Discovering that new music has dropped from bands you know and love is always exciting. The need to experience every note and lyric is a powerful thing that ultimately leads to a thorough track-by-track analysis. Whether it’s a full-length album or an advance promotional single, a detailed approach for the recorded works is essential. Furthermore, the current trend of generational classic rock bands bringing their live shows to hometowns across the globe leads to rediscovery of what you always loved about them. Along the way, previously unheard artists find their way into your wheelhouse. It all adds up to yet another informed literary discourse.
It was towards the end of last year (during the “spooky season”) when we got a first glimpse of The Suncharms forthcoming album “Darkening Sky.” Featured track “Monster to Me (Halloween Version)” was released at that time, receiving a detailed review here on this site. The band have recently put out the entire 12 track album, and with it comes a greater sense of maturity. Once focused solely on singles and live shows, they’ve now completed their third full-length album in the last five years. The time has come once again to listen with purpose and discover the core elements of these new songs.
Opening cut “Midnight Train” leans on a relaxed bass and drums groove with retro organ keyboard textures. Wire-y guitar lines slither through with Stone Roses-like appeal. Vocal maestro Marcus Palmer delivers his storyteller lines with just the right amount of Jesus and Mary Chain vibes. It’s so much about the mood, but there’s thought behind those lyrics. “Names rusted into the pier . . . for 100 years,” is both poetic and sublime listening. The twist comes via it’s minor chord chorus where picturesque lyrical imagery leads to having “never caught that train.” Adding subtle trumpets on the end out elevate everything to conclusion.
Follow-up track “Annabel Lee” continues the thematic by-the-seaside, looking-back poetry, this time wrapped in a perfectly concise uptempo pace. Memorable guitar melodies, fluid bass and drums with organ enhancements are all there. “Love became a stranger” between “me” and “Annabel Lee.”
“Stone Tape Rewind” blends a subtle country-esque vibe using according and pedal-steel sounding guitar work. Book-ending all that are some classic John Squire-like guitar riffs. “Was that the ghost of you? Was that the ghost of us?” is the lyrical question asked - “locked in walls of blue.”
As mentioned in the intro above, fourth entry “Monster To Me” received a fully detailed review this past October. “Air Raid Shelter” tells the story of an unexpected encounter where “you told me you were born with your feet facing the wrong way” (?!) “and by the way your lover is still at home and I've nowhere to go.” So oddly specific, the picture created stands out uniquely. “How can I get home?” the chorus asks – “all the coaches have gone” and “I’m hundreds of miles away.” Light piano notes sprinkled throughout add a delightful sonic compliment to the proceedings.
“Diamonds” features a more distorted primary guitar figure as it’s dominant sonic force. The overall rhythm has a 1960’s feel about it, as a tale is woven around someone magical and kind. Having “diamonds in her soul,” she is found “stepping over insects and butterflies.”
“1000 Years” comes on by way of triumphant power chords and big rock arena song appeal. Boldy uptempo, the story tells of a “lost wish” where one “drifted back” from “a lost romance” and “a wasted chance.”
“Motorway Bridge” opens (and closes) with the sounds of cars traveling by, before it’s main progression commences in full force. Busy multi-note bass guitar and tom-tom drumming creates the rhythmic undertow for chiming guitar figures over top. The chorus hits “like a dagger” with vocals channeling the other above-mentioned Stone Roses front man, Ian Brown (back in happier times).
Commencing in full flight out of the gate, “Interstellar” bounces along at a spirited pace. The bass, drums, keyboards and guitar configuration all contribute with the appropriate touch. Comparing a photo of earth from space to a tower block, “behind each light hundreds of lives both unique and the same.” The chorus surprises by going instrumentally sparse on the lines “capturing beauty in the mundane - raindrops glistening on a window pane.” Another trumpet emerges as a lovely enhancement on the outro.
