Comprehensive Exposition on Innovative New Music Releases

As the calendar rolled-over to a new year, the desire to make 2026 the best one yet is still a fresh possibility.  Pointing towards all that are four unconventional new musical releases given the DaveCromwellWrites deep-dive review.  Each entry here challenge the listener to go on a journey with them through sonic labyrinths.  The overall emphasis is on creative use of ambient, ethereal, dream-pop and drone.

The always busy Tom Lugo does not let much time pass before releasing new music. Running his own label Patetico Recordings out of a home base in Pennsylvania, a variety of collaborative and solo projects arrive frequently. The latest is a seven-track EP “The Edge Of Everything” from his Panophonic moniker. Having tragically lost the recordings fully polished, finalized tracks, the artist was fortunate to still have carefully preserved rough mix bounces (the pre-production) to work with. Impressed with what has been salvaged here, a full track-by-track analysis commences below.

EP opener “Oblivion” commences with rapid-strummed gazey guitar, soon met by a steady snare drum beat and deep-tone bass guitar rhythms. Tom’s voice floats in, creating one more sonic element to the structure. While overall feel is a more forceful dream-gaze, the vocal cadence leans closer to Mick Jones’ delivery in The Clash. At midpoint a tasty percussion lead breakdown adds an unexpected melodic rise.  “Cosmic Intent” rises out of an ambient halo, nudged along by layered electronic beats. The pace is leisurely, wrapped in a glowing sheen. Clocking in at over five minutes, the records longest song provides plenty of space for contemplating the universe.

Syncopated guitar figures, melodic descending bass and complimentary drum beat are the forces powering along third cut “Starless Skies.”  Tom sings with passion, as his quick-strummed guitar aura lifts everything up into the stratosphere.   

“Near Horizon” comes on at a measured, more deliberate pace.  Washes from the void flood the soundscape, as tandem note guitar and bass lines create melody. Cymbals accentuate the beats under this echo-laden guitar and voice presentation.

“Lasting Echoes” drives along at a quicker pace, with a throbbing bass guitar progression as it’s engine. Tom alternates fully sung-out lines with whispered near spoken word ones.  Guitars ebb-and-flow over fragmented time drum beats. 

 A shearing, horror-movie squall kicks off penultimate track “So Out Of Reach.”  Rubbery bass and churning guitar chords set the tone for Tom’s melodic vocal delivery.  That soft delivery runs opposite of the musical chaos churning all around.

Reaching the EP’s final entry, “Starlight In Your Eyes” encompasses all the uplift and romanticism this dream-gaze genre is defined by.  There’s a distinct Slowdive feel to it all, and that’s a good thing.  The perfect ending to an overall rewarding listening experience.

Check out this glorious recording, including how to acquire it here:

Find out more about Tom's entire music catalog and his independent music label Patetico Recordings here.

Two previous DCW features on Tom’s music (among many) can be found here and here

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It was exactly three years ago this month when multi-instrumentalist Matt Catling’s experimental music project Under The Sun received a detailed review here at this site. That three track EP “Ocean Breeze” was an impressive display of ambient instrumental explorations. The artist is now back with a soon-to-be released full length album “Slow Motion Water” on world class Shore Dive Records. With two singles already released, a deep-dive analysis of latest work commences below.

Opening track “Drone F#” picks up where the previous record left off, with it’s gradual moving, meditative instrumental-only offering. A measured back-and-forth between two distinct tones set the initial pace, before a third element of three rising chimes enter in. Other sonic textures soon enter the mix, including steady, sharp singular intonation and percussive strike. Three quarters in, shredding guitar noise joins the fray along with lower register textures adding depth to the overall sonics.

The albums first single “Precious” follows, building off a shimmering flow and distant clack percussion. Under that haze comes vocals buried in true MBV “Loveless” fashion, where being “confident in your heart” leads to happiness and “feeling so beautiful – like you’re in love.”  Matt delivers these lines with William Reid-like tonal register on his more psychedelic entries.

Another more recent single release is the albums third cut “Dream.” What sounds like icy keyboard strikes leads the listener into another lyrically driven composition. Much clearer in the mix, the near-spoken-word story serves as a travelogue of sorts. Name-checking NYC, LA, Turkey, and an Indian Parade, the dream to live and dance in these locales is expressed. A strong percussive undercurrent is enhanced by buzzing guitars and a positive wish for society overall.

Fourth cut “Summer” combines a back-and-forth rhythm laces with bell chimes and more ghostly vocals. A rising hissing texture weaves its way into the mix, along with harsher sonic washes that push everything further, before drifting away into fadeout.    Fifth entry “The Outrun” emerges out of percussive beats and less-distorted, more defined singular notes. The heavier FX’s come on ethereal vocals that float in and out of view. It’s an effective combination of rhythmic clarity and celestial voices. Layered guitars accentuate the overall composition with (first) noise and then softer ambient outro.

Gentle strumming and deep thump beats introduce sixth track “Slight.” Twangy guitar notes emerge along with now-familiar ghostly voices. An undertow of swells rise up throughout, mixing unintelligible vocals within this wafting soundscape. A brief pause at the midway point resets everything momentarily, before it starts up in full once again. The albums seventh entry “A Midnight Oddessy” also served as the b-side to first single “Precious.”  Opening with chiming guitar-string-strokes and industrial percussion, softer elements emerge as the song progresses. Coming with a complete lyrical story where one is “walking along feeling lost,” the liner notes indicate it’s dedicated to recently deceased film-maker David Lynch.  Sonic waves of full-on gazey guitars lift everything further, on out to its conclusion.

