subtle change halts that progression for brief arpeggio guitar notes, before returning to that relentless forward march. It’s an unusual (and unexpected) coda that measures half of the entire songs length.

A steady hard-edged guitar riff is the opening force driving next cut “Lucifer.” Motorik percussion joins in with measured pace, offsetting the guitars urgent nature. Softer higher range vocals spell out what appears to be a demonic fever dream. Bass guitar and more bottom heavy drums usher in the next passage adding a bit more grit and a touch of funk it it all. That is emphasized even further once the original hyper-drive guitar riff returns. Another more spacious audio section change includes lyrics indicating “Lucifer” is a woman who “never felt love” is “tired of all the fighting” and “wants to walk alone.” Cinematic in scope, the primary driving guitar hook once again moves out and open spaces emerge in its place. The tracks final minute is a blend of softer alternating guitar riffs, scratch-buzz percussion and ultimately deep buzzing synths.

Distant, chiming guitar ambiance is the deceptive fade in on forward charging rocker “Speed.” Sune’s vocals are pitched into a slightly higher register as he delivers loosely related strung together lyrics alternating between hope and defiant resignation. “My hope died down I can't explain” (negative) “Somewhere I know that I belong” (positive), “Don't sell your soul you're young not old” (positive), “Don't waste your time you're one of a kind” (more of a pep talk). True to the song title, it’s fast paced, tasty guitar lick driven, and while the percussion is hissy and somewhat buried, there’s lots of angelic background voices floating all throughout.

The percussion stops momentarily leaving only guitar fuzz to emphasize lyrics “Got hit by a car and emerged unharmed” (well that’s good) “A failure in life means a winner in hell” (what?). Other lines that stand out, like “I don't wanna die without having tried” (good advice) and “You're jealous of me for what I've done” (that seems rather personal and one wonders who that is aimed at). The final verse let’s it all hang out, with the lines “I belong to this generation of filth” (self realization), “I was pushed into life entertained by war” (we’ve talked about this directly interviews and related song reviews), “we're pretty and blessed to have met with death (?!), “cause I know when he comes I'll take his hand” (yeah, I suppose, but don’t wanna think about that now – or ever – when it happens it happens – nothing you can do about it).

Reaching the albums penultimate track, “Sunday School” emerges in full motion from the get-go as a quick-breeze ditty. With emphasis on vocals and lyrical story telling rather than instrumental depth, it’s the perky, harmonized chorus that instantly connects. “What if you met him on a rainy day, he wouldn't get a word you say. This ain't no darling little Sunday school, cause he'd kill for love but not kill for you.” Bonus points for adding bell-chimes on the bridge section “and all the things that break you down, he never cared at all. Another time another place, he never cared at all.” That is follow by single throbbing tone, with distant voices as if coming from a far off radio. The final verse include lyrics too intriguing to ignore, with “fucked dates go to their graves” (!?), “young men end their lives” (negative), “young girls become wives” (positive).

Final cut “Ulrikke” brings back the harsh distorted guitars and thunderdome drumming for it’s abrupt shock-to-the-system intro. All that drops out quickly on opening verses that culminate with the line “make me indestructible as I am.” That intro noisy instrumentation returns, now sounding like an approximation of a train chugging down railway tracks. The second verse (same as the first) benefits from trip-hop style percussion and distinct, stylized recitation (and pronunciation) of the words. “Make me feel like finding someone - who can never do right and can never go wrong” becomes the catchy (if somewhat puzzling) refrain.

It's a wonderful album overall, and a reminder of the seemingly effortless ability Sune Rose Wagner has in writing, recording and bringing a record to fruition.

Connect with the band and find out how to acquire the album via this link.

Follow them on their Social Media at Facebook, Instagram and YouTube.

A full review the first “Pe'ahi” album (along with links at the end to 8 other Raveonettes reviews) can be found here.

An interview with Sune Rose Wagner on this site can be found here.

Finally, at full track-by-track review of all 12 "Atomized" song can be found on this site here.

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Around two and a half years ago this site did an extensive review of Canadian indie rockers Star Collector’s 6th studio album “Attack, Sustain, Decay . . . Repeat.”  That was the result of being impressed by their (and subsequently reviewed here) video single “Green Eyes” from fifth recording “Game Day.”  Now the band is back with their just released seventh album "Everything Must Go!" Expecting nothing less than another power-pop masterpiece, DCW digs down into this latest output.

