A combination of innovative original instrumental music focusing on keyboards and guitar serve as the primary entry point for this month's DaveCromwellWrites Feature. As this site continues to evolve, a greater appreciation for musicians composing and recording works that focus on art over repetitive commercial pursuits grows exponentially. That said, when a quality pop song emerges out of the seemingly endless sea of replication, that too will always find a place for close listen and evaluation here.
Holding true to the old axiom of how discovering one artist often leads you to another, Brian Charette finds his way onto this site following last month's deep dive into the music of Oz Noy. Noticing the high-quality, double-tiered Hammond B3 playing he contributed to Noy's “Looni Tooni” made it an easy decision to dig further into Brian's work.
A brand new full-length album “Like The Sun” is set for release on December 1, 2020 that features 13 mostly new original compositions. Recorded during the first months of lock down, these instrumental tracks forge a new hybrid sound that combine electronic beats with the richness of traditional organ sounds.
Opening cut “15 Minutes of Fame” lays out a funky robotic groove with a sharp, synthetic descending keyboard line surrounded by otherworldly textures. Lush, dreamy atmospherics alter the mood in-between in a most pleasurable way, before Brian's improvisational organ soloing commences. What's impressive is how nearly all of this record was recorded live in one take, reacting to random programming changes via the accompanying autogenerated beats and chords.
You can see and hear this happening live-in-that-moment via the below video (and 2nd album track) for “TimePiece.” Looking down on Brian's impressive rig of keyboards, samplers, drum machines and tone generators, the composer kicks off a mechanized beat and programmed chord progression. Taking to his highest-point mounted keyboard, sweetly piercing flute-like tones are the first to be played, establishing a central melody. Moving down one level to his mixer, audio samples and percussive bursts are initiated on the spot. As the song enters a defined chord change section, Brian drops to his third-tier down keyboard controller and unleashes some soulful organ improv. Check out this wonderful track here:
Third cut “Slasher” gets right to the warm organ tones, balancing that against slap-trappy percussion. After a minute another more synthetic keyboard texture emerges, providing counter-melodies to the organ running along simultaneously. Ascending otherworldly ambience serves up an appropriate coda.
While “Honeymoon Phase” continues that rough brush-stroke percussion, reverberated electric piano is introduced as a dueling keyboard element against the traditional B3 organ. Additional synthetic textures find their way into the mix as well, however it is the romantic chord selection and emotive playing that really shines through here.
Title track “Like The Sun” hits the ground running in full motion with a busy, angular sequence and syncopated percussive strokes marking out an interesting (and peculiar) pattern. Sampled voices materialize like Middle-Eastern prayer chants, and deep bass notes expand the sonic field into lower regions. Organs, synths, blips and bleeps all make appearances, adding an element of sci-fi to it all. There's even a bit of distorted-voice spoken word narration included in the final minute of this over six minute extravaganza.
Other cuts like “Mela's Cha Cha” position closer to more recognizable jazz-funk-soul hybrids, leaning more on buzzy brass synths for melody phrasing. However, there's always room for a few bars of rich, organ stylings and complimentary “outer space” ambiance.
“Three Lights” blends emotive Hammond B3 organ jamming over top of a hypnotic calypso beat. “Break Tune” takes the beat into a more static direction, with a pattern and sound like a Nine Inch Nails intro. While additional icy synths and distressed vocal samples may also throw off a Reznor-like feel, alternating passages with soulful organ and jazz guitar accompaniment take the edge off any potential existential dread.
“From Like to Love” introduces an even brassier synth as the melody instrument to build everything else around. Jazz inflections are the predominant voicings on chord phrasing while the blues scale is applied to solo forays. “Creole” blends a variety of traditional organs with buzzy brass synths over a funky bass and percussion rhythm. While the bright synth tones Keith Emerson with ELP, the end out jam is pure Brian Auger's Oblivion Express.
The motorik beat and Teutonic rhythm of “7th St. Busker” may be the closest track on the album fitting Brian's own self-description of “Kraftwerk meets Harlem juke joint.” Even the alternating synth textures have a “Trans-Europe Express” feel to them. An unexpected child's voice appears near the very end, adding one more twist to it.