Modulating pulsing provide counter-melody for the shimmering guitars on eighth cut “Shining Smile.” Voices float in on gossamer wings, only to disappear into the void shortly thereafter. Ninth and second to last track “Soft Focus” combines upfront guitar strumming, wind rushes and steady beats with a return to William Reid-style vocals. A warbly sonic element emerges on top for additional texture. The tenth and final entry “Never Forget” builds around a clean, FX-free beat, clarion chimes, distant vaporous vocals and intensity levels that ebb and flow with the tide.

With a few tracks already releases, the full album is expected at the end of this month.

Connect with Under The Sun here on Facebook and Instagram.

Connect with Shoredive Records via their extensive LinkTree

A previous DCW feature on this artist can be found here

Along with a recent Shoredive review feature here.

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In 2025 Andres Alfonso Lugo Cruz released two separate pieces of work under his solo Los Dientes Hundidos en la Garganta project, that received full reviews here at this site. This ever creative musician is now back with a new five track recording “TRANSFIGURACIONES.” Once again playing everything on these recordings (drums, guitars, synths, noises, bass, and everything else) some significant samples also appear. The artist has put a lot of intellectual thought into these pieces, noting the difference between traditional music’s emphasis on time, while textural drone compositions explore space. The intention is less about entertainment, but rather explorations into our doors of perception.

As if to drive home the intellectual inspiration for these works, it’s opening piece comes with what has to be the longest song title ever for any piece. “Them, they will attain immortality as they will be able to being anyone back to life by exactly assembling atoms to match the same structure that a body possessed before its death” is the paragraph long single sentence title.  What we initially hear is slow and ominous, with a subtle mechanized undercurrent. The movement is deliberate as it carefully reveals itself in a delicate progression and form.

Follow-up entry passage “Dialogues” draws inspiration from cybernetics visionary writer Stanislaw Lem.  Over 60 years ago this sci-fi writer predicted the internet and our current evolution of synthetic minds created by humans.  Andres musical explorations here build around a steady drum beat, indecipherable voices and deep sonic washes.  Despite the infinity loop feel in the repeated sequences, illusive flowing changes keep the listener engaged.

Third cut “Intellectronics” delves further into this artists fascination with capturing that audio “state of waiting and suspension.”  A rough-scratch underlying pulse provides a hint of solid matter to grab on to, while that infinite reserve dissipating all around converge simultaneously.  It’s a transcendental feeling “where any point may connect to any other.”

At ten minutes in length, the albums longest track “Lost Illusions” opens (and closes) with a backdrop of rain and distant thunder amid ambient overtones.  This audio journey into the void exemplifies how creative fluid music is free from linear design constraints.  Based on the concept of a rhizome philosophy there is no distinct tonal center or primary melody, allowing for a continual reconfiguration. Like an impressionistic painting, it opens one up to a meditative state of mind that provides both refuge and space to ponder the cosmos.

Final piece “Theoretical Reasons” builds around a spoken word sample mixed within spacious wind rushes and agitated percussion.  There’s an urgency embedded inside this composition that separates it somewhat from all the tracks previously heard here.  An interesting way to bring this fascinating album to conclusion.

Listen to and find out how to acquire this music here:

Follow this artist on their Social Media     -     Facebook     -     Instagram     -     Bandcamp     -     YouTube

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

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It’s always a pleasure to discover new music from an email sent directly by a band or their label. Such is the case with the Italian recording imprint I Dischi del Minollo, and the news of progressive instrumental artists Northway latest EP “Impulse, Surrender!”  Working in a genre they self-confess is influenced by artists like Mogwai and Godspeed You! Black Emperor, this Italian 4-piece have crafted an impeccable recording of delightfully nuanced material. With both compositions coming in at seven to seven-and-a-half minutes in length, there’s much to explore and experience.

First entry “Impulse” sets the tone with a steady bass drum “heartbeat” while open string guitar chords ring out like a clarion bell. Behind that comes chugging rhythm and bass guitar that halts for a split second, before launching into the progression in full. A fluid lead guitar melody line steps out in dominant form, while the rest of the band surge forward with precise rhythmic counterpart. A shimmering guitar undercurrent gives a subtle gazey feel, and exemplifies how a dual guitar powered band can be working on separate levels simultaneously. Two minutes in and a switch is thrown, as hard-edged distorted power chords suddenly command the arena. While that burst of rhythmic power unfolds, a distinct lead guitar melody rides over top.

The mood shifts once more, and a dreamy Pink Floyd-like slow-groove dreamscape unfolds. Descending keyboard lines and guitar melodies criss-cross each other with a gentle touch. One more movement takes hold, and it’s atonal guitar textures have a Sonic Youth quality to them. That morphs into further distortions where the now current guitar tone is slightly off-kilter and warbly. The final passage is clear, clean and spacious, allowing for emphasis on bass guitar, drums and singular lead guitar notes.

The second track on this EP “Surrender” begins with stark piano notes over top of long-held synth pads. The melody is vibrant and tugs on the heart with it’s emotional feeling. Guitars soon enter in, creating a melodic counterpoint to the sentimental piano notes. At two minutes a sonic shift occurs and all goes quiet except for a military-style snare drum pattern. A single tone guitar figure starts on top of that, followed by another guitar weaving filigree textures around it. That continues to build into a fuller movement where uplifting shimmer is held together by the firmness of bass guitar. With everything progressing forward, elements of dreamy distortion emerges underneath, along with pitch-bend guitar figures. A final movement of percussion-accented power chords, dominant guitar figures and keyboard twinkles lead to it’s conclusion.

Check out these two incredible instrumental pieces (including how to acquire the EP) here:

Follow Northway on their Facebook, Instagram and TwitterX

Connect with the bands label I Dischi del Minollo via their Social Media as well: Official Site, Facebook, Instagram and TwitterX  

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Penetrating Observation of Recent Singles, EPs and Album Releases

Another full circle around the sun and a new year commences full of hope and promise for the days ahead. With that comes new recorded music from both trusted and previously unheard sources. Equal emphasis on both noisy experimental rock and more traditional singer-songwriter contributions occupy this early 2025 DaveCromwellWrites Feature. Plunge forward into these audio creations and the words inspired by them.