With amusement park sounds fluttering in the background, tenth entry “Ferris Wheel” emerges via relaxed groove driven by acoustic guitar and shuffling drums. Making comparisons between circular movements of coffee stirring and the song-title subject matter, this perspective shows “where it all went wrong.” What is supposed to be casual fun, actually provides insight on “silent screams” and “hidden fears.” A gentle twangy guitar solo playfully dances against counter-melody bass lines up to the songs final notes.
Ice clinks introduce the electro/acoustic driven penultimate track “Winter Sun.” With a rhythmic cadence not unlike the Church’s “Under The Milky Way,” it’s western frontier vibe is dappled with subtle instrumental touches. Extended note synth pads stand out, while banjo-like figures are heard off in the distance. As expected, the bass guitar is ever-busy throughout, and brassy synth-fills emerge to provide further sonic depth. Lyrically reflecting on “what might have been,” it seems that “no spark was left for us.”
Final track “A Snowstorm” uses ethereal flutes and horns to augment an easy-going guitar-strummed rhythm. The ghost of Lou Reed’s Velvet Underground floats through it’s lyrical cadence on picturesque verses. While the chorus leans on melodies with images of “a snowstorm outside a room lit by streetlights . . . poisonous fire” and “desire,” a dreamy ending perfectly sums up this gratifying album.
Listen to and find out how to acquire this dreamy album here:
When the opportunity arises to catch one of your all time favorite Rock and Roll bands live in concert, you’d be a fool to pass it up. Discovering that 2016 R+R Hall of Fame inductees and legendary hit makers Cheap Trick were coming to Hard Rock Live in Orlando, Florida – it was a no-brainer to attend this show. Listening to bassists Tom Petersson’s wit and humor on Eddie Trunk’s interview show only sealed the deal. Since moving to FLA, the Universal Citywalk concert venue has become a personal fave to see live concerts. Big Name bands in the perfect sized environment. Great sound, great sight-lines – and great performances. What follows here is a clip of every song they played.
The now traditional show opener "Hello There"
Followed by "Elo Kiddies"
"Hot Love"
"Radio Lover"
First spotlight moment goes to Rick and his cool square guitar
Which leads into their cover of The Move's "California Man"
Dipping into their most recent album, they play the marvelous "Twelve Gates"
The next featured musician moment was Daxx with a drum solo
Leading into their own hit cover version of Fats Domino's "Ain't That A Shame"
"The House Is Rockin"
"High Roller"
"Downed" (with Robin Taylor Zander on lead vocals)
The next solo spotlight went to brilliant bassist Tom Petersson
That leads into "I Know What I Want" with Tom on lead vocals
Last but certainly not least, a solo spotlight for perfect frontman Robin Zander
Leading into one of their all time great songs "The Flame"
Speaking of their biggest hits, here's "I Want You To Want Me"
Then there's "Dream Police" which they closed out the pre-encore show
After the lively Orlando crowd engaged in much applause and calls for "more" - the band returned within a reasonable amount of time with first encore "Never Had a Lot to Lose"
Followed by their arguably most well-known song "Surrender"
Then closing out the night we a redux of the opener "Goodnight"
A frequent occurrence attending live shows is the discovery of new, previously unheard music via the opening act. That proved to be true once again with the Nashville based Americana style singer-songwriter James Hatem. Impressed with his ability to command the spotlight with just an acoustic guitar and a few pedals as accompaniment, he delivered a tight 30 minute set that was thoroughly enjoyable. James has just released a new single “Prodigal Son,” that now receives a close listen and review.
Opening with acoustic guitar chords and minimal percussion, a violin joins in on this soulful country progression. James sings “all my life I’ve been living like a loaded gun. Sights raised high and I’m shooting up towards the sun. ‘cause every day that comes and goes I know it’s a battle that I have won” delivered in a harrowing voice.