An easy groove organ melody line over clearly defined chord progression introduces “Robot Heart.” Things become more “robotic” further in with an arpeggiated sequence, ice-alien keyboard stabs, high-hat tick percussion and mysterious voice samples. Final track “57 Chevy” builds off a funk heavy beat and three essential keyboard parts. A basic two-chord pattern of reverbed electric piano, soulful organ soloing over top of that, and a change section that features rising chords and low-end percussion.
Overall, this is a truly wonderful instrumental album that delivers a wide compositional and sonic range, perfect for the many moods we all experience throughout the course of each day.
Connect with Brian at his Official Website and Facebook Page for Info on how to acquire this New Album, as well as all his other work.
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Musician Afonso Dorido is a Portuguese artist who creates instrumental music under the name Homem em Catarse (which translates to “Man In Catharsis”). Earlier this year he released a 10 track album titled “sem palavras / cem palavras” (in English - “without words / hundred words”) that delves into a heady mix of dreamgaze, ambient, slowcore, classical and emotional musical styles. Primarily a guitarist, this artist also creates on piano, synths, bass-guitar and bits of percussion. The album's producer/mixer also added percussion on a number of tracks, and a string section is used at times as well.
The album opens with a two-minute gentle piano-only rumination poetically titled “You were just a little leaf.” Slow, measured four note arpeggio chords establish an introspective progression, as tender melodies are played on the higher-toned keys.
However, it is with following track “Hey Vini!” that we are introduced to the ambient, psychedelic dreamgaze promised in promotional descriptions. Moving to guitar here, Afonso opens with an electrified diffusive wash, then switching to placid open-note chords. Bringing in percussionist (and producer) Pedro Sousa creates a more solid foundation and complimentary rhythm section with Afonso's additional bass guitar work. The track seems to float on air, with it's multiple layers of reverberation – bringing to mind the dual guitar work of Robert Smith and Porl Thompson on classic-era Cure songs. Returning to that gazey sound only hinted at in the intro, a new layer of extended-tone, quick-strummed, e-bow style guitar textures flood the sonic spectrum, leading out to one more open-note-chord coda.
A pattern of short, steady, plinking sounds introduces “Hotel Saturnyo” as deep, reverberated guitar notes roll out a slower melody over top. Percussion soon enters the mix with additional guitars layering on in a more urgent manner. Using a digital delay on guitar riffs create the sensation of many guitars playing at the same time (something U2's The Edge is famous for), and this technique is employed here as well. The pace is quicker though, with deeper bass guitar moving underneath at a more defined pace. Synth strings arrive to enhance the tracks final minute, adding another majestic layer.
Slow moving guitar twang give fourth cut “I remember yourself when I can't remember” a dreamy western feel, that's part Spanish Classical Guitar and part American Cowboy. Adding a rapid strum layer at mid-point pulls things over into dreamgaze and psychedelic territory.
Sticking with the slowcore premise and progression, “Marie Bonheur” serves up it's glacial pace through double guitar layers of strummed chords and bright guitar figures over top. Carefully paired percussion and bass guitar enters the mix, creating the base for multiple layers of emotional guitar melodies. The final minute adds a gorgeous violin and cello string arrangement lifting it all into the realm of classical.
Returning to solo piano, Afonso presents a lovely progression and melody on “Calle del Amour” (Love Street). There's an almost Christmas feel to this one, with it's stark impressions of a landscape that might possibly play best in the month of December.
Synthesizer pulses, sparse mechanized percussion and bass guitar set the tone for “Yo La Tengo” (I Have It). In contrast, natural electric guitar figures are played with an emotive quality, adding warmth to the proceedings. Guitars progressively occupy the sonic field, converting what began somewhat automated into a more overall organic feel. The addition of chorused voices in the closing moments creates a final uplifting sensation.