The motivating force of Philadelphia-based Patetico Recordings chief Tom Lugo offers a nearly endless stream of new music discovery. Having reviewed numerous releases of that labels various collaborations, prior full-length album by “From the ashes” Stellarscope stands out as a highlight. That pairing of Tom and drummer Bob Forman are now back with a new EP “All That Remains.” Written and performed entirely by the pair, Tom produced, mixed and mastered everything at their two studios in Middletown and Havertown, PA. The Cromwell force now digs into each track in search of it’s sonic core.

Opening track “As I Lay Dying” is introduced by a harsh buzzing riff that sounds like a swarm of bees. It’s urgent pace is soon shattered by a lumbering drum pattern that commences at seemingly half speed. It’s a deep, hammering pulse that creates a solid foundation for the “bees” swirling above. As drum fills intro an even deeper, slithering bass guitar line, Tom’s ethereal vocals begin and further amplify the mood. One minute in and a driving chorus is reached, combining walls of sheering guitars, voices and an overall sense of urgency. As the next verse progresses, those live-in-the-studio drums are a welcome change from much of the carefully digitize percussion heard lately. The bass guitar riffing is fast and furious, creating a subtle bouncing movement throughout. The pace quickens halfway through with a rising progression before reaching it’s crescendo and intro-mirroring fadeout.

Follow up cut “All There Is” builds off of multi-layered, downward stroked distorted guitar chords in that revered MBV style. Rough and tumble snare-roll heavy drumming also taps into the Colm Ó Cíosóig bag of rhythm for a pleasantly noisy trip in to the void. Tom’s sneering vocals sound as if delivered through a tin can, but that’s ok (in fact – perfect). Soaring musical passages glide through the middle as drums bash away to 747 jet engine guitars. Third entry “Some Other Day” keeps the buzzing guitar out front, with some unexpected chord selections in its progression. With the drumming still on the busier side, new elements such as clacking stick sounds enter the fray. Vocals are somewhat more intelligible, with references to “voices in my head” and the songs title line clear enough. Warbling effect runs parallel through some of this, adding a subtle, unsettling element. Halfway through, things align a bit more as a traditional guitar melody emerges over top of downward driving chords. Quick cut stop-start rhythms feature in the final verse, while the sludge takes over to its conclusion.

Next track “Devour all” captures Kevin Shields pitch-bend guitar chord churn on it’s opening flurry before low booming drums rumble in underneath. A sheering swarm of quick-strum rising guitars soon give way to single note melody lines as Tom’s vocals appear in a whispered, floating style. The chorus is big and bold, resembling the heavier output of a band like The Sisters Of Mercy. Headphone listening makes you aware of how well produced this wall of sound actually is. The separation of instruments is fully on display making for the perfect balance of controlled chaos.

A dramatic single pounding drum thump leads the way into final cut “Consumed.” With alternating cymbal crashes for emphasis, center melody guitar-churn flows forward, as fluid bass throbs throughout it all. Vocals are softer and near buried at some points, while harmony-doubled in other places. There’s an almost orchestral feel to the rising guitars, soaring above the heavier clatter below. While momentary quieter plateaus set up subsequent verses, a full force sonic assault “consumes” the tracks final minute.

Check out this blistering new EP here:

Follow Stellarscope and Patetico Recordings on their Website and Social Media

Facebook     -     Instagram

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

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Mutual friends and associated bands are the frequent pathway to discovering new music groups. Such is the case with New York City based female rockers Killdeer. Having grown up in musical families that stamped early influences on them, these four women write, record and perform live music combining punk, pop, and alternative into an appealing garage-rock sound. With three EP’s already under their belt, the band has now released a new single “Generic Break Up Song.” The DCW audio-scope turns it’s focus on sorting out this songs contribution to the rock music canon of anti-love songs.

Descending guitar note phrasing opens the track with alternating textures, before climbing back up the scale to start the downward spiral again. Cymbals woosh and bass guitar enters space before everything momentarily comes to a halt. That’s when the drums kick in and a chugging rock n’ roll progression takes off fully. The motion reverses to an upward rhythm, then another split-second halt before vocals commence with playful solo voice and harmony coated follow ups. As the song title implies, this isn’t a new story, but one of time honored tradition. “Seemed so fine” starts thing off solo before “boy I must have been blind” comes layered in harmonies, as trouble is revealed as “a storm rolled in – grabbed a bottle of gin – where’d our love go?”

You can’t help but chuckle at the cheeky lyrics “you walked away – saiiiiid you’d stay” (in full harmony) “now I’m broken wing – busted feather – thought we were forever!” One can’t help recalling the similar romantic angst referenced in Cameron Crowe’s feature directorial debut “Say Anything” and the still hilarious song “Joe Lies.”

However, Killdeer brings the guitar crunch, and drum pounding gets heavy on lines (thought we were) “forever together!”  Quick-turn drum breaks and single cymbal accents are impressively built into the songs structure as are those multi-voiced harmonies.  An anticipated fuzzy guitar solo hits just after the midpoint, accompanied by a driving melody-echoing bass pattern.  The band is now in full charge forward mode, with slashing guitar chords, fluid bass and pummeling drums.  One more pass through the “master of deception” and “you’re nothing but trouble” lyrical put-down, because “its plain to see, you were never meant for me.”

Check out this clever take on a universal theme on their Spotify right here:

Follow Killdeer on their Official Website and Instagram.

