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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Advanced Study on New Audio And Video Releases

As we continue on into the early parts of a new year fraught with uncertainty, questionable information sources and increasing attempts at deception – four must review features bloom here in the ever-expanding DaveCromwellWrites universe. The act of writing is a solitary pursuit that requires inspiration to make it work. The artists covered here have provided ample amounts of that, allowing sentences to spark and flow from a rewarding listening experience. With that, we dive in to the mid-February 2021 DCW reviews.

Pulling together a collection of songs written and recorded over the past two years, Indiepop veteran Tom Lugo has now released his latest Panophonic album “AWAKENING.” The Philadelphia based musician has been running his own independent Patetico Recordings label for a number of years now, putting out a steady flow of albums, EP's and singles with a variety of bands and collaborations.

Under his Panophonic brand, Tom works as a solo artist (with only one single collab on the final track), writing everything, playing all guitars, bass, drum programming along with producing, mixing and mastering the tracks. Quite an impressive feat, even in these more accessible home-recording times. Opening track “Shine” comes out blazing, with razor-sharp slashing guitars, counterpoint bass melody and synthetic hissing high-hat percussion. Vocals are pitched low, reverberated and delivered in that William Reid style heard on early Jesus and Mary Chain recordings. After 45 seconds the chorus erupts with additional guitars layering over a sea of vocals creating the blissful sensation more aligned with the band Ride.

Follow-up cut “Drive” changes gears with bright, chiming acoustic guitars leading the way. The drum track is fuller and more traditional trap-set oriented, while an extended note melody line emerges out of the mist. Vocals come on in middle register tone and romantic-pop phrasing with key phrases like “we'll forget all the pain as we drive it away.” Third track “Evermore” introduces tinkling glass-bottle textures as the introduction to what eventually evolves into a bass and acoustic guitar progression. Vocals are processed and delivered with a careful diction not unlike much of John Lennon's work. There's even bits of Beatle-y bass and 'Walrus' inspired rising cello approximations sprinkled in. “For the rest of our lives, living like it's paradise,” is the repeated hook refrain.

 

Ethereal dreamgaze guitars leads the way into the mechanized beats and floating melody-line of “Formless.” A strong bass guitar progression provides more solid footing for the MBV-inspired vocals and overall feel of this composition. “Never gonna let this go,” combines spacious atmospherics, buzzy, syncopated paired bass and guitar melodies with rat-a-tat percussion. A pervasive sense of melancholy is felt throughout the verses, bringing to mind Neil Halstead's classic Souvlaki-era work with Slowdive. “Radiate” continues with the overall dreampop feel, bringing together swirling, phased guitars and easy groove trip-trap percussion. Vocals are purposely less-defined, buried behind the sheen of effects and layering.

A wall of distortion envelopes the opening chords of 7th track “Solitude.” Clean, straightforward bass guitar and drums soon emerge, along with a distinct pop melody on guitar. The Jesus and Mary Chain influence returns as Tom once again does his very best William Reid homage on vocals. While Jim Reid has always been the better singer between those influential brothers, one can't deny a certain charm to the occasional track Willy has put his voice to. Tom has done his homework here, with most impressive results. The “last one on earth” lyrical theme touches on the sobering topic of mass annihilation.

“Resigned” momentarily dips into an ambient percussion pool, with that quickly overwhelmed by peculiar guitar figures. As the track progresses, an overall meditative feel emerges through the lyrics, vocal delivery and amorphous guitar wash. A stand-alone bass guitar figure provides the opening tones for “Nothing that we can't do.” Bright tat-tat-tat snare drumming and hissing cymbals soon join in, with FX'd open-note guitar chords filling out this progression. Measured vocals mark out the songs theme, eventually giving way to extended amped-up gazey guitars, busier drums and that ever present dominant bass line.

Final track “Unhinged” serves as the only collaboration on the album with indie pop singer/songwriter/producer Dani Mari of the band Primitive Heart writing the lyrics and handling all vocals. Acoustic guitar is brought back for the brief intro, before a fuller compliment of guitars, bass and percussion sets the stage for Dani's voice. Gentle phrasing is applied over lighter-touch brush-stroke percussion on verses, before multi-voice harmonies and sheering guitars signal an emotional lift. “Maybe I was wrong – maybe I was right” is the repeated, thematic phrase hook that leads this dreamy song (and album) to it's conclusion.