Rising up out of silence comes a pizzicato struck guitar pattern on what seems appropriate for a track titled “Martian Dances.” With that rhythm established, a more traditional rock bass-guitar and drum segment commences. Dueling guitars emerge with one playing digital delayed notes and the other rough-hewn textures. A strong melody develops out front, before the rhythm-section drops out, leaving clearly defined guitar notes remaining against the initial pizzicato design. The cycle repeats, leading up to a grand finale finish of guitar pageantry.
Clocking in at over six and a half minutes, “In the Sea” serves as the longest track on the album. As this length might suggest, ample room is provided for extended, ambient passages that build slowly over time. With gentle guitar strokes over spacious synthesizer washes, a stuttering percussive pulse marks out elongated time while extended guitar tones create a reverential atmosphere.
Final entry “Little birds house” closes out the record with a stark, hallway-reverbed piano musing. Despite it's brevity, there is a strong melody running through it, and serves as an appropriate ending to this beguiling album.
Detailed interviews, record reviews and live show recaps on Astoria, Queens NY based pop-rockers GIFTSHOP has been chronicled here on this site numerous times over the last few years. Now they are back with a brand new song and video for their latest track “Stylish Junkie.” With each member recording their part remotely (as these current trying times advise), modern technology (a positive product of our current age) delivers a slick and professional sounding track. Taking equal care to shoot the songs accompanying video, an homage to pink and pastel 80's era MTV video lore is playfully represented.
A clarion ring of chiming guitar figures slowly rises in volume from the distance, with alternating mid-toned plucked strings adding dueling counterpart. An abrupt halt of that allows for drums to stand alone with a 1-2 x 4 beat. Chugging bass guitar joins in with the dominant progression, as high-hat cymbals add percussive force. Explosive power chords are the next element to emerge, creating an overall distinctive power-pop sheen. With the arrival of Meghan's vocals, the repeated song title comes complete with hook-tag-line “beep beep” that suggests David Bowie's similarly clever use of that audio punctuation on the hit song “Fashion.”
The vocals are impeccably delivered, recorded and mixed, with double-harmony enhancements at just the right moments – like on the final introductory “stylish” before the first verse. As for that verse, Damian's lyrics juxtapose fashion sense and drug-fueled decadence, with lines like “where do you find the clothes you wear?” and “Tiny Monkey, has you passing out on the 5 – how do you even stay alive?” Again, the vocals are doubled and harmonized on key hook “Stay Alive!” which also benefits from crunchy guitar chord placement.
Understanding the general lightness of pop music, room is allowed for a touch of humor and clever word-play with the lyric “ Fashion Victim, you put the outer in underwear.” Much like anthems Pat Benatar served up to the MTV generation throughout the 80's, key vocal passage (and lyric) “You belong to the night” proposes nocturnal outcast cool. “To the night” is repeated with multiple vocal inflections (and harmony layers), as sonics swirl with more dense layers now churning underneath.
The final minute pairs vocal lines “I'm feeling too high now” against “I wanna come down now” in a layered tour-de-force that revisits Bowie's tragic protagonist in “Space Oddity.” However, where Bowie's character quietly drifted away, an intense culmination of passionate vocals, shearing guitars and forceful rhythm-section advocates an alternative outcome here.
As the year 2020 advances towards it's ultimate conclusion, a select collection of diverse and eclectic musical artists have been hand-picked for feature review here. While the frequent and familiar rock styles of goth, dream-pop and gazey ambience are once again represented, so too is the work of an improvisational virtuoso. The essential commonality running through all of these works is a deep emotional commitment to their respective artistic styles.
New Dark AgesPR MaestroWilliam Z presents a variety of artists that fall within a visual mode often referred to as “gothic music.” This discernible aspect must be noted as the actual audio output of the artists represented cross over a very broad range of sonic styles. Extremely harsh and abrasive industrial on one end, and dreamy beautiful on the other. What ties them all together is a common visible style that emphasizes pale skin with dark, heavy makeup and similarly styled clothing.
One such artist is the glamorous Italian singer and musician Elle Noir. Trained in Opera and Music Composition, the skilled pianist spent time with a symphonic metal band, performed in cabaret shows as well as experimental music theatre. With a new EP “Like A Black Doll” slated for later this year, a video for one of the songs “The Day I Died” has now been released. Describing the track as “a metaphor of emotional death, it tells of a world where nothing has value anymore, which is also an - - inner world given by mental states like depression.”
