July is always one of the best months of the year around here. You are deep into the heart of summer yet still far enough from it being over to have any real concern with all that. Adding in multiple significant birthday and holiday celebrations all combine to make it arguably the top 31 day stretch of the entire calendar year. With that comes this month's DaveCromwellWrites Review featuring new and returning artists, all with brand new or recently released recordings. Dig in and expand your horizons with this eclectic collection of new music.
Perennial CromwellWrites faves GIFTSHOP are back with not one but two brand new tunes. Scheduled to hit the airwaves on July 26th, advanced previews affords the opportunity for a careful listen and comprehensive review.
First up is the freshly written “More Than That,” which packs more into it's barely over two minute frame than most of the repetitious, overlong excess churned out on a daily basis. Giftshop has mastered the art of the precision pop song. Opening with a Matt Santoro chunky guitar riff straddling the line in tone and delivery between classic-era GNR (“Sweet Child/Jungle”) and Bryan Adams (“Summer of 69”) sets an instant rock and roll attitude. That's quickly joined by Damian Eckstein's two-part ascending bassline and Jordan Kramer's tom-tom percussion before consummate belter Meghan Taylor begins the (Damian penned) lyrical tale. Current zeitgeist topics referencing “big pharma” and “gun control” appear to have everyone on edge as we go about our daily “modern living.” While Meghan delivers these lines with urgency over three-piece throttling rock rhythms, pathos comes via a harmonized bridge hook and title line payoff. “Mental illness is gonna kill us, yeah” is how the Meghan and Damian harmony goes, while the dynamic lead vocalist starkly states “And still I want more - Than that.” Not content to stop there, a dramatic third section pulls out the stops with explosive power chords, sugary “ah ah ah” background vocals and Meghan's passionate lyrical delivery “I'd stop the pain, I'd stop the tears, of wasted time and wasted years.”
The second new track “Kewl With Me” is actually a song that's been around for a number of years but never quite found it's way into the studio for a proper recording. Rectifying that oversight now is the right move, allowing for a fresh listen to this classic material. Once again opening with a dominant, resonating guitar riff, percussion works it's way in through cymbals this time before forceful toms go beat-for-beat with Meghan's vocal recitation. “You lift me up - And I know where I am - You put me down - And I know where I stand” come traded off between powerful rhythm-section and vocal accents alternated between guitar only chugging like some kinda Greta Van Led Zep “Black Dog” groove. It all comes together in bold stroke unison on the solid chorus “I don't mind when you come to me, I don't care you're still cool with me"(with tasty harmonies on “come to me” and “cool with me”). With guitar chugging forward, special mention goes to the syncopated snare-drum shots and precision-point bass notes creating a rhythmic pulse underneath. As Meghan emotes the intro verse and chorus once again, additionally offering to “help you find the thing you seek,” a tension-filled guitar line breaks out over that syncopated rhythm with tambourine rattle added on top.
Then pick up your own copy via all the usual places we now acquire music from.
Previous GIFTSHOP Features can be found in the DCW realm here and here.
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Making their way onto this websites radar are Brooklyn-based neo noire rock'n'rollers Toshio Band. Finding inspiration from a variety of film makers (Quentin Tarantino, Jim Jarmusch), poets (William Blake), jazz innovators (Charles Mingus) as well as literary rockers (Iggy Pop, Tom Waits) serves as a wide and disparate pool to draw from. Lead singer and bassist Tim Lavigne pilots the project through songwriting and sound design bringing all these influences together in a modern rock and roll format. Their recently self-released EP “Lock Your Doors” is a five song concept EP that explores themes of madness and melancholy in an unforgiving world.
Opening track “Cassandra” builds off of distorted guitar progression that is quickly joined by bass and drums in a busy, forward-moving progression. Vocals lines “maybe it's all – in my head,” “we're thrown into this world all alone,” and “so beautiful – must fall apart” all speak to the overall motif of post-apocalyptic isolation and demise. Rhythmically quick, bouncy and cool, the tracks overall sound softens those otherwise harsher lyrical themes. Follow-up track “Scorpion” is a loud, over-driven stomper, combining smoother reverbed vocals with needle-to-the-red level instrumentation. With the author pointing to Shakespeare’s “Macbeth” as a lyrical touchstone, the lines “I'm the scorpion / the false champion,” and “I address myself and amass my wealth / I'm so innocent, a flowered serpent” echo the bards poetic style. Seeking power for it's own sake so often leads to damaging psychological effects. The eventual vocal hook, however is a much simpler repeated line “I found a reason.” Seemingly pulling from a number of source points, references to “heaven's gate” and “end of days” can also be heard. A particularly tasty lead guitar solo turns up a minute-and-a-half in to this overall concise barely two-and-a-half minute song.