The album opens with overall title track “Everything Must Go!” along with a full video production. This title name is something you would see on retail stores looking to move all their merchandise in one last blowout. That doesn’t seem to be the case however with this band, as their meaning is more universal as in letting material things go (“cause you can’t hold on to it”). The track (and video) comes into view initially via mix-master drummer Adrian Buckley’s subtle backmasking followed by a propulsive beat. Slashing guitar chords jump in, delivered by Vic Wayne and Steve Monteith with Tony Kerr’s bass locking to this progression that echoes The Who’s “The Real Me.”

Vic’s vocals are less Roger Daltry and more Alex Chilton in timbre, as he calls out for you to “come along for the show.” There’s an early “easter egg” for classic film buffs with the lyrical reference “Warriors, come out to play” (if you know the scene, you never forget it). Continuing it’s anti-materialism theme “we ain’t any richer than our memories,” “can’t put a price on feelin’ this way” and “you can’t buy tomorrow” leave no doubt as to what “must go.” In classic power-pop fashion, a blistering lead guitar break by Steve at the two minute mark is tasty indeed.

Check out this song and video here:

Second entry “Victory Dance” builds around wiry slide guitar and hand-clap-style percussion. A chugging mid-tempo groove, lyrics tell a tale of “we” (us) vs “they” (everyone who isn’t us) with an unconcerned “And we laughed” hook resolution.  Big chiming guitar chords and fluid bass propel third track “Shining Example.”  A higher-register backing vocal harmonizes with Vic on verses, while the change is solo voice intimate. The overall feel is closer to Neil Young and Crazy Horse than traditional power-pop.

Stacatto percussion, slithering bass and open note guitar figures lead in the subdued “Queen Bed.”  Gentle female vocals (courtesy of Renee Suchy) join Vic on the understated “fight or flight” segment and following chorus.  Those essential backing vocals become more prominent as the song progresses through this tale of returning to single life.  Angular prog-rock accents provide instrumental change hooks for the torn memory saga “Black Nostalgia.”  A particularly busy bass guitar line runs throughout, and especially stands out on the ethereal “Ah – Ahh” chorus.  Vic drops his vocal timbre down low for the emphatic final verse where “the brutal truth” is addressed once and for all.  

Referencing the Greek myth of Sisyphus, “Roll That Rock (Up That Hill)” bounces along briskly with contributions from guest musician Adam East (guitar, bass and vocals).  Each lyrical burden is met with a definitive “And I don’t mind.”  A soft plateau mid-song change section indicates that even if you “scream into the vacuum, everyone’s [still] a critic.”    “Overblown” is an easy, breezy groove with lyrical focus on interpersonal turmoil. The question is asked “would you really be better off alone?” Frequent references to “the devil you know” describes multiple outcomes.

“Heavy On You” comes into focus via distorted buzz-fuzz and a-cappella vocals. When the mid-tempo cruncher rhythm comes in, a cautionary tale spells out how “a special kind of fresh hell - when you look at yourself - heavy on you and your mirrorball.”  Bonus points for the thoroughly savory guitar lead running through the center.  Bright acoustic guitar and melodic bass guitar melodies usher in the merseybeat tinged “The Best Thing.” Clever wordplay combining descriptive terms “bushwhacked,” “ransacked” and “gobsmacked” focuses on a spirited literary approach.  Essential statement “the best decision you ever made was doing nothing at all” rings ultimately true.

Light touch drumming and prominent bass guitar provide instrumental backing for the vocally intimate “Static.”  There is a simple yet inventive nod to the songwriters plight with the line “searching for a chorus in a never-ending verse.”   Quick paced chunky guitar rock returns for the lyrically opaque “Section 8.”  Ostensibly about the rental housing assistance program often referred to by that name, a penetrating guitar riff adds necessary melody between each line of the verses.  Jungle thump drumming, slashing guitars and a hyperactive bass guitar pattern propels penultimate track “Shakedown The Breakdown.”  As hoped for, a smoking lead guitar solo rips n’ rolls at multiple points throughout. Because when you come down to it, “We all need a gang in this cold town.”

The album closes on an adventurous direction for the band, breaking from their signature power pop style with “Your Version Of Me.” Written as a collaboration between Vic and long-time friend of this site Jody Porter (most recent review on his music here, with linkbacks to  numerous others) the groove echoes Pink Floyd’s “Wish You Were Here.”  Building off an instrumental demo Jody presented, Vic’s lyrics build from original intentions with the lines “You were banking on a new religion - a grift you kept on the sly.”  The songs title refers to how everyone we come in contact with has their own personal “version of you” and how that differentiates somewhat among all of them.  No one can know everything about you, as such only have their own impression of you. “Now, I’m free… and not your version of me,” becomes the definitive statement.  It’s a gentle and introspective way to end an album that overall is loaded with one fine song after another.