Taking in all the advice others seem to be giving, the introspective decision “I’m moving slow – but I’m coming home” rings sincere, enhanced by gentle keyboard swells. The big, gospel-tinged chorus provides a twist with how “I ain’t a prodigal son – I’m just a poor man living free. This life on the run – oh it keeps on chasing me. I don’t know where I’m going, but I’ll let it take the lead” completes the cycle, as pedal-steel ambiance flows through the mix. Big “Whoah Whoah” background vocals emphasize how he’s just “praying for a little peace.”
The songwriting craft is eloquent, with so many great lyrical passages. “Forgive me for all the wrongs I have done. Though I feel there will be more before I am gone. I am only flesh and bones and prone to hurt those that I love, but don’t lose hope,” comes straight from the heart. As does the change section “life’s got chains, but none will hold me down – life’s got pain, but there’s joy to be found (with voice rising for uplift) – “ain’t no shame in living like I know how – a little grace holds a lot of power.”
Listen to this wonderful track wherever you stream. Here it is on YouTube Music and Spotify.
Here's a short clip of it from the concert - listen to how it sounded live at the show:
Another outstanding number played was heart-tugging, previous single "Northern Winds"
Which made an impression (and later got the Story/ReStory treatment)
It’s always fun at this time of year, no matter your age or where you may be living. Everyone seems to love the Halloween Season, and this current DaveCromwellWrites music review features two releases focused on this universal theme. However, never far from this websites realm are bands that focus on gazey, propulsive indie rock, released via trusted labels. The binding element between them all is a motivation to create attention-worthy recordings.
Rhythmic fuzzy-gaze rockers Phantom Wave are back with a new full-length album “Echoes Unknown.” Still boasting the creative forces of Ian Carpenter (guitar/vocals), Rachel Fischer (drums) and Yanek Che (bass), songwriting is credited to everyone, with Ian providing all lyrics. Contributing to the overall sound design was engineer Ryan Dieringer and Ringo Deathstarr’s audio master Elliott Frazier on mixing. With Shore Dive Records releasing it on their well-respected, like-minded label, a full track-by-track review follows below.
A squall of feedback and noise create the entry point for rhythmically propulsive opening (and title) track “Echoes Unknown.” While guitars create a solid wash as backdrop, thundering drums and bass guitar deliver all the forward motion. Vocals come layered on top with minimal (if any) enhancing studio effects. This clean vocal reading stitches together poetic thoughts of things being “damaged and zoned . . . fever stoned” and “follow down to the bones.” The chorus keeps things simple stating these “echoes” are “for you,” adding more emphatic vocal phrasing and fuller background sonic force. A second verse keeps the poetry flowing, with matching couplets “say now split the sorrow - what wishes can we borrow” and “here comes another remedy - all the skies, you and me.” It’s vague, yet somehow universally understandable. A midpoint section adds a layer of percussion accents to the churning back-and-forth two chord break. The tracks final moments combine metaphysical lyrics – “all in all unknown – echoes on, unknown” with one more layer of higher register guitar textures.
Follow-up cut “Splashed” comes on quicker with forceful drumming powering along bass and guitar sounding like early-era Cure. In fact, the unadorned vocals seem right out of that time period as well. Lyrically playing off a water theme (“hazy fog . . . don’t you capsize”) it’s the emotionally charged heavy-noize-gazer chorus that compares “getting splashed” with “breaking free.” One could picture themselves relaxed on a beach where “swollen skies are here, blankets aglow - somewhere else is burning, got nowhere to go.” Additionally the lyric “take it away, the crash and wonder” references leaning IN to it, rather than removing it. Reaching it’s explosive sonic peak and definitive final word “Free,” comes a quiet 30 second ambient fadeout.
Third entry “Hologrammer” features higher-register “icy” guitar textures and four chord progression locked together by bass and drums. Vocals are delivered in breathy whisper on lines “exquisite you, along the streets - tell me now, beauty replete.” Eloquence of expression continues through loosely connected lyrical thoughts where “all the tones – they begin – praise the saints – don’t give in.” When the chorus is reached, sharp turn accents add punch to essential phrase “burn on hologrammer.” Bass guitar plays a central role out front during an extended instrumental midsection.