“The Devil Is Chatting In My Ear” continues the stomp, though a bit more fragmented in it's seesaw chugging progression. “Every day – with each passing year – the devil is chatting in my ear” is how the smoothly delivered intro vocal line goes. Once again the guitars are loud and pushed in front, creating an element of chaos as the story unfolds. An unexpected tempo change appears just past the 1 minute mark, instantly changing the mood with coolly refined vocals and less-abrasive guitars. That momentary passage is soon followed by an elongated guitar lead effecting some kind of shamanistic presence. The initial progression is eventually returned to, before once again closing out with the cool mood segment. “Cataclysm” alters the mood considerably with it's samba percussion feel and snaking guitar lines coming on with Carlos Santana appeal. The artist themselves references “Black Magic Woman” in their promo notes, and the spirit and feel of that classic track is certainly alive and well here. There's power and beauty in the extended instrumental passages, offsetting a chilled vocal approach on each verse. The “lock your doors” album title is delivered here within a verse that implores awareness against both natural disasters and political uprisings.
Final track “Forgotten Friends” presents a slice of wistful reflection in a perfectly packaged under three minute pop song. While elongated phrasing and vocal croon on the opening verse owes a certain amount of debt to Morrissey, subsequent passages move things beyond respectful homage. “And we fall – down, my dear – in the sea” anchors an essential change in both progression and state of mind.
Listen to and find out how to acquire their wonderful tracks here:
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Another eclectic collective weaving it's way into the CromwellWrites universe are a San Diego, California-based duo that go by the name Corduroy Institute. Having recently released a new album titled “Eight/Chance/Meetings,” the creative members adhere to an “institutional methodology” emphasizing improvisation. Additionally, their lyrics were formed using the cut-up method (or technique), which is a type of found poetry that has its roots in the 1920's Dadaists but was popularized by writer William S. Burroughs in the late 1950's and early 1960's.
Album opener “Everything's Wrong (And I've Always Loved It)” (like all the tracks) adheres to a process where a random number generator selects two albums (presumably from their personal favorite collection) as spiritual guidelines for the improvised piece. For this track the “rng” selected The Flaming Lips, “The Day They Shot a Hole in the Jesus Egg” and The Golden Palominos, “Drunk with Passion.” What is actually heard is some extremely well-recorded light-touch percussion and bass, with passionate voices and icy synthesizer rushes. It's floating, meditative and trance-like. Follow-up track “With an English Raincoat” credits the rng with pulling albums by The Wedding Present “Search for Paradise” and Eric Clapton “Slowhand.” What we hear are incidental space-age twiddles, open string guitar textures and a repeated, short electric keyboard line. The essential lyric states that "Defiance is where we can be our best selves." A third of the way in now sees “Of Splendour and Misery” pulling from two opposing sources, The Slits, “Cut” and Rick Springfield’s Greatest Hits. Emphasizing factory-chug percussion, multiple vocal layers serve up a near “doo wop” element to the proceedings.
Cover model Andrea Revilla
“You Bring the Sunshine, We Bring the Blackout” adds a Squier Bass VI for contrasting analog warmth against harsher slap-crack beats, single note held synths and acoustic guitar strums. While the innovative band Magazine is referenced as an rng choice, vocals timbres and singing style bring to mind John Cale's solo work. “A Suburban Purity” emerges out of mechanized synthetic pulses before a slower, counterpoint bass pattern ushers in a series of overlapping vocals. Deeper cuts like “An Interpretation of Our Own Story” had the rng pointing them towards Fairport Convention as inspirational launchpad. References to Richard Thompson's late 60's British folk rock band indeed can be detected in acoustic guitar emphasis. An underlying darker rhythmic element runs in alternate currents via deep percussive strikes.