Dig in to the album here:

Find out how to acquire this groovy power pop album at their Bandcamp

Follow Star Collector on their Social Media  -  Facebook   -   Instagram

A previous DCW feature on this artist can be found here.

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New Music Releases - March 2020

The relatively early stages of new year 2020 forges onward, and with it comes enough global fears of pandemics and economic turmoil to rival what were once considered too far-fetched to be true doomsday scenarios. It's as if the T-Veronica virus depicted in those outlandish Resident Evil movies are merely months away from consuming us all. So, while many now hunker down in their homemade bunkers in a desperate attempt to avoid contact with the “infected,” it seems only fitting for this months DaveCromwellWrites feature to focus solely on recordings from the more interesting (and still surviving – at least as of this writing) musicians.

Originating out of the Western Australian city of Perth, psych rockers Mystery Tapes have now released their new single “Cold Habit.” Described by songwriter/producer/guitarist and vocalist Zack Yusof as an attempt at modernized blues/country-style lyrics enhanced through the sonic prism of today's pedal-board FX accompaniment, shows insight with the creative process.

The track slowly rises out of churning, overtone-floating guitar chords and singular stomping beat, as bass guitar slithers in with the fuller percussion accompaniment. This complete, three-piece electric rock band lays out the progression with an initial bursts of doom-laden flair, before dialing it back for the opening vocal salvo. “I don't remember – got no recollection – I never hear the words you say. I can't connect you – I don't believe you.You had your chance to walk away.” The progression runs through again and it's melody becomes that much more strikingly noticeable, with those forward driving guitar chords adding upward tonal movement. Clean, poly-rhythmic drums and cymbals hit punctuation points, locked on with the bass, creating an appealing undercurrent to the melody happening over top.

Dialing back the instruments once more, the lyrical story continues: “I don’t really get you- I don’t really want to - I’ll turn your flowers into clay. I will reject you - But I don't regret you - I live to fight another day.” As the band intensifies with its underlying groove, a series of guitar filigrees are unleashed over top. The emotional vibe of old blues storytelling continues with these essential hook lyrics: “You got played right from the start. You would have known if you were smart. I stuck around just to tear you apart. It’s made of stone, my frozen heart. Pierce your soul with my poison dart. You should have seen it right from the start.”

As the percussion momentarily drops back, guitars chime with tension that leads to re-entry by the rhythm section and a series of vocal “ahhhh's.” With those vocals floating above, the band churns on with even more ferocity, before a final 30 seconds of psychedelic backward guitar looping.

Wisely employing the Creative Mastering skills of iconic 90's producer (and so much more) Kramer made certain this track can now be heard in it's best possible condition.

Kramershimmy.com

The digital track "Cold Habit" by Mystery Tapes is now available on all the major streaming platforms, including HERE.

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Alternative rock is a genre designation that includes a wide range of styles under that singular heading. The mid-western US locale of Canton, Ohio serves as the home base for I Fight Fail, a three piece emo/hardcore-melodic-pop unit that have recently released their latest single “All I Am.”

A universally appealing clarion call riff on the tracks introductory hook soon gives way to measured bass guitar notes and the emotionally delivered vocal lyrics that follow. “Find my heart, and rip it out. Everything is quiet now - one last kiss, so make it count” comes wrapped in an affecting sentiment. Busy drums jump into the mix, adding an excitable element underneath this unfolding story of how “I dreamt of a girl with one blind eye, surrounded by clouds and falling skies. Some how I knew I had, I had to make her mine”.  The dream world is so often a nightly source of our creative thoughts, and that particular imagery alone presented in this song is an insightful example of it.

The central hook and thematic statement “We're never awake till we wake up, we never feel till we feel numb” is first arrived at in a more sparsely ambient audio state – allowing that sentiment to initially sink in before subsequent pass-through's come delivered with full-force intensity.  That explosiveness first arrives on yet-another hook (in a song full of many) referencing its title “All I am is gone. All I am is lost.”

Deeper, tom-tom heavy percussion underpins a second verse that references “trenches,” “pacing figure eights” and “infinity” with vocals progressively enhanced by shimmering higher-pitched harmonies. While the two dominant hooks cycle through again with alternating spaciousness and fury, a centrally located sparse instrumental break sets the stage for one more build-up, culminating in a triumphant hook-heavy conclusion. The final 20 seconds sees the vocals increasingly obscured, as if slipping back into the the dream state once more.