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Friend to this site Phil Wilson has had a number of his brilliant The Raft albums reviewed here with much deserved accolades.  His ability to compose, produce and perform songs with such a beautiful quality has always been impressive.  Much of that production also included the lush placement of dreamy female vocalist who’s contributions lifted the track to ethereal heights.  Now Phil is back with a more stripped down project called Indigo Twinn that is a duo partnership with vocalist Claire O’Neill. The four song EP “Someone Else” (titled after it’s lead off track) features Ms O’Neill as equal contributor with songwriting and featured vocalist on all four cuts.

The record opens with the aforementioned O'Neill/Wilson dual penned title track “Someone Else.” Gentle three-quarter time guitar chords lead the way with a lovely jangle.  Claire’s clear, straight-forward vocals commence with a gentle sincerity and we’re on our way.  The first chord change soon hits as the lyrics implore you to “come down and wash by the water,” and to “wipe the tears from your eyes – and cry.” Comparisons to the legendary band The Sundays once again come to mind (having made mention of that in some of The Raft’s earlier work). Claire take the emotion further with hook lines “cry like a baby – wish you were someone else.” After a minute and half, drums and bass join in giving everything a fuller band feel.   The production is impeccable as is everything else leading to the songs emotional denouement.

Follow up cut “Supergirl” is the first of two solo written songs from Ms O’Neill here. Against a four chord acoustic guitar progression, lyrics question “why does it always seem to be that you’re on my right side, but not on my good side?” The bridge change comes on bolder with the lines “but you get wiser, when I get nicer” ultimately leading to “I’ll be eager to be your supergirl.” Fuller instruments once again enter the mix, with special mention to J Pedro on bass (+ entire EP production) and Paul Keelan on drums, playing brilliantly throughout. Along with Phil’s nuanced guitar work, there’s a strings sound of sorts adding one more dreamy sonic element.

The second solo penned track by Claire “Come Away” reduces the chord structure by half, with only two needed for it’s impact.  Phil layers melodic electric guitar tones over top, while vocals implore you to “leave all your monsters” and “come away with me.”  Vocals are doubled at key junctures, with harmonies placed for emphasis.   “So let’s review the situation” begins a dramatic midsection that comes with well-placed “Ahh Ahh” backing vocals.  It all builds to an emotional peak of voices and instrumental sections, until the final coda floats away on a cloud.

Final entry serves up the Phil written, sentimental and heart-tugging “Sarah.”  With deeper bass notes marking out a counter-melody pattern against jangly finger-picked guitar, Claire delivers the vocals with equal aplomb.  “Look behind our heel walking, didn’t mean that much to me back then” is how the innocent lines begin.  The single word title is given it’s gravitas by repeating it with differing vocal emphasis and varying background enhancements.  The story captures an innocence of place and time through everyday living, where the simplest things can become magical from a looking-back point of view.

Listen to this gorgeous recording here:

Find out how to acquire this EP here.

Follow the band on their Social Media  -  Instagram   -   Bandcamp

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It was exciting news to hear that frequent contributor to this site Andres Alfonso Lugo was back with a new 8 track album “DRONINGUITARFEEDBACKS,” under his Los Dientes Hundidos en la Garganta name (the teeth sunk in the throat).   Recorded at his Where are we going studio lab in Baltimore, MD, Andrés plays all the guitars, drums, programmed drums (with a little help from his AI friends), percussion, loops, and everything else.  It is an experimental tour-de-force that garners an essential track-by-track reaction below.

The 54 second opening snippet sounds like a field recording of an outdoor jam percussionists often entertain themselves with.  That launches into the 5 minute “Cosmicomics” which emphasizes motorik drumming and unnatural sounding wind-wooshing seemingly pumped down echo-heavy tunnels. Expanding track lengths, the 9 minute “Trantor Yuba” takes the initial drum-circle conga-fueled percussive elements and lays the groundwork for extended guitar drone over top.  The patterns are consistent, yet move organically in subtle changing directions.  A distant siren emerges as the piece slowly fades out.

Snare drum makes a prominent appearance on the six and a half minute dream-gazey meditation “Onoe Matsusuke.”  Low end textures (sounding like cello’s) share space with higher-pitched ambient explorations.   Moody floating movements are held together by way of the simple drum beat that fades in and out of focus.  Pushing the sonic lengths further, an over 10 minute “Kebra Nagast” goes full-on slow, introspective dreamscape, emphasizing the twilight moments that exist somewhere between heaven and earth.  A single drum thump appears at intervals throughout its continuous shimmering audio field.

Bandcamp featured track “Bene Gesserit” (the albums longest entry at over 11 minutes) emerges with full-throttle force.  While the droning elements hover above everything, mad-crazy jazz-style drumming thunders, rolls and ride cymbals with frenetic energy. Droning elements slowly change patterns, marking out a recurring melody (of sorts). The combination of longer held ambient textures with the hold-on-for-your-life roller-coaster ride drumming creates a uniquely fascinating soundscape.

“Bezdomni” features an electronic hand-clapping like percussion, ominous long-held ambient backdrop and wailing voices that sound like what you might hear in a jungle.  A subtle melodic movement emerges, adding another element to lock on to, between those recurring vocal outbursts.   Final entry “Omni Poetics” leans into a rapid paced single snare drum shot, long held center drone and horror-style voices placed wide in the left and right channels (heard on headphones). It’s a fitting way to end this hallucinogenic album.

Check out this creative recording here:

Follow this artist on Social Media:

Instagram   -   Bandcamp   -   jakjonsontapes   -   YouTube

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

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Literary Observations of New and Recently Released Music and Video

Creative individuals are driven by a need to make something new no matter how many times they may have conjured up something before. One way to spark emerging ideas is through new partnerships and alliances. Drawing on familiar sources of inspiration and bouncing those ideas off a complementary musical mind can lead to something unexpected. The June DaveCromwellWrites delves into four separate releases that examine this approach and the positive results arising out of it.