“These Variations of Grey” comes on quite bouncy, accentuated by popping beats, analog bass guitar and melody-driven electronic keyboards. Essential lyrical statement "As midnight approached we stood there staring at each other" underscores the uncertainty of the moment, questioning what it is that comes next. Final cut (and album's longest track at 6:10) “In This Confessional” surfaces out of buzzy synth tones held over a submerged rhythm approximating some form of mechanized factory. Less foreboding keyboard notes materialize, building simple melodies before the vocals begin. “Joining me exalted in this confessional” is but one audible segment of the cut-up lyrics dispatched, as less mechanized light percussion and bass guitar weaves into the mix. Peaks and plateaus follow, with abrasive sonics enhancing more passionate vocal delivery before drifting out of focus once again.
Psychedelic documentary film-maker Matt Levin returns with a new project in the works on the life and times of influential musician, writer and painter Will Carruthers. Most psych-rock fanatics know him as an innovative bass player in seminal bands Spacemen 3, Spiritualized and The Brian Jonestown Massacre. Will has also carved out a niche for himself as a painter, with one of his works put to the “psych-test” here in Matt's narrative. With the clever title "Nobody Gets Fat Eating Music," Matt combines an informative live interview with brilliant animation and in-depth analysis for a uniquely immersive experience.
Among the numerous subjects covered, of particular interest (and the opening sequence) discusses a tryptic painting Matt commissioned Will to paint for him. Calling it “Gluggavedur,” that title refers to old Icelandic saying that means “window weather.” Where images outside may look pleasant and comfortable, but when you step out into it you are freezing cold. The artist insisted it be framed with two black bars between the panels, conveying the sensation of looking out a window onto the sea.
In addition to a live interview with Will conducted at the Liverpool Psych Festival is a series of brilliant animations illustrating many of the stories being told. This full motion imagery was commissioned by Matt and set into creative motion by the truly gifted Klarens Malluta. Much of the documentary benefits from Klarens depicting Will's interview story answers in a lavish and colorful way. It's a wonderful hybrid of Peter Max, Yellow Submarine and Pink Floyd's The Wall style imagery.
At one point Will tells a story about meeting Anton Newcombe of The Brian Jonestown Massacre for the first time, and threatening to shoot him with a longbow. He states they actually bonded over that, as Anton found it quite entertaining. A clip covering that segment can be viewed on The Brian Jonestown Massacre Instagram page here.
Another short clip from the interview can also be found on the BJM Instagram page where Will explains that “the most addictive drug I ever took was music.” And how if he just “keeps going back and try it one more time, it will be alright this time. I'll just have two then I'll stop. I'll play two songs and then I'll stop.” But the harsh reality of being “back on the building site” and working soul crushing (and dangerous) factory labor has you giving in to the pull of music once more time.
As life continues to slouch forward towards “the new normal” (what reopening phase are we in now? Phase 4 or 14 . . .) the one thing we can all count on is the need for creative types to continue making their art. Musicians who spend a lot of time writing and recording as part of their ongoing routine anyway, have focused on new songs and videos as their primary outlet. The touring and live show performing remains on hold for the present, although after-summer dates and beyond continue to appear on their respective calendars. Once again the joy of deep listen analysis and the words that flow from that are featured here at the DaveCromwellWrites global consortium.
Julian Kerins is a musical tour-de-force and frontman for his own sophisticated indie rock power trio. He is the complete package of songwriter, virtuoso guitarist and polyphonic vocalist with a 6 octave range. Accompanied by bandmates Michael Vetter on drums, and Michael Schuler on bass, a full 10 song album “To Solemn Maia” serves as the current full-length release.
One of the albums many outstanding tracks “Vie” was given a full official video release, and has been racking up an impressive number of views since it's initial arrival. While reaching 2 million views in such a relatively short amount of time is certainly an accomplishment, the intricate songwriting and high-level of musicianship is what truly stands out.
The song and video come right out of the gate in full-flight motion, with Julian's primary guitar riff matched by the bass guitar, as the two harmonize over syncopated drumming. Images of birds splashing in puddles and flying overhead lead into the opening vocal lines. “So sodden the glance, the glimpse” has Julian immediately exhibiting his extraordinary range, going from deep baritone to higher tones through innovative vocal phrasing. More imagery of the band playing in a warehouse alternates with close-ups of falling rain and the city skyline beyond. The chorus is reached, serving as sonic high point (as it should) “on limbs, limber as glass lips” while introducing a more sophisticated jazz-prog feel to it all. That vibe is expanded on when Julian delivers a quick, dexterous guitar solo at the minute and a half mark, evoking the mastery of players like Eddie Van Halen and Joe Satriani. While emphasis is placed on repeated vocal phrase “In days,” the denouement comes with doves released around Julian's primal scream and the band furiously throttling away to a prog-rock quick-cut conclusion.