Strong piano chords and gentle follow-up notes open the track, as lush symphonic strings quickly fill in open spaces. Soft vocals begin “One day you will come – on my grave” while video imagery of the darkly glamorous Italian model lies motionless on her back, tiny flowers all around her. Both visual and lyrical imagery come together with the line “and you will leave flowers just for me” while the photogenic musician assembles a crown of blossoms.
Reaching a chorus that states “I forgot to tell you the pain of the world is not there,” one notices stylized vocal diction that suggests English is most-likely not this artists primary language (adding another level of overall charm). As the chorus resolves and turns-around, poetic ennui is revealed with the line “beautiful words are meaningless – like – 'I love you'.” Follow that thought process, unencumbered vocals add “It's just a dream through my mind, my fear of you,” before full percussion accompaniment enters the mix.
A combined natural earth gothic imagery enhances the video with it's central figure carrying a dagger and slowly advancing towards an ominous body of water. Close-ups of a silver-ring-on-every-finger hand continues to place flowers in the intended's funeral crown. Poetry sustains audio symbolism with lines “the scars on my arms will just disappear - until someone touches the fresh ground -and he'll realize it's the day I die.” The chorus is now lush and full, with heavy string layers and active drumming throughout. Reaching an emotional peak both in video image and within the song, vocals are doubled on the (allegedly) “meaningless” words “I love you” while the funeral crown gets placed and the “scar cutting” dagger is dropped to the ground.
Closing images alternate between depictions of our tragic heroine walking into the lake, seemingly drown, but also very much alive and well on the shore.
Watch and listen to this wonderful video and song here:
Elle has created a brand new trailer for her "Like A Black Doll" EP and you can view that here:
To find out more about Elle Noir, follow on Social Media here:
With social media now a big part of how we discover (and connect with) each other, you're never really sure how one winds up in a “follow for follow” situation. Noticing the Chicago-based, trans-continental duo Sally Haze turning up frequently on Instagram streams (both Main Page and the now quite popular “Story's”) an opportunity to hear what they do presented itself. This fortunate occurrence has brought to light (on this site) their second EP “Wet Dream” (and who doesn't like one of those?). Released earlier this month, the six-track record serves up a refreshing blend of DIY dreamgaze (and more) from couple Will and Jessica Wright.
It's something of a genius move to open your recording with a one minute instrumental called “Fade In.” With the feeling of lush orchestral strings (and their synthetic counterparts) floating into the mix, a trance-like state-of-mind is immediately established. At :20 seconds a new element emerges with shimmering guitars and high-hat percussion creating more defined movements. While those strings continue and other percussive clacks join in, a “cut-up” feel takes over, with a particular minor chord change providing what can ONLY be described as an intoxicating audio-orgasmic-rub. The :50 second mark drops to a more spacious, gentle pulsing for the final twenty seconds.
Immediately surging into the second track, “Be Mine” builds around a shuffling drum pattern, plucking bass and chiming guitar textures that give it all an early 80's The Cure feel. Jessica's vocals (and lyrics) are far more American much too content for anything the poetically despondent Robert Smith usually depicts (“Friday I'm In Love” notwithstanding). “Just make me feel good and make me feel fine.
Make me feel happy, and you will be mine,” is how the refrain goes. There's a busy, calypso feel to it's chorus that goes “this is what it feels like, to be all in – always.” Instrumental breaks lean on icy keyboard riffs which add to an overall jangle-pop mood. Against brighter keyboard stabs and Jess' upward diction on the word “hearts” (on the full line “all of the hearts are intertwined”) elicits a touch of Patty Smyth and “I am the Warrior” era Scandal sensation within those grooves.