The track is now streaming everywhere (including HERE) and you can connect with the band here:

FACEBOOK   +   INSTAGRAM

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The Brighton, England independent music label Shore Dive Records is always good for a steady stream of intriguing new music. Specializing in limited edition releases, they provide a treasure trove of worthy material otherwise obscured by larger entities hammering away with oftentimes less creative (but more heavily financed) promotion. One such band finding it's way onto the DaveCromwellWrites landscape is the Russian collective COSme. While the announcement of Shore Dive reissuing the band's debut album came a month or so back (release number 34), the positive impression made on first (and repeated) listen(s) requires this deeper analysis. The principal members of COSme emerged from 90's era dreamy noise-gaze band PLASTICA. The 10 track album “Lost Generation” was initially released in 2018, with this Shore Dive reissue at the beginning of 2020.

Video single "Newclear" is a sonic and visual tour-de-force, melding its brilliant dreamgaze guitar, bass and electronic percussion track against imagery alternating between beautiful creation and total world annihilation.   Devastating atomic destruction shares equal space with the exploding beauty of flowers bursting into bloom.  Classic gaze guitar imagery comes superimposed with sizzling sparklers and celebratory fireworks.  Add to that an idyllic blue-haired chanteuse singing sweetly, further serving this juxtaposition of heavenly bliss with total Armageddon.

Clever placement of politicians and their frighteningly sweet smiles are blended together with world-destroying mushroom clouds.  Rockets blast off, flowers bloom at hyperspeed while the instrumentation holds in a bridge-like pattern for emphasis.  As engulfing billowy textures fly away in reverse motion (representing nuclear winter?) the blue haired beauty returns to sing and swoon with a seductive charm.  An interesting keyboard melody emerges at the songs mid-point, and skeletal arms strum downward on those pitch-bended guitars. The song and video combined is a truly creative masterpiece.



The band has just released a brand new track “Adore You” which employs similar levels of quick strummed guitars, pitch-bended whammy-bar techniques and mechanized percussion.  The combination of those elements position the track along the same lines as the classic My Bloody Valentine track “Soon.” Vocals are delivered by a male voice and come wrapped in a gorgeous processed sheen. The tracks mid-point doubles-down on that sheering gaze-guitar effect that has always blurred the line between musical instrument and some kind of industrial machinery. While the lyrics are written and sung in Russian, the single line designation: “dedicated to the one I love” (and the tracks title) pretty much says all you really need to know.

Check out this track RIGHT HERE.

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Canadian duo Paragon Cause have been working feverishly on new material since putting out their wonderful EP “Lies Between Us” last Autumn (and fully reviewed here).  A brand new single titled “Lost Cause” is now set for official release on March 20th, with DaveCromwellWrites lending an ear and analysis to the inner workings of this track.

Scheduled as the first single off imminent full-length “What We Started,” the song's meaning emerged from songwriter and vocalist Michelle Opthof's frustration over the difficulties women sometimes face in dealing with the criminal justice system. Combining that with the more universal element of a relationship coming to an end, and the realization that the individual responsible for the damage done truly IS a lost cause. Working seamlessly with bandmate Jay Bonaparte and producer/fellow-musician Sune Rose Wagner, Paragon Cause will also include a sci-fi graphic novel story along with the record.

The track itself builds out of measured electronic beat percussion that makes use of bass-drum, snare and highhat approximations with strategically placed deep echoed singular shots. A classic synth-flute sine wave enters the mix which quickly fills in with additional keyboard-driven notes and a deep low-end synth bass. The alternating rising, then descending melody line coupled with these synths tonal qualities hearken back to the rock-dance music of the golden early 80's era. There's an orchestral element to it all as well, providing a stylistic anthem backdrop for the lyrics that follow. “You've taken more than your fair share – It doesn't seem to bother you” is how the story unfolds, against sparser backing of stripped-down percussion, single-note synth stabs and a deep-rumble rising bass-synth line.

The instrumental passage following essential lyric “Crushing souls to replace things you've lost” brings back that lush opening orchestral layered-keyboards hook, adding subtle percussive details in the process, such as reverberated tambourine strikes. It all builds towards the dramatic vocal reading (and tracks emotional center) “The scars remain – you should have to pay – more than them.”

Listen to the radio edit of this song HERE.

And check out the video made for it HERE.

You can Pre-Order the soon-to-be-released album "What We Started" HERE.

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