Watch and listen here:
Follow Julian Kerins on his social media for updates and info on all of his music.
Internationally acclaimed extreme metal band Lamb Of God have released their eighth studio album and first in five years, choosing to go with no title other than the bands name. Now two decades into their explorations of brutally aggressive rock, this Richmond,Virginia conceived quintet have taken their place alongside contemporaries like Metallica, Slayer and Pantera. An official video for the track “Gears” comes along with the album, serving to add a visual element to the lyrical and musically intense storytelling.
The Tom Flynn and Mike Watts directed video opens with images of computer circuitry, keyboard entry via biohazard-gloved hands and aerial views of streetmaps being combed over with a magnifying glass. Dropping down to street-level, two protagonists enter a building as the bands aggressive shearing guitar chords and throttling snare drumming commence. As the two seemingly bored (and yawning) desk jockeys sit in front of their computers, quick cuts to the band inside a caged ring capture in detail the track's pummeling sound. A poster in the office workers cubicle reads: “Feeling Down? Low On Energy? Call and Make the Change Today! First Treatment is Free!” Vocals begin with the lines “You suffer from a manufactured sickness and envy by design - Pre-calculated status and patterns of desire,” make a clear statement on relentless consumer acquisitions as a hollow measure of success.
As the two “accumulation and adoration” seeking workers who remain “perpetually unsatisfied” seek out the poster-advertised chemical treatment, quick cuts of the band thundering away are paired with that magnifying-glass wielding scientist and his boss watching closely. That boss, by the way, is played by previously reviewed Julian Kerins, who appears to have acting skills as well. While the two office-techs appeared to be rejuvenated by their energy-enhancing stimulation – churning out more supervisor-pleasing work, the songs thundering rhythms and lyrics (“hang it on the wall of your golden cage – tell yourself that it means something”) question this approach to life. It's a scathing commentary on corporate life measured in how many big-ticket items you can acquire. Along with a brilliantly precise guitar solo 3/4's of the way in, comes the inevitable “crash” of those artificially enhanced worker bees. The side effects of unnatural human stimulation can be cruel. The overview scientist and his boss, who have been monitoring their test subjects see first hand how needing “always more” is ultimately a shallow existence.
Back in late April the electronic-music and fashion-forward duo Turbo Goth decided to release a new song at the height of this world pandemic we've all been dealing with. Calling the track “Quarantine Dreams,” they refer to it as “a groovy love song” created for interpretation and reflection on applying your dreams through positive actions going forward once this crisis is finally over. That original track has been given the remix treatment by three creative entities, and are now available to be heard.
The original studio version placed immediately emphasis on Sarah Gaugler's sweetly-sung, straightforward vocals with minimal effects and sparse, twinkling background accompaniment. “Spun on your love, don't wanna wake up from these quarantine dreams – nothing's what it seems” comes on like a lullaby. Trip-hop percussion and deep-bounce-bass soon sets a sensual groove for the combined romantic and mystical declaration, “Bae, you know you're pretty amazing, your supernatural vibe is kinda hard to describe. Our constellations align, but I'm only semi-divine.”
Vocal FX and echo-line layering become more prominent with the dreamy segment that goes “baby I'm trippin' but I'll be saving my love for you.” The hypnotic qualities are apparent, with the soft, seductive vocals more clearly asking “how many days do we have to wait?” That's followed by a vibrant dreamlike segment where an angelic reverberation is applied to the line “my all, I want to give to you.”
As one might expect, the remixes become collaborations whereby new elements are developed within the previously released track. Onetyla Remix places mellotron-like pulses and dry bass-notes around Sarah's introductory vocals. Higher end synth notes begin to fill in places between vocal lines as the song progresses. The original percussion has been stripped back, leaving open space for a simpler hand-clap approximation. The lyrical line “but I'll be saving my” gets looped and is followed by a muted dance-floor horn. Pivoting back to the original track, the “Galaxies are waiting – no more hesitating - we'll be star gazing under the dark, dark sky” segment is emphasized. An alternate trip-hop percussive groove ultimately makes it's way into the mix, with additional synth and studio enhancements leading the track out via the opening mellotron and clean bass-pop simplicity.