Quietly rising up into the mix via insistent bass-line and steady drum pattern, “Pavilion” rides a plucky rhythmic guitar over ascending ambient textures. Long-held, deeply-echoed vocal lines emerge like a clarion call “don't try to hard – keep it going.” What feels like an extended holding-pattern (with subtle varying undercurrents) morphs into stereo-field angularity after the initial lines ”trying to keep up, faces come and go.” That chorus becomes more stable on the second pass through, repeating “reality starts to hit, I'm losing control.” Building tension once again through creative instrumental passages, a crescendo is reached as Jess sings “it's hard to let it be” and “I can't fix it all.” One more round of angularity leads this track out to it's conclusion.
“Don't Forget” surfaces ethereally via slow, undulating bass synths and fluttering pulses over top. Jess delivers the opening lines “it goes beyond – into a place” in deliberate, elongated voicing. Drums kick in on the next passage, creating a busier undercurrent to the prolonged vocal phrasing. Reaching the lyric “how long will I have you,” all background sound drop out leaving a lovely formed, emotionally-charged keyboard passage. Cymbal driven drumming returns along with this lyrical tale of devotion: “I'll always wait for you there,” “because I'm sure it's the real thing.” An unexpected buzzing-like-a-gnat melody (of sorts) is presented (is it guitar or keyboards?) adding one more level of curiosity.
Shimmering guitars and shifting rhythmic undercurrents mirror the fluid motion of EP opener “Fade In” on the previously released single “All That Matters.” Bass guitar serves as the driving force behind opening lyrical salvo: “it's coming up again, that familiar feeling.” For her part, Jessica's vocals are clean and straightforward, as FX and phasing (prominent on previous tracks) have not been employed to those levels here. The big chorus of “It's what we both want - we're both reaching for it” carries a similar emotional gravity and vocal tone quality of mid-80's, post-Sugar CubesBjork. Keyboards jump out from multiple locations on the fragmented change section “outside – it's gone” up through “I'm here – I'll hang on.”
Sixth and final track “Around The Corner” serves up a lyric heavy view inside the mind of someone taking stock of all they have while pondering what the future might hold. There's a slight 1950's vibe to the intro melody, even if the accompanying sound effects morph from nursey rhyme to futuristic clang. With each successive pass through a chorus that goes “this is where I close my eyes, and take a deep breath, just don't think about the past, live in here and how, I am loving every bit, it all goes so fast” the production evolves from very little backing music to fuller bass guitar and keyboard enhancement. A final segment has Jessica's vocals harmonized between close-up recitation and full-throated singing on the lines “maybe around - the corner - or in the next - next few years - look next to me - look and see - that it is all I’ll ever need.”
Find out how to acquire this recording here, where you can sample all the tracks as well.
Long time readers of this site will know that along with the dreamy, gazey, rock, pop and punk music, an affinity for more sophisticated prog, jazz and extended instrumental jam bands has seen those artists work reviewed in detail here as well. New York-based guitarist and composer Oz Noy has now found his way on here, with an exhilarating new track “Looni Tooni” off of his soon to be released new album “Snapdragon.”
The full recording will contain six original compositions, plus a cover of the Zombies’ “She’s Not There” and two Thelonious Monk pieces. Accompanying Oz on his musical journey are a who's who of world renowned musicians that include Vinnie Colaiuta, Dave Weckl, Dennis Chambers, John Patitucci, James Genus, Will Lee, Brian Charette and Special Guests David Kikoski, John Sneider, Chris Potter, Jason Lindner, Adam Rogers, and Wallace Roney.
The track and video for lead track “Looni Tooni” opens with drummer Dennis Chambers shot from multiple angles, overhead and straight on. He lays down a syncopated pattern as Oz first appears playing a blonde Telecaster, chunking out a funky rhythm. Next shown is bassist Will Lee – so well know from his work with Paul Schaffer and his own Beatles cover band The Fab Faux – playing seated and immediately locked in on the groove. A side shot of Brian Charette's double-tiered organ focuses on his hands and a quick cut view of percussionist Danny Sadownick's conga work also reveals an “Art Ensemble of Chicago” framed poster on the wall.