Frequently featured label Patetico Recordings returns to the DCW realm with a new collaborative effort Heliocentric Overdrive and their debut EP “Weightless.” Formed via DIY internet track sharing, drummer Anthony Gatta and singer-songwriter/guitarist Tom Lugo now share their melodic-pop tracks fueled by precise and frenetic interpretations.

Lead off track “Reveling” builds out of a clarion ring guitar figure, before bass and drums quickly join in to set the rhythmic progression off into full motion. Vocals come on initially in an understated, effects free manner, offering a conversational style question “do you want to fly -do you want to touch the sky?” It's a song of delight and celebration, where you “make your move,” because “there's no room for doubt.” All vocals effects are reserved for the hook-chorus that rides a guitar-wave of speed-strummed melody while proclaiming having “had the time of my life.”

It's straightforward pop for sure, with the drums showing restraint while still propelling everything forward via subtle accents on highhat and snare. Like all great three and a half minute song, there's a vibrant guitar segment two minutes in delivering additional melodies and allowing the drums to stretch out with some rolls. A special nod to closing production elements where instruments are pulled back and an upper and lower register vocal are revealed.

Title track “Weightless” immediately establishes a more forceful percussive statement, with the opening beat jumping out first with hard struck toms, snare and jingle shake. A wall of sheering guitar wave commences with Johnny Ramone energy, while another melody rides over top of that. Like the image depicted on this EP's cover, a quick cut tale of space launch - “counting down – all systems go – time to blast off – rocket thrust – lift off” come in rapid fire succession. The chorus hits with expected hyperdrive momentum, extolling the virtues of “ripping through the atmosphere-feel the thrill of being here-weightless, floating in space.” However it is the unbridled instrumental breaks that follow (both here and on the songs end-out) that are the true highlights. On these segments the melody rises, with both percussion and bass guitar let loose underneath to throttle on in a relentlessly joyous cacophony.

Listen in on this cut and see if you agree:

Find out how to pick up this recording here:

Heliocentric Overdrive - "Weightless"

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If it seems like there is yet-another Shoredive Records artist being featured here on this site every other month or so – well, that's because it's true. One of the busiest, most-consistent labels out there, something new, exciting and previously unheard of appears in our listening sphere that simply can't be ignored. This time it's mysterious dreamgaze from Montpellier/Paris going by the somewhat painful name 40 Days Without Water. While contemplating how anyone could even survive that scenario (unless the water was replaced with some other beverage) the music produced by this collective is utterly sublime.

Lead off track and featured single “Shed” starts with a higher-register, piercing guitar texture chiming over a muted undercurrent. A mere :15 seconds of that is met with what is considered more “gazey” guitars, rumbling percussive undercurrent and those vague, emotive vocals synonymous with this musical genre. The snare beat is crisp and on time, guitars are strummed in quick speed tandem, bass throbs and those vocals are delivered with smooth, elongated cool. A minute in and drums get busier with repeated snare rolls until it hits an ambient plateau. It's almost dub-style here, with distant sounds providing the background for an upfront bass guitar segment. Hissing waves and another round of voices begin filling in the spaces as the bass-line fades back somewhat with snare-beats reentering the mix. It's full-on forward again until another plateau is reached, this time less sparse with wind rushes and melody tones remaining. The final minute pushes ahead with a strong drum beat leading it all out to it's ultimate fade.

“Chore” rises up out of some mysterious void, before settling into a quick military rolling snare-drum pattern, deep-tone guitar line and soft-vocal delivery. Sheering “gaze” guitars soon enter the mix that now feature more elevated voices, along with staccato, fragmented percussion. This formula continues to delight with additional sections playing off the simpler “Cure-like” guitar-bass melody interplay floating over those unpredictable broken-pattern drums.

“We Woke Up Early” builds around a clean bass guitar pattern, cymbal rushes and FX-laden vocals that give off a dream-like sensation. Continuing this meditative state for three and a half minutes, the calm is ultimately shattered with an explosive wall of guitars powering the tracks final 2 minutes.

Listen to these tracks (and more) from this wonderful recording here:

Acquire the EP Here - and keep in touch with all things Shoredive Records via their Socials Here and Here.

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Another independent label discovery is the Peruvian based Chip Musik Records. It specializes in ambient, electronic, chillwave, experimental, glitch, dreamgaze, vaporwave and experimental artists from all over the world. Their latest release Lego 15 – Pulsos de Bosques (Forest Pulses) is an extensive collection of music from Central/South American and other international locales.

Opening cut Miyagi Pitcher - Akiraka ni suru (を明らかにする) is a gentle meditative offering that relies on looping ambience, alien vocal snippets and beat-free environment. A Dream Short - Better day (Italia) follows that up with more traditional songcraft. Melodic, bass-heavy synth pulses provide the rhythmic basis for vital female vocals delivered in tandem. An active percussive element enters the mix, along with guitar layers adding a decidedly alternative rock feel. Big Channels - Sigue orbitando (Argentina) churns out the bliss of sawing between two-chords over a drum machine, with effects on the guitars providing much of the musical variations. Strong, single guitar notes emerge at the mid-point (and end) adding further movement overall.

Cielo Oceano - “Eclipsed” returns a familiar collective to this site, having reviewed their work previously here. This new track emerges out of ambient build-up of wind rushes leading into a slow shuffle drum beat groove. Against that two-pronged backing of swirling rushes and ambling beat are vocals presented in deep, breathy cadence. A sheering wall of high-wind guitars surge up in the mix and threaten to obsure everything else going on underneath. Snippets of vocal melodies can only be made out – until a sudden shift and the harshness is temporarily pulled back. That easy shuffle beat and soft vocal delivery step forward once more, and the cycle repeats. Halfway in a guitar solo (of sorts) commences amid the chaos, proving one more audio element to latch onto. A final round of MBV-style (mini “holocaust”) noize consumes the tracks final 2 minutes, fading out under slow moving melodies over top.