Chan Chanlian Remix makes bright piano chords the dominant instrumental attribute powering along with Sarah's introductory vocals. Along with those power-pop chords, the percussion moves away from the previous trip-hop feel, locking into a softer, bouncier pattern. As with the previous remix, once again “I'll be saving my Love” serves as a catalyst for momentum shift into rave dance fare. While the dominant piano chords return for the remaining segments, clever use of a double-time snare drum pattern creates a sense of urgency under the emotionally-charged lyrical denouement.
EDP Beats Remix initially floats in on waves of looping guitar, creating an ambient dreamlike state before an electronic dance music beat kicks in with Sarah's vocals. Rhythmic fingersnap percussion creates forward movement sensations above the slightly muted vocal reading. There is a more spacious, ethereal quality to it all, with soft voice only delivering the “baby I'm trippin but I'll be saving my love for you” lines. An immediate sonic shift commences with “galaxies are waiting” and return waves of softly-psychedelic guitar loops, deep bass notes and click-snap percussion. An acid-house feel envelopes the closing moments, where lines “gotta pull me out of this hazy phase,” and “crazy state” are immersed in frothing swells of psychedelia.
Check out these amazing Remixes via this link here:
Darkwave artist Cat Hall (aka DISSONANCE) has just released a new single and visualizer clip for her song "Precipice." Described as a lament of personal struggle, her ability to transcend emotional pain and physical scars has ultimately produced this beautiful work of art.
DISSONANCE emerged out of the early 90's Texas synthpop scene, playing live in many of the popular Dallas venues at that time. Many took notice of the unique vocal quality and angelic style Cat Hall presented, with her harmonic layers creating an ethereal state of mind. Catching the ear of Paul Robb (INFORMATION SOCIETY) who was forming his label Hakatak International, DISSONANCE was signed in 1996. Her first self-titled release, Dissonance, produced by Robb, came out in 1997.
Earlier this year, Cat collaborated with Bug Gigabyte of SINTHETIK MESSIAH on his Split Damage release, providing lyrics and vocals for “Languish.” A full review of that recording can be found on This Site Right Here.
The initial Joe Haze NH Remix release comes accompanied by a “visualizer” clip delivering panoramic aerial views over inspiring majestic natural formations. The tracks audio emerges out of brief, muted textures accompanied by underlying distant percussion before the fully bright progression is revealed. That groove comes on via deep-rumble bass pulses, icy high-end synth blasts and hissing percussion lines formulated by the bands musical partner Justin Burning and remixer Haze's further manipulation. It's dance-floor ready with the requisite beats-per-minute to satisfy any pulse-pounding, fired-up heartbeat rave. Cat's vocal performance and emotional lyrics are cut up and re-positioned somewhat, creating a cooler sensation that fits seamlessly with the video imagery. “Standing on the precipice – kills the hope of my life. Fine lines drawn in my skin,” allow the listener to interpret this sentiment from their own experiences.
Experience the song and video here:
To find out more about Cat Hall and DISSONANCE, follow on Social Media here:
Documentary filmmaker Matthew Levin recently shared a new episode of his “Translove Airwaves” series titled “Krautwerk Umarmt Liverpool” in a limited run preview setting. With the ultimate goal of producing a full season of shows, this follow-up episode to the initial pilot expands the production exponentially. At the end of 2018, this site featured a live show and source material review of Matthew's initial episode, which can be read and viewed here. The psychedelia motivated producer is now back with an immersive look into two German musical pioneers who have teamed up under the moniker “Krautwerk.”
Traveling to Liverpool, England for that city's International Festival of Psychedelia, Matthew interviewed and captured live performances from two legendary “Krautrock” musicians who had recently teamed up - Eberhard Kranemann and Harald Grosskopf. Although both men have a long history of influence within the very beginnings of Krautrock's late 60's – early 70's birth (detailed in an excellent piece here on the Translove Airwaves site), the pair did not actually meet until 2016.
While the above-linked piece goes into greater detail on Kranemann and Grosskopf's history, a quick namecheck of seminal bands Kraftwerk, Neu! (who's Hallogallo2010 live show was covered on this site here), Ash Ra Tempel and Tangerine Dream all figure prominently in these two artists backstory.