The album is now available on all digital platforms, including this one:

https://pateticorecordings.bandcamp.com/album/awakening

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Another influential underground music label frequently found recommending artists in the CromwellWrites mailbox is Los Angeles based A Strangely Isolated Place. Their recent release “Iridescence Of Clouds” by Illuvia is a marvelous sonic journey that immediately called for a deeper listen and exploration into the audio world created there. Serving at the solo project of Swedish musician and composer Ludvig Cimbrelius, all of the tracks were written and performed by him. Working in the ambient instrumental genre often referred to as “drums and bass,” a wider array of drone, electronica and modern-classical techno is also explored.

The essentially album-title referenced opening track “Iridescence” slowly rises out of the mists with billowing delicacy. With each passing minute of this 8 minute composition (nearly all of the eight tracks are 8 minutes or longer – creating another form of symmetry) additional elements are added to the rushing waves of ambience. Flute-like melodies emerge along with quick-paced percussion rising up from underneath, only to submerge, and then repeat the cycle over. “Sea of Crises” shares a similar slow-rise-from-the-depths intro, which allows the composition to breathe at it's own pace – a luxury afforded to it's eight and a half minute length. When the bright keyboard chord make their way into the mix along with speedy, rippling percussive undercurrents, a sense of kinship can be felt with the incredible body of work Tangerine Dream alumni Ulrich Schnauss has innovated.

The gentle ambient introductions continues on “State of Emergence,” with it's start-stop pulsing from some seemingly distant locale. Cymbal rushes, deep thumping beats, wood-clack-approximations and ticketty high-hats are the percussive forces sharing space with brief vocal samples and a variety of keyboards. Extended flute-like notes brings to mind the modern-era chillwave of Tycho (minus the static predictability).

“Veil of Mist” is something of an outlier on the album, as the only cut clocking in under 8 minutes with it's more modest 7:26 length. Measurements aside, there is a distinct stylistic change here with emphasis placed on angular percussive elements suggesting dub and jungle patterns. While steady textures create a slow-moving background, floating vibraphone and sampled voices glide in and out of the mix.

Natural elements (wind – waves) appear to share sonic space on the opening to “Titicaca,” along with swirling synths. A motorik timeclock (or is that a heartbeat) pulse emerges from underneath, counterbalanced by speedier ticking percussion. This two-separate-speed pace takes further hold, with the initial slow-moving keyboard pattern offset by hyper-drive beats. “Wanderer” places early emphasis on icy synths and twinkling edges on those pulses before voice-enhanced jungle drums and bass shatter the serenity with busy chaos. Deeper, lower-toned keyboards enter the mix, along with rapid-fire arpeggio riffs, all serving to expand the sonic spectrum.

 

An even slower, more deliberate build-up is experienced on “Nirmala II.” With subtle natural-sounding components like dripping drops and twittering birds, it's not unlike early 70's prog-rock band Yes and their imaginative intro to “Close To The Edge.” While that band came in thundering after a minute with fragmented jazz-like figures, this track holds off :30 seconds (or so) longer to introduce quick-paced percussion and other mysterious tones. The effect and sensation is remarkably similar, although no actual prog-melody opus eventually reveals itself here. It's as if that three minute intro (total time) goes on here blissfully for over eight and a half minutes (and even ends in similar fashion).

The final and longest track on the album (something of an outlier as well, coming in at a scandalous over 9 minutes) “Sky Beyond Sky” materializes out of cloud swells and distant regal horns. While a casual listener might be tempted to make comparisons with the “new age” music of an artist like Vangelis, overlapping compositional layers posit it closer the slowly disintegrating variations of Brian Eno's “Discreet Music.” As for the song's theme – what exactly IS the sky *beyond* sky? Outer space? Heaven? With this album of brilliant, seamless compositions, a soundtrack is now provided to contemplate all of those heavy questions.

The album can be acquired here:

https://astrangelyisolatedplace.bandcamp.com/album/iridescence-of-clouds

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Another recently released album finding it's way into the DCW realm is the retro psych-pop “A Dream Without Color” by Long Island's own The Crushing Violets. The record features six new original songs as well as a cover of the 1966 hit “A Groovy Kind of Love.” Placing emphasis on vocals and storytelling over any kind of extended instrumentals, most songs clock in under three minutes in length, with one each cracking three and four minutes respectively.

There's a charmingly nostalgic feel to opening cut “Sugar Cookie Sunday,” with it's uncluttered intro guitar chords and simple-pulse bass-drum beat. Vocalist Antanina Brooks delivers lyrics with a diction and nuance that taps into Patti Smith's style. Harmonies emerge, with tambourine and organ filling out the quickly developing sequence. Subtle wah-wah pedal guitar adds the element of “psych” for the title-line repeated chorus on this vocal-emphasized pop song.