A slower, more measured bass guitar and drums groove provides the pacing for next cut “Woozy.” Guitars are angel-stroked chime-y, floating in from the clouds. The chorus hits hard (like one always hopes) with the lines “now what you got? Drifting forever. Now what you got? (and this is clever) “forever endeavor.” Only reading the lyrics would reveal that, as listening to it sounds like “forever and ever.” This writer and eternal student of word craft appreciates the subtlety. Perhaps this attempt to achieve or gain begins with “solace,” “trails” and “desires” to “want everything good.”
Check it out:
Reaching the albums midway point, “Breakaway” plays with tempo shifts that pivot from standard progressions to more angular rhythms and leveled-up speeds. It’s a technique you sometimes hear in the songs of album mixmaster Elliot Frazier’s own band Ringo Deathstarr. While the chorus implores you to “breakaway – what do you say,” deeper clues emerge via lines “open the old maps and all the spinning tops - back to sonic beach, paradise in reach.”
Deeper album cuts exhibit subtle variations on what has already come before. “Collider” blends a Cure-like gothic rock progression with gazey guitars and lyrical views from “the atmosphere.” In contrast, “down here” (on earth) “we all know how it goes.” Open note arpeggio guitar plinking gives seventh entry “Wanton” it’s unique sonic quality. While that singular title adjective has a few definitions, a lyrical reference to “endless pleasing” gives a clue into which one it is.
This one comes with an official video:
A deep bass guitar groove drives the deceptively titled eighth track “High Halcyon.” While essential title word and subsequent lyrics reference blissful, carefree moments of peace, instrumental accompaniment resides closer to traditional noisy gaze. Penultimate cut “Memory Swerver” hearkens back to the “new wave” era (somewhat) with it’s defined chord progression, clarion-chime guitars and emo-angst vocal delivery. Along with the now-expected harsher instrumental elements is a final twenty seconds of Sonic Youth-like ambient fadeout. Final track “Sirens” leans all the way in on breathy, urgent vocals. With a pace and sonic texture close to fellow local gazer band Dead Leaf Echo, clever lyrics emerge, like “seasons cresting into shape – playing all the Sunday tapes.” While the drums on the entire album elicit a live-in-the-studio feel, it’s even more pronounced here. Bass guitar continues to pop and rumble throughout, under the glorious wash of soaring ethereal guitars.
Check out this entire albums multilayered distorted dreamscape here:
Previous Phantom Wave features on this Site can be found Here and Here.
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The DCW universe has been keeping up with The Suncharms since first being made aware of them six years ago. A significant amount of reviews on their musical output have graced these digital pages since then. Along with prominent full track-by-track album reviews, both single releases and compilation contributions have also been included. Now arriving just in time for the “spooky season” are two tracks serving as the first taste from their coming album “Darkening Sky.” A careful listen to these new songs commence below.
Featured cut “Monster to Me (Halloween Version)” comes along at this appropriate time of year. An ambient wash rises up quickly, soon followed by the primary easy shuffle groove. It’s essential melody is delivered by a buzzy guitar riff, with secondary guitar chords, on-point bass and a relaxed percussion backbeat. Vocalist Marcus Palmer gets right to it with the opening lines “you became a monster to me,
I had a fear of going home - one look from you could turn me to stone.” With those chilling thoughts laid out, the tracks gorgeous hook emerges out of a power chord and rim-clack drumming. “It wasn’t always like this” the singer presents, as the most unexpected but perfect-for-it muted trumpet joins in adding pathos to the moment. Where “a teenage love affair – the stars seemed to shine – so bright.” That brightness began to fade when a “dark soul” took over, building “a temple to yourself.” This compact 2 minute, 30 second song closes out stating “this is no – Torture Garden – Vault of Horror - House that Dripped Blood - Friday Night Double Bill.”