As one might expect, the two-man electronic band's set up relied on an array of tone generators, effects units, laptops, mixing boards and more, laid out on tabletop stands, next to each other. Visual projections of sweeping vistas and dreamlike states rolled behind each artist throughout the performance. While looping automation was certainly employed, a distinct live-in-the-moment element was clear with Kranemann adding rhythmic vocal thrusts and Grosskopf playing digital drum pads. At times there are zany elements of noise (both vocal scat style and instrumental) added on to the rhythmic undercurrent, bringing to mind the frequent offbeat lunacy of a band like Ozric Tentacles.
Although Kranemann may have begun his musical education studying classical double bass, his subsequent discovery of and love for free improvisational jazz being created by greats like John Coltrane is apparent. During the set he picks up an electronic stringed instrument and takes off on a spontaneous jam while Grosskopf continues to loop rhythms and add percussion.
Check out the trailer for this feature here:
Get more info on the Translove Airways series here:
Recorded works takes precedence over live concerts this month, as a number of high quality (and woefully under reported) creative types (musicians, filmmakers) reached out for analysis and recognition. As bloated internet sources tripped over each other posting the same repetitive paid for PR announcements (devoid of any actual thoughtful insight) freedom from those callous trappings allow this site to focus solely on the art. The question that haunts daily is this – is EVERYTHING for sale? Is financial commerce the ONLY motivating reason to care about anything? Quoting a rock journalist LEGEND who was never driven by that, Lester Bangs once said, “the only questions worth asking today are whether humans are going to have any emotions tomorrow, and what the quality of life will be if the answer is no.”
It's been a few years since the music of Stellarium was fully featured here on this site. Their self-titled debut album garnered a track-by-track breakdown at that time with an accompanying recap by yours truly over on The Deli Mag a few weeks after. The band now has a brand new seven track collection, delivering nearly a 40 minutes mix of alternately fiery and glowing sonics.
Leadoff track “Summer Bloodbath” teases 7 seconds of backward looping before moving into a fuller ambient cathedral wash. Open high-hat cymbals signal the rhythm section kicking in, as bass guitar and drums thunder underneath shimmering guitar chords. Its fast paced and rhythmic – a propulsive forward motion assault. Vocals emerge with varying degrees of FX masking, providing an ominous howl over the frenetic rhythm that continues to churn underneath. Despite the songs macabre title, a warm sensation is felt through the rushing guitar washes, rising single note melodies and counter-melody bass guitar figures. If this is truly about a “murderous bloodbath,” the accompanying soundtrack to it here adds a certain romantic beauty.
“Paradox” comes on harder edged, with aggressive deeper toned guitars, rapid-fire drum roll bursts and high-pitched squeals creating a hyper-force rising swell. Vocals take on that unintelligible heavy-effects laden texture that serves more as another instrument, rather than any kind of actual storytelling vehicle. Whether a possible truth can ultimately be revealed by contradictory forces seems a moot point within the framework of this sonic exploration. Ferocious battering often engulfs segments of this track, as quick fluid bass patterns propel matching-speed drumming and rising guitar onslaught. The final minute has the tempo shifting down a gear for a raucous jam-out coda.
The pace is brought down somewhat on third track “Lo,” as dreamier elements are explored through chiming guitar textures and more inquisitive vocals. Fuller motion is once again provided by a busy rhythm section that employs free roaming bass guitar work. Not to be outdone, the percussion is locked on tight with precisely confident snare-shot accents. Longer note guitar melodies are woven in and throughout the course of this nearly 8 minute song. As one might expect from a track of this length, an ambient breakdown appears just past the halfway point, allowing for further auditory explorations.
The vigorous drive returns for “Still” which adds elements of “gothic-pop sonics” - rumbling, low-note Bauhaus-like bass – open note arpeggio Cure-like guitar figures – and a more clearly defined chord progression. While the (still) unintelligible psychedelic vocals also skewer toward romanticism, is it happiness or “the hanging garden” serving as ultimate final destination?
Returning to deep, trippy, ambient sensations, “You Die Inside” bathes the listener with engulfing aural washes before glimmering guitar chords emerge. A deliberate progression slowly takes shape before dream-like vocals appear. Well placed minor chords adds a sensual dimension to the overall proceedings. A final one-minute coda sees the band ultimately opening up for a dynamic finish.
Heavily fuzzed bass notes and audible squeals usher in “Space Candy.” Hard battering drums and wildly chugged guitars fuel this explosive rave-up, while the vocals continue to be applied with deep reverb and drawn-out enunciation. At 2:43, it serves as the shortest track in this collection.