Listen to this incredible track here:

There are many more remarkable tracks on this compilation, which can be acquired here:

Lego 15 - Pulsos de Bosques

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Sometimes a record is released in a low key manner with little fanfare, and the band moves right to playing live as a means of showcasing this new material. Such is the case with Tight Lips debut EP, which was released at the end of March. A quick scan of recorded evidence shows the tracks were first put out individually throughout last spring and summer. With bands and audiences reconnecting at live shows again, the opportunity to focus on this previously uninvestigated recorded music now presents itself. Aware that it's the collaborative work of many-time reviewed (in multiple iterations) Jasno Swarez and Abdon Valdez, indicates a high-quality output.

Initial release “Leaving the Planet” evolved from drum and bass riffs into a fully-formed three minute-plus melodic, danceable rhythm pop song. Drawing lyrical inspiration from futurists J.M. Godier and Lex Fridman spark the creativity for original prose. As the angular guitar melody and crisp percussion drives the track forward, signature lyric "I want to feel what it's like to fly, I want to fly when it feels like I could die," is delivered with nuanced flair, followed by the hooky “I'm alright, I'm alright, I'm alright – yeah.” Fluid guitar-line turns lead into musings on “the atmosphere in me to the moon in the sky.” The pure enthusiasm is felt completely on the beat-less, keyboard only segment stating “I wanna be unstoppable.” A rock-solid instrumental interlude follows, locking down that melodic-dance appeal. Going introspectively deeper with lyrics “all I can hear, and all I can feel – freak out with fear I knows not real” leads to “maybe neither am I?” Ultimately the uncertainly is pushed aside with the return to dramatic sonic plateau and the declaration “I wanna be – a trillion miles away from here – with you.” Roughed-up guitar chords, keyboard and that steady beat leads everything out to conclusion.

Follow-up track “Black Rainbow” ruminates on the human mind and how we are presently faced with technological evolutionary stress. Fuzzy bass-bounce guitars and trip-hop percussion powers the track along momentary synth-twinkle grooves. Space is carved out through drop-outs and stark power-chord moments, emphasizing the songs overall theme. Choosing to “be a light” and “do right,” focuses on human choice that rises above “the sums of my thoughts ran on living circuitry.” Whether intentional or not, the riff from Jimi Hendrix “Third Stone From The Sun” is echoed a various points throughout the song. It serves as a launching point for the sinewy guitar riffs and extended percussion that follows.

Center placed on the EP is the popular YouTube track (impressive at 111K+ views so far) “Nearly Nude.” Taking the previously established theme of human-to-cyber existence (in this modern world we now live) even further, striking representative video imagery creates a “Max Headroom” style experience. Open note chords and tweetering bird sounds introduce the audio as the first “head” flickers into view. A walking bassline sets the groove in motion as a second “head” (and shoulders) pops up with appropriate visualized distortion. Sparse and minimal audio serves the track well, as vocals about “feeling like a hologram” sync perfectly with the imagery. Jasno's soulful vocal delivery and Abdon's fingersnap/handclaps on percussive moments add one more level of appeal. Keyboard strokes at opportune moments (like when everything else drops out) underscore how well-produced this whole song is. The bass guitar drive is just funky enough against spacious ambience, while lyrical passages emphasize android confusion. “I fragmented my mind” leads to “I am a human being with circuitry made to bleed and see sunlight. I think I know that I'm me – because I'm alive. This is the person I programmed myself to be.”

Check out this trippy (electronic-soul) song and video here:

Deeper cut “Digital Death” emerges out of atonal synth drones before drums, bass and guitar kick in with an angular progression. The movement is downward-circular with bass guitar (once again) an initial driving force. Self-discovery becomes the primary lyrical focus (“Try – try to be me – should be easy”) and yet one more “digital killing” seems necessary. Open note chords take the instrumental spotlight later on, along with a 20 second (or so) guitar solo. “Immortal Living” pulls elastic, bouncing guitar chords into focus, alternating those strokes against snare and high-hat percussion. Allow ample space for vocals, the running theme on our high-tech lives looks closer at cellphone dependence. “I am processed on a screen,” and “through the internet – I can outlive death.” However, it is the human component (once again) that garners the bigger musical moments. At the 2:20 mark a guitar segment begins but it abruptly truncated by single twinkling keyboard notes – before the initial cycle starts over. That's as much a statement as any of the lyrics.

Final cut “People” bubbles up from an ominous electronic field with piercing keyboard notes stabbing out a slow moving melody. Deep buzzing bass joins in along with solid trap drum percussion. As the title suggests, a litany of individuals are named, both well-known icons along with those known only to close family. “I'll never meet Elvis Presley, I never met my dad's mom, I'll never know Jimi Hendrix, my mom's dad is dead and gone. My sister's got a new last name, and I'll never be Kurt Cobain.” Combining universal themes with a personal touch, the central theme “I don't wanna be alone” (paired to descending keyboard line) pulls everything together. Bonus points for the lines, “I'll never meet my great grandson, John Lennon or Johnny Cash. I saw Bowie on Lafayette now he's dead.” Although those three icons may have left this planet, their influence is still very much alive. Tight Lips now make a case for their own influence as well.

Find out how to access everything Tight Lips related via their official site.

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Inceptive Reviews of Newly Released Music and Video

Summer has finally arrived, and with it a new collection of DaveCromwellWrites reviews for the month of June. Along with the end of a pandemic that went on way too long, live shows are now back as well. Eager promotions are coming in on a daily basis with subsequent tickets being scooped up for big show dates later on this year. Those triumphant return musical events will be covered extensively here as they occur, however it is recorded works that once again gets the Croms-eye-view deep dive analysis for this go-round.