Previous DCW features on this artist can be found on this site here, here, here and here.
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Long-time favorites of this site Big Stir Records are always working on new ideas for the music and artists they represent. The Burbank, California based label have been releasing select singles during the month of October off of their Halloween themed album “Chilling, Thrilling Hooks And Haunted Harmonies: The Big Stir Records Halloween Grimoire.” Laid out as a continuous program containing audio tales and sound effects in-between the songs, the vinyl LP version includes a gatefold jacket that folds out into a playable board game. The compilation was curated and produced by
Michael Simmons, Rex Broome and Christina Bulbenko.
Spinning the wheel of choice to select a noteworthy track to review, the needle falls on The Armoires entry “Full-On Witch Mode.” Coming complete with it’s own official music video, elements of magic and witchcraft are woven in with the bands performance. The track comes to life via a mysterious bass guitar driven groove, supported by steady percussion, slashing guitars and deep toned violin. Lead vocals sing about being “connected to the things that move beneath the surface.” Images of candles, powders and potions appears as those practicing these ancient arts devote serious attention to their craft. There’s humor woven in as well, with the verbal spelling of “hell” as “H E double hockey sticks.” As the track continues to build with intensity, a pivotal vocal line states “and when the world wont align with what we want to see . . . we go full on witch mode.” The whole video is shot beautifully, frequently bathed in a purple hue, with dark shrouded close ups of each band members faces.
The final month of 2024 offers an opportunity to highlight the best works presented over the whole year. For this music site, its annual “Best Of” collection celebrates the most significant artists written about since the beginning of this time period. Studio recorded music and video continued to dominate the bulk of analysis, with a significant return to detailed live show coverage included as well. Compiled here in monthly chronological order is the “2024 DaveCromwellWrites Best New Music Reviews and Live Show Coverage.”
This Edition of DaveCromwellWrites focuses on four new single releases from much beloved and/or highly regarded recording artists. While one continues their compelling resurgence by way of an expanding new audience base in the USA, others here stay the course with yet-another impressive release. Singer-songwriters are the primary focus this time, but there is always room for a bit of dreamgaze hazy goodness. Whether it’s higher-end glossy production or a grittier home studio offering, a few chords and a melody is always, it seems the right way ‘round.
What a whirlwind year 2024 has been for Sophie Ellis Bextor. As a result of having her over twenty year old single “Murder On The Dance Floor” featured in the widely viewed film “Saltburn,” the track took off again and became an enormous hit. Much like the way Kate Bush’s “Running Up That Hill” had a similar resurgence after being featured in the popular series “Stranger Things,” Sophie was suddenly popular for the first in in America. Long time fans of Sophie (this writer included) already knew how great she (and that song) was, but now all of the USA was singing along to MOTD repeatedly. A certain first daughter (mine) who already loved Sophie’s music from being fed all her albums over those 20+ years, was now saying how she heard it on the radio every hour. A first ever full headline US tour followed, along with TV appearances on the best late night variety shows. Now Sophie is back with a brand new single “Freedom Of The Night” and this sites review periscope digs down into it’s glorious details.
It shouldn’t be surprising the songs opening strains hearken back to Sophie’s “Make A Scene” era and two of that albums biggest songs “Bittersweet” and “Heartbreak (Make Me A Dancer).” Considering she co-wrote this with Richard ("Biffco") Stannard, who was heavily involved in those MAS tracks, the sonic qualities are instantly recognizable. Filling out the songwriting team here are performer/producer Shura and Duck Blackwell (and of course the ever present Richard Jones). Vocals commence within the first 10 seconds as Sophie commences to “wake up” and “put on confidence (like make up).” Bridge is arrived at almost as quickly (under 30 seconds) “I’ve heard dreams come true” with minimal backing of handclap percussion and upward fluttering synths – “come to the other side” she beckons (reminiscent of Familia’s “Come With Us”). Like the best great dance tracks it’s really all about the chorus and this one leaves no doubt. Hitting right at that 30 second mark, Sophie’s voice soars in “OhAh I can feel – Energy – I believe it’s healing me – OhAh All I need is sweet release” and the title line. Repeated again because that’s what these songwriters know works – how to make a dancefloor “banger.” The musical underpinnings are bubbling, bouncing bass synths and four-on-the-floor forward thump.