Final (and epic) track “Dynasty” closes everything out with the longest contribution here at over eight and a half minutes. A deep percussive beat anchors doom-laden riffs as violent guitar layers thrash over top. Vocals come in that deeply muffled manner that a band like A Place To Bury Strangers frequently exploits. In fact the pacing and overall sense of foreboding on this track pays a certain homage (whether intentional or not) to Mr. Ackermann's finest work. Halfway in the brutal pummeling gives way to an ambient plateau where the clearly audible vocal question is put forth: “how does it feel when everything is you know gone?” With only seconds to ponder that, the answer comes via more frenzied instrumental aggression.
While waiting for all this new material to fully emerge as streams and downloads, you can check out all of the bands previous work at their Bandcamp.
Additional DaveCromwellWrites features on Stellarium can be found here:
There's a retro mid-70's punky garage rock feel to Women Of The Night's latest release “Moscow Mansions.” It's slow-burn two-chord groove and rough-hewn city street vocals feels like a lost track off the original Live At CBGB's album. One could picture this primal groove rooted in 50's style strolling blues and gritty urban lyrics fitting seamlessly between The Tuff Darts and Mink DeVille on that seminal record. While those artist drew inspiration from legends like Van Morrison, modern touches emerge throughout this current track.
With the resolving hook centering around how “she” (then “he”) is “gonna catch them stars” and “ain't coming down again,” a ghostly keyboard melody line is added on the second pass through. Leading into a longer than anticipated instrumental segment imbues the track with a subtle psychedelic quality. Arriving at a dramatic pause, subsequent background vocals and final descending melody adds one more distinctive touch. “It's getting harder every day - I ain't gonna let you go by” is declared while tasty guitar riffing bubbles up inside of those ending lyrics.
Opening with the chord progression strummed out cleanly on an unadorned guitar, second track “Be Careful What You Wish For” sees heavier single notes quickly entering the mix for dramatic effect. Shuffling drums and bass are joined by an alternating keyboard melody as the lyrical story unfolds. Channeling elements of early (Freewheelin') Bob Dylan and all those who followed that conversational songwriting style (from Lou Reed through Nick Cave and the hordes of others), compelling imagery set to melody and rhythm takes hold. “5:30 as the city empties out - I wish I could just be a part of your well oiled machine - conversations the persuasions as the business men do business - they try their luck - and they dance around the streets and bars - as they proposition underage girls.”
The chorus moves things closer to pop hooks however, with the catchy refrain: “I've got you on repeat - girl be careful what you wish for - you've got me on speed dial -you only call me when you need to.” An unexpected level of pathos shines through via some well-placed (and haunting) slide guitar work. Ultimately this clever story concludes with a reckless (yet life affirming) denouement: “I just love the thought that sometimes betting with your heart you can surely win.”
Sharon Victoria Courtney is an Irish musician based out of Toronto, Canada making original music under the name Vancorvid. It is a unique and intoxicating sound that blends classical instruments, modern electronics and mysterious spoken word prose. Her latest release "Summon" sees her original composition (initially mixed and championed by Martin Bowes of Attrition) expanded upon through a Precious Child remix and accompanied by its strikingly cinematic video.
Opening with visuals of hands fluttering like wings, four distinct chordal chimes are struck before it all goes temporarily quiet. The image (and sound) of plucked harp strings is presented before a fuller, driving, percussive rhythm takes over, accompanying quick-cut moving pictures of frames, yarn, nails and scissors. Extended note reverberated voices float over the mix that includes a fluctuating 4 note melody pattern and piercing violin. Another quick pause ushers in a pulsing electronic pattern and the spoken word narration, providing the thematic core of this composition.
“Summon your courage. Your fake beliefs that you barely hold to and come to me. Summon your voice to speak.” A dream-like quality envelops the viewer with quick-cut images of the artists face next to elements of nature.
Blending violin textures with whispered voices, a steady throbbing beat creates motion until the next dramatic pause. Vocals re-emerge more fully sung, yet bathed in gossamer qualities as clouds float through horizontal faces.
The overall sensation is that of a psychedelic experience (of which dreams often resemble). Rich violins, humming voices and the return of those fluttering hands imagery pulls everything full circle.