Every once in a while a band will jump out at you from the ocean waves of promotional material that comes through over the wireless here. Making note of an instant liking for a quintet with the curious name Spud Cannon, a double-back on subsequent promotional singles releases confirmed their “must review” status. Like most 'new-to-you' bands finding their way on your radar, this isn't their first go-round (although still in the early stages) with their genesis commencing in late 2016.

Much of their current promotional lore surrounds the band's formation as students together at Vassar College in Poughkeepsie, New York. With that experience to guide them, Brooklyn now appears to be the most appropriate home-base for relaunching post-pandemic live shows on rooftops in celebration of a brand new full-length album. That record is the glorious “Good Kids Make Bad Apples” which is set for a June 25th release in it's entirety. The band consists of Meg Matthews (lead vox), Jackson Walker Lewis (guitar), Ari Bowe (keys), Lucy Horgan (bass) and Benjamin Scharf (drums).

Four singles have been now released since the records first announcement over these past few months, each showcasing a keen sense of how pop music is best presented by a new generation of musicians, fully aware of what has come before. Everyone has their favorite contemporary music growing up - it's what you hear on the radio and now streaming services. Additionally the best of previous decades will find its way onto modern playlists – creating newfound interest in those recordings. Spud Cannon has been listening carefully and it shows in their creative timeless-pop tracks.

Lead album track and first single release “Juno” immediately sets the tone for what these “good kids” (potentially on there way to becoming “bad apples”) are all about. Bouncy, energetic rhythms (there's punch in this rock) are matched with the happier-side of The Cure guitar riffs and tones (think more “Friday, I'm In Love” than, say “The Same Deep Water As You”). One of the few tracks crediting songwriting to all bandmembers, lyrics spell out the perilous search to “meet someone” – and more universally “be someone.” Along with this driving pop-rock, it's the bands vocal qualities that set them apart. There's a tandem voice component and harmony aspect that accentuates the appeal (though lead vocalist Meg certainly carries the workload). Along with the instantly hooky chorus, a joyous “whoooo” buildup caps off this under 3 minute beauty.

Follow-up cut (and 2nd single release) “Supersonic” is a barely over two minute foray with harder-edged slashing guitar chords. Centered around Meg's stylized vocals (and lyrics), a cautionary tale of hubris (“all love but you reek of pride”) and other potential vices (ridin' fast and you're gonna fall off”) are the primary focal point. The final :40 seconds serves up a madcap jam-out emphasizing they rhythm section, guitar riffs and piano keyboard plinks.

Third single release “You Got It All (NOT)” comes through with the first live-action video (the first two vid-clips featured rotating photos from an admittedly fun looking press pic shoot). Finally getting to see those much talked about Vassar squash courts, the band perform along with this incredibly catchy song, showcasing their energetic appeal. With the 3 frontline women all credited for the lyrics, that introductory voice-and-guitar tandem “oooh eee oooh oooh” hook kicks everything off with bouncy enthusiasm. A clever video twist shows the courts clear entrance door opening so we can get a better look at everything. A distinctive “Love Cats” dominant bass pattern shares open space with bright alternating percussion. Guitar is clean and jangly as quick-cut video motions shots of the band show how adorably cute they all are. While the verses have their own catchy appeal, like all great pop songs it's the chorus that drives everything home. A brilliant descending keyboard-dominant progression leads into the gloriously explosive lines “leave the talking to me, cuz you can't see, you've got it all.” More charming fun and frolicking is captured, with giant bouncy balls and hoola-hoops being showcased for good measure.

Easy shuffle, big echo groove drums and and tinkling electric piano notes introduce fourth single (and the album's fifth track) “Lovely.” The final advance promotional release before full album drops finds this Ari-penned lyrics cut exploring early 60's girl-group sonics. Tapping into that dreamy teen-swoon vibe that permeated early-wave pioneers Shangri-Las, Ronettes, Supremes and Crystals hits, one accurate comparison to Cults initial 2010 burst on the scene once again show the timeless appeal of this sound. Going back nearly a decade earlier, British indie pop girl group The Pipettes also had initial success with this distinctive form of 60's styled music. Bass guitar is once again featured as a propulsive element in the open spaces between lush, harmonized vocals and going-to-the-chapel-churchbell keyboards. For good measure the outro features a trumpet blended into the mix, adding one final audio touch to it all.

Deeper album tracks like Lucy's lyrical composed “Sleeper” builds around an alternately rising-then descending riff, where a keyboard walk up is met which chiming guitar on the way down. Rolling tom-tom underpinnings frees the bass guitar to engaged in a rubbery progression and subsequent lyrics. As the bridge lead up of “Gotta run - Can’t stay here - When it all - Gets too real” is reached, instinctively you know you're in for another monster hook chorus. That in fact does arrive with an expected emotion-packed surge. “Oooh - but you’re so coold - You won’t come home, I know - Your lights out on the road.” Only a decade ago saw a band making similarly captivating, vocal-hook driven, intensely insightful lyrics with soaring female vocals. The same qualities that gone-too-soon Sick Of Sarah brought to the table (who were meticulously covered here on this site back then) are alive and well in this wonderful track.

Just over a minute of madness occurs on a “theme song” (of sorts) with “P.O.T.A.T.O.” Opening with non-bandmember spoken word clip “I have potato blood in my vein,” the band lurches into a heavy guitar and drum stop with the girls chaotically shouting “hot potato” and “I want a spud!” A punk rock song if there ever was one. Conversely, “Na Na Na” pairs big power-pop verses with a funky double-time chorus that mirrors 80's “new wave” dance music (think Haircut 100 – Boy Meets Girl).

Other tracks like “Out” and “Easy” also dip into funky-dance-guitar (the former) and bass-guitar driven rock (the later) containing lyrics dealing with “relationship” issues – be they hang-around friends or potential significant others. What stands out in every song are high-level vocal harmonies, catchy melodies and precision instrumentation. Simply put, it all sounds wonderful.

The album is out in full on June 25.