Sophie has already been quoted as saying it’s all about “that feeling you get when music gives you that lift, that empowerment.” That fits with the next (3 time repeated) hook line “Give in to what to do want.” Verse two mentions the “clock,” “time” and “a web made of moonlight” presented in a singular falsetto vocal register, against an animated heavy-funk bassline. That precise bridge to chorus returns to lock down that essential dance floor hook. This go round the “give in to what you want” comes with a repeated shadow vocal off in the distance. One more essential change with “ooooh – when the moon is high I feel this way” ultimately leading to “I Rise Again.” As an added treat, Team SEB brought in rising guitar superstar Chris Greatti (lovingly covered in this sites feature here) to play a blistering guitar solo. One final pass through the chorus (because it’s just so much fun) and then a sharp ending.
Check out this fantastic song here:
The Official Music Video has now arrived and it’s brilliant fun! Sophie decided to revisit the story of her original MOTD video, but now update it to years later (which of course it now actually is). However, this time she is a “stage mom/mum” and is coaching her own daughter in a similar dance competition. Bringing back essential people like video director Sophie Muller and central judge Colin Stinton, newer creatives like “Saltburn” Choreographer/Movement Director Polly Bennet were also involved. The biggest change (and delight) are Sophie’s adorable co-stars – the young dancers, which include a “Mini Sophie” (her fictional daughter here). The video opens with the mother/daughter team walking into the competition with their matching custom made “Team S E B” tracksuits. At the makeup table Sophie grooms her daughter and rehearses pageant smiles while glaring at the competition. Costumes are readied and the “en-er-gy” is commenced with swirling dancefloor moves. Amusingly, “mother Sophie” is caught peering over the judges shoulders and discovering the scores are not to her liking.
When the line “I’ve heard dreams come true” is reached, there is mom Sophie coveting the prized trophy of flower-adorned silver dance shoe. Sophie grabs a bag of candy and starts giving it to the other dancers, causing them to become distracted and ultimately blow their routines. As Sophie manically cackles, we now understand her comment that this was a “What Ever Happened To Baby Jane” moment. She stares down and confronts a photographer capturing the whole thing and the judges are appalled. Hitting the songs glorious bridge is where “Mini Sophie” has her shining moment. Real and Mini Sophie now in matching outfits take their star turn in quick cut succession, whipping a long ribbon around in triumph. Complete chaos ensues as all the other child dancers begin acting out in distress. As the judges loses control of everything, Sophie and Mini make a bee line for the trophy and award it to themselves with delirious glee! It’s such bad behavior but soooo good in this video.
A Previous Review of Sophie on this site (including links to all the other features on her) can be found Here.
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Earlier this year the artist releasing music under the name I’m The Villain received a detailed review of their latest single (at that time) “Something Is Coming.” Now Gianmario is back with a lyrically introspective, instrumentally lush new track “The Real Me.” The DaveCromwellWrites laser focus is now applied to this current release, detailing the essential elements that flow throughout the composition.
Choosing to bypass any gradual introduction, the track commences in full motion with electronic high-hat ticking percussion and deep chiming The Cure style guitar. Chord progression and melodies are bold as they morph from major to minor key status with emotional sincerity. Vocals commence with initial lines that go “waiting for a real sign, I wash away the morning light. Find me - In your sweet song - and don't be sad, ‘cause you're alone.” As one would expect, the chorus is where everything comes together, with lyrics “I found myself in Dream and - I don't care if I'm still alive - I Just want to be the real me for this time.”