A dovetailing of two like-minded forces has developed through a mutual fascination with and passion for the psychedelic state of mind. Award winning over 30 year career film composer Simon Boswell and alternative conscious film-maker Matt Levin are seeking to push the boundaries of their individual crafts through collaborative and individual projects.
While Mr. Boswell continues to simultaneously celebrate and rework his decades long soundtracks to many of the most innovative alternative films of our times, Mr. Levin has chronicled this recent activity through his Translove Airwaves outlet. Reaching out beyond the recording studio, Simon Boswell and his band The And have been performing live over the last few years. They brought their multi-media live show to The Mercury Lounge on October 3rd, 2018 and Translove Airwaves captured featured segments of that performance on film. Shared here is Mr. Boswell and his band performing a segment of his composition from the cult-classic film “Hackers.”
While that particular film was critically panned, but loved by audiences (as it's 32% and 68% rating on Rotten Tomatoes would confirm) - and spawned a budding romance between a very young Jonny Lee Miller (Sick Boy in "Trainspotting" and Sherlock on TV's "Elementary) and Angelina Jolie (very well known) Simon's use of synthesizers on its film score reflected that eras fascination over emerging cyberpunk culture.
Mr. Boswell has recently stated that he and director Iain Softley are working on the definitive soundtrack release of this film on vinyl. Included with the original score there will be featured tracks by The Prodigy, Underworld, Orbital, Leftfield, Carl Cox, Stereo MCs and the composer himself.
As one might expect of an artist who's career has spanned three decades and continues on today, there is no shortage of material to draw upon. Providing soundtracks for a who's who of groundbreaking film-makers, the work of Alejandro Jodorowsky ("Santa Sangre"), Dario Argento ("Phenomena"), Michael Hoffman ("A Midsummer Night's Dream"), Danny Boyle ("Shallow Grave") and Richard Stanley ("Hardware," "Dust Devil") have all been scored by Mr. Boswell.
Having earned the freedom to rework his original film score material (where he was always beholden to the directors final choices), the live show now features visuals from the movies remixed to fit his music. What he refers to as "revenge of the film composer." Directors Jodorowsky, Argento and Richard Stanley all appear as virtual video spoken word artists.
In addition to his film score work, Simon also distinguished himself as a record producer and remixer. Achieving huge successes in the Italian market, he went on to work with world class artists like Elton John, Marianne Faithful, Dolly Parton and Andrea Bocelli. His unique style combines electronic and orchestral instruments, acoustic and slide guitar and synthesizers.
The recent live show at Mercury Lounge shows Simon introducing his “Hackers” music with a story about how like-minded psych artist (and VR specialist) James Edward Marks introduced him to computer programmers who coded under the influence of psychedelics. As the digital code imagery running behind the musicians blended with the sounds being produced, visual trails are recreated to represent one aspect of that mental state. It's a wonderfully immersive experience that expands further with powerful live electric guitar. Mood altering tempo shifts are combined with detailed footage from the film (a seriously intense Jonny Lee with equations flying around his head) while Simon unleashes precise guitar solos like Edgar Froese in 1970's era Tangerine Dream. Percussion thunders away underneath as the images of baby face Angelina Jolie speaking into a land-line phone enhance the visuals.
Sharing a similar attraction to and devotion for the connections that broad spectrum psychedelic thinking offers, film-maker Matt Levin works through his Translove Airwaves platform as a consciousness raising force. Combing his love for music and film school training, Matt explores psychedelia as a natural component of our complex brain interactions, moving beyond simple drugs-only applications. Choosing instead to focus on the unlimited scope that everything in this life has to offer - be it art, music, technology and positive healing lifestyle choices - all contribute to a higher level of cognitive awareness. View the Translove Airwaves trailer below:
Matt owes a debt of gratitude to psychedelic film-makers like Alejandro Jodorosky, as well as individuals who continue to provide guidance to this day. In particular, management/production guru Dave Newton and animation artist Batuhan Bintas.
Links to everyone mentioned here have been provided at the first instance of each of their names.
Dave Cromwell has been writing about music since the dawn of the internet age. In addition to the steady flow of features here on this site, he has been a regular contributor to The Deli Magazine (both Print and Web) since 2010. With numerous Print Issue cover features and weekly contributions on the Deli website, scores of artists have received the Cromwell point of view. Along with ongoing contributions to this site and The Deli Magazine, Dave has written for Dingus, My Social List, The Waster, Spin and Rolling Stone magazines.