“Embers” comes on with a grittier feel as the chunky guitar chords weave around a busier bass-line and percussion. Antanina digs deeper into the NY poet muse with lyrics about “when the darkness haunts you,” and “shadows speak your name.” The song's progression and overall feel has an early-era David Bowie feel to it – akin to someone off of “Hunky Dory” or “Man Who Sold The World.” The track's final 30 seconds serves up it's high-point coda (title-check lyrics “embers in the flame”) and a quality guitar solo behind the vocals.

A thoughtfully measured bass-guitar figure and singular keyboard stroke produce necessary foundation for the slower-paced “Topaz.” Introspective in both chord selection and lyrics, room is carved out at points for some tasty, soulful guitar runs. Poetic references to being “lost inside a dream,” “velvet skies,” “sun on melting wings” and “pools of rain” all contribute to a sense of mystery and wonder. “Spirit Box” evolves out of a bass-drum emphasized beat where the vocal line and heavy guitar riff mirror each other in cadence and melody. Bluesy guitar figures are set loose and a chorusing effect can be detected on various vocal passages. A quieter bass guitar and drums only passage leads into chiming guitars on top until the concise track's final notes.

Guitarist BP Brooks takes a vocal turn on the arpeggio chord driven “Day After You.” Providing the lead vocals on this gentle ballad, Antanina joins in with harmonies throughout. Drums eventually make their way into the mix just past the tracks mid-point, as the two vocalists sing “yeah when I dream, you'll be there.” In contrast, “3 Days” serves up a raw, swampy blues progression, once again built around Antanina's vocal storytelling. Cinematic lyrics like “you're feeling suicidal, reaching for the gun” suggest a film noir scenario. BP's guitar is given room to shine here on the albums longest track (over 4 minutes) with some blistering blues licks. That's followed by a well-constructed descending-riff turnaround and more tasty guitar soloing.

Selecting a song to cover is often a personal one (as there is every song ever recorded out there to choose from) and this band applies their touch to The Mindbenders 1966 hit “A Groovy Kind of Love.” Updating the opening riff guitar sound from the original's clean chime to a chorused, buzzier haze, the tempo is also slightly reduced. Reaching the classical music hook “when you're close to me, I can feel your heartbeat” additional guitars and harmonies add a richness that the original only hinted at with it's simpler, studio-hired generic female backing vocals. Guitar riffs also replace the echoed “groovy kind of love” background voices (a considerable improvement to that 60's era cheese). The central guitar solo is also much improved here with slide and wah-wah work tapping into all the greats who ply those six string tools. Fun Fact: The melody to this song is from the Rondo from Muzio Clementi's Sonatina, Opus 36, No. 5. Even though Toni Wine and Carole Bayer Sager claim full songwriting credits, they mainly wrote the lyrics and just slightly modified Clementi's music.

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

https://thecrushingviolets.bandcamp.com/album/a-dream-without-color

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One more artist finding their way into the CromwellWrites mailbox is the Italian-based music project Dead Rituals. After releasing an impressive second EP back in October of 2020, band driving force Andrea Caccese now shares an intimate acoustic take on one of those tracks “When The Lights Are Out.” Recorded live and solo in a Brooklyn stairwell when the artist lived there for a time back in 2016, the natural ambience of that spacious enclosure are all the effects needed.

Where the finished product recording on the EP enhances this composition with synthetic keyboard pulses, cymbal rushes, full-band guitar, bass and drums – gentler acoustic fingerpicking and voice are the only musical elements providing support. While both versions work quite well respectively, it's interesting to note there is hardly any tempo change between them. That is to say they are both performed at the same pace, despite having what appears to be a four year difference between them.

Another noteworthy track appearing on that EP, accompanied by a thought-provoking video is “Broken Memories.” This brilliant track projects a feeling of prime era The Cure music with its driving bass-line, powerful tom-tom drumming and piercing open-note guitar figures. With three distinct hook-laden sections, the smooth and introspective vocals complete this carefully crafted song. Ethereal female vocals arrive at the tracks mid-point, lifting emotional content further. A dreamy ambient section ultimately emerges, leading the song out to its conclusion. Adding a final element of unsettling mystery is the creatively realized video associated with it. Well worth a listen and viewing – check it out here:

Find out how to pick up the latest Dead Rituals music here:

https://deadrituals.bandcamp.com/album/dead-rituals-ii

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