Extended note synth pads fill in the sonic space for a lush backdrop that enhances this reflective sentiment. There are subtle pitch bends on some of these synth textures that adds another level of melancholy and mystery, just lurking underneath. Just past the midway point an uplifting keyboard phrase provides a bridge to another round of vocals. A modulating pulse now repeats during this segment, combined with an additional descending sonic element. The beat drops out for an ethereal vocal passage accompanied by yet-another elevated keyboard enhancement. With full percussion kicking back in the chorus is repeated while that beloved Cure-sound guitar returns for an earnestly gorgeous outro.
It’s always a pleasure to hear from Lunar Twin songwriter and vocalist Bryce Boudreau, having covered a number of that bands releases here over the last few years. This time he’s tipping this site off to a previously unheard artist that goes by the name Matthew Nowhere. The promise that both Lunar Twin members (which also includes instrumentalist Christopher Murphy) are to make contributions to Matthew’s forthcoming debut full-length “Crystal Heights” is exciting news indeed. For now there is this current track “Love Is Only What We Are,” which receives the full DCW analysis.
Accompanied by an official video that opens with images of a swirling night sky, steady synth pulses are soon met by deeper bass, as the artists silhouette gradually comes into view behind floating overlays. A steady snare keeps the beat as melodic guitar figures join into the mix. As Matthew starts his lyrical journey. “right now I’m staring out a window - In a wall that’s made of ancient pain.
This life has turned me into ashes” with the final line “But I love it all the same” delivered with high-gloss multi-layered voice production. As the second verse doubles down on “changing feeling” and “heartache” its all on the chorus to “give it a name.” Which is does in an uplifting pop manner, relying on “la la’s” for vocal hook celebration, with the title line and ultimate resolve to “give this love away.” A noticeable bass line delivers full motion sensation throughout that chorus, before giving way to that steadier throb pulse on verses. Delving further inside the story, when you “have nothing left to say” then “I guess I can sing” is the answers. A moody synth-driven instrumental section populates the tracks mid-point, before returning to the primary rhythm. With images of flowers now filling the video screen, some tasty guitar licks are given the green light on the songs outro.
The always creative band The Suncharms are back with a re-imagined 2024 update on a shimmering “Things Lost” album track. Originally titled “Torrential Rain” on that full-length record (dutifully reviewed in its entirety here) this new version has been shortened to simply “Torrential.” Now featured on a brand new compilation “Aspirin Age Volume Four” (a shoegaze compilation), by Broken Sound Tapes, it it well placed inside this mammoth 48 track album. A full DCW review comparison between the original and now updated version commences below.
Where the original album track featured a less-distorted sound focusing on shimmering guitar, hard charging bass and drums, this updated version enhances those same elements with bolder emphasis. Lead vocalist Marcus Palmer always brings a coarse edge to his dreamgaze vocals, and one can only assume those references to an “overgrown cemetery,” “angels with moss faces” and “broken tombs,” still leads to a search for “something to make me feel alive.” What’s particularly lovely about this track are the inclusions of counter melodies descending behind the forward charge, back and forth two-chord progression.
When the chorus hits its all the feels you can imagine. “Knocked over by an arctic wave. Torrential rain, drenches my face. Something, to make me feel alive. A lost song, on a 45.” It’s no secret this website’s writer (yours truly) has had a long running admiration for The Jesus and Mary Chain. This track in particular seems to embody everything that is great about their influence. There’s bits of “Some Candy Talking” in the Spector-esque double stare drum shots and melancholy descending counter-melodies. The soul searching story continues “Sat in crystal seas with you. Feeling the warm breeze. Dark thoughts are haunting me. What can the broken tombstones teach me?” One more pass through the chorus, and then that oh so MaryChainy magnificent final minute instrumental end-out.
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.