Find out so much more about Spud Cannon via their Official Website, Facebook and Instagram

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After featuring Sheffield UK based indie-gaze band The Suncharms here on DCW at the end of 2019 (both in individual song review and then Best Of the year inclusion), a worthy new song has now emerged. Contributing the track “Liquid Through My Hands” to Chicago, Illinois indie-pop label Sunday Records latest compilation Something Beautiful, the band once again finds itself standing out amongst like minded artists.

Where previously reviewed track “Jet Plane” was relatively quick and peppy, “Liquid Through My Hands” moves at a more deliberate, measured pace. What both tracks share in common is a sense of nostalgic pathos within an uplifting framework. The song also serves as a first preview from their forthcoming album.

Sawing back and forth between two chords (a personal favorite style) buoyant finger-picked guitar lines soar over crisp levels of bass guitar and drums. Lead vocalist Marcus Palmer delivers touching lyrics in a distinct, carefully delivered diction that shows true emotional commitment. Leaving expressive pauses and unique emphasis on and between certain words (“I don't know how – I found my [pause] self in this place,” and “reflecting in this antique mIR-ror”) elevates simple storytelling into a higher-level art form. While the songtitle first reveals it's true meaning at the 1:00 minute mark, an introspective chorus that goes “Looking for Palaces in the sky I came to realise, I should be watching the leaves floating by” strikes to the true heart of the matter. As the track moves towards it's ultimate conclusion, a sinuey snaking guitar adds musical weight to the dreamy vocal denouement.

Find out more about this compilation here and this track in particular here.

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The always busy Tom Lugo continues to put out new music via his indie label Patetico Recordings under a variety of band names (both solo and collaborations). This site featured his full-length Panophonic album “AWAKENING” on it's arrival this past February. A brand new track “The Last Time” has recently been released, showing the recording artists' continued evolution in sound design, surpassing any preconceived listener expectations.

Opening with a quiet, pulsing guitar texture immediately draws the listener in before whip-crack snare and cymbal percussion abruptly shatters the meditative mood. Vocals start immediately with Toms vocal pitch (and delivery) approximating John Lennon's altered “I am the Walrus” intonation. “I am not sure I want to see you anymore,” is the opening lyrical salvo, pitched against that humming, undefined guitar ambience. We know they are guitars as a notation “no keyboards were used on this recording” is prominently displayed in the liner notes. Everything elevates as the chorus is reached., crying out “Why do we always end up in a fight?” The guitars are suddenly more traditional here, with full chords and the most delightful oscillating bass line.

Voices morph and blend with FX on the lines “I’d say that I’m sorry but I am so worried about all of what you might think” in psychedelic composition. Resolving on the line (and thematic title) “Hope this is not the last time that we speak.”  Fine crafted details like stutter-pace percussion on the turnarounds shows a higher musical IQ in every aspect of this song. As the next verse reverts back to a beatless ambience and vocals only production (creating introspective emphasis in the process), the mea culpa “maybe this time I crossed the line, I’ll admit,” is ultimately revealed. The final 2:40 of this 3:15 in length song lifts off in a blaze of slashing gaze guitar melodies, throbbing counter-melody bass and precision throttle drums.

Check out this outstanding track here:

Connect with Tom and Panophonic here.

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Coming through once again win an introduction to off-the-main-path music is our friends at the Burbank, California music label Big Stir Records. The recent DaveCromwellWrites Feature covering two separate albums from their vast and eclectic catalog served as ample motivation to see what's cooking there right now. That discovery manifests itself in the form of accomplished psychedelic pop troubadour Anton Barbeau. Having previously established a worthy catalog of recordings, his soon to be released latest album “Oh The Joys We Live For” offers up 12 uncommon tracks of folk and pop featuring free-form lyrics inside more structured songs. Introductory single “One Of Her Superpowers” encapsulates this artists rare chemistry in a radio friendly two and a half minutes.

Choosing to open this track with a few seconds of ascending guitar twiddles is a playful misdirection, as a more straightforward vocal presentation immediately begins. Getting right to the theme, Anton sings “one of her super powers is leaving things as they are,” against a bright, chiming acoustic guitar. “The minute defiles the hour, the planet defiles the star,” continues the nimble lyrical tale. The chord progression changes as he sings “but she don't care – her hands are clean and she don't care” bringing to mind the tone and whimsy of “Hunky Dory” era David Bowie.  A half-a-minute in, fuller instrumentation appears with a solid drum beat, bass guitar and harmony vocals adding punch and depth to the already attention grabbing lead vocals.

Universally relatable lyrics “one of her super powers, is leaving keys in the car” [is that a good or a bad thing?], “she's dreaming of field of flowers” [sung with such an enjoyable harmony] “and poppy seeds in a jar.” On the chord change things get curious with lines “the Zebra walks a narrow hallway to her door. He knocks three times, she let's him in, he knocks no more.” Surely this must be a prelude to those “joys we all live for.” Indeed it must, as the 1:00 mark presents a full-on chorus that goes “summertime fun, our legs akimbo” [indeed!]

The backing vocals step up and deliver those sugary Beatles-like “ahhhhs” that make any single more fun. Curious mentions of “drugs” and other obscure references to “yesterday's satyricon” continue the oddball charm with ultimate happy home declaration “the tv screen's a likely guest list.” Chiming Rickenbacker-style guitar melodies are furnished over top of the bright acoustic rhythm, establishing a classic 60's style pop-rock instrumental interlude (again, quite Beatle-esque). It all comes full circle with the final lyrical statement “the princess trapped in the tower, befuddling the power pop man.” Tacked on the end is a reprise of sorts, with another brief madcap guitar foray mirroring the tracks opening.

The CD and digital album with this single are currently up for preorder now at www.bigstirrecords.com/store and will be streaming across all platforms on its full release date of July 16.

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