Cutting quickly to John Sneider and his trumpet - complete with a rack of guitars on the wall behind him- making it look like the sales floor of Manny's Music [RIP]- is the first time the songs signature, extended riff is unloaded in unison between John and Oz. A sweet, rising bridge is then rolled out for the first time, before that impossibly long riff returns – this time with Brian's keyboards joining in for the ride. There are soon slight variations on that riff – subtle key changes -and quick cut breaks where bass and drums will drop a single note punctuation point in-between the extended runs.
Another cool element are easy breezy rhythmic cruising sections, where the organ textures combined with those congas inspired one commenter to accurately describe it as sounding “like a futuristic Santana.” With percussionist Danny briefly switching over to tambourine, a clearly defined, rising note passage creates a momentary Big Band feel. On each turn-around back into the main groove, variations on that lightning quick riff serves as the essential bridging link. At the 1:45 mark Oz takes off on his first solo, playing clean, fluid lines that begin on the top low note strings and work their way up the neck, all through the higher register strings down below. Then goes off on a musical “conversation”, morphing between Carlos Santana-like riffs (with the background organ tones enhancing that vibe) before taking off on an all out John McLaughlin-style free jazz flight.
As Will Lee is now matching the guitarist in intensity (and increasing number of notes), another astute commenter amusingly states that “Oz has gone mad @ 3:15.” It truly is incredible playing, and the video split-screening with images of the other bandmembers now overlaid, drives home the power of this ensemble cast. The 4:06 mark sees trumpeter John Sneider taking a solo turn, delivering cool jazzy lines while the video screen overlays soft-edged splits of the six principal musicians. As the funky rhythm continues to flow, Dennis adds more fills inside of his steady drum beat before the band returns once more to multiple variations of that intoxicating extended signature riff – up to the eventual punctuated ending.
"Snapdragon" will be available on all digital platforms and through Noy’s label, Abstract Logix, and can be pre-ordered here.
Check out a preview visualizer of the whole album here:
Previous Features covering like-minded artists and events on this site can be found here:
Mid-September 2020 has this site rolling out a number of compelling new releases that receive detailed reviews here, along with an exclusive in-depth interview. With live shows still on hold for hopefully only the next few months, recorded works become even more important these days in the audio artists creative life. The opportunity to conduct direct one-on-one interviews via phone and email is still a formidable option for the music writer to gain insight into an artists latest project.
There is a whole lot more to Jody Porter than the notoriety he's achieved with the chart topping rock group Fountains Of Wayne. While that Grammy-nominated attention is most-certainly deserved, Porter has also maintained a solo career in the spaces surrounding his essential contributions with that band. In the early 90's he fronted his own dreamy-gaze group The Belltower, which made a significant impression as part of that emerging scene in the UK. Two solo albums, 2008's "Close To The Sun" and 2014's "Month Of Mondays" showcased the artists talent for songwriting and self-production skills. All of that is now on full display with his brand new album “Waterways.” Co-produced with his fellow Fountains Of Wayne band-mate Brian Young (who also adds drums on a number of songs) two tracks have been released in advance of the full album's imminent arrival. Jody was kind enough toanswer some questions about this record, as well as his entire career so far.
Q: It's been a few years since your last solo release “Month Of Mondays,” but you've released two songs now from an impending album titled “Waterways.” Why now for this record? Had these songs been knocking around in your head or in partial completion for a while?
A: Everything is partial until it’s realized but a few of these riffs go back to Y2K and were too good to forget and but I didn’t polish them off at the time. Maybe they didn’t fit but a few were too good to forget. This was back when a home studio consisted of a few ADATs so they got as far as demos. They had to age like a fine wine (laughs).
Q: Conflicting reports say the album was recorded in either London, England or close to your home near Asheville, North Carolina. Can you clear that up? Did you do some work on it in both places?
A: It was written and started in England but finished in the good ol' US of A.
Q: Research indicates that you come from a nautical background and were once a sailing instructor where you grew up in Charleston, South Carolina. That background appears to provide inspiration for the new album title “Waterways” and one of the early released songs “Moonbeam Reach.” That impressively produced track appears to skillfully employ subtle backward looping along with layered guitars (both acoustic and electric) with a vocal style falling somewhere between David Bowie (early years) and John Lennon (solo). Lyrics referencing “ships lost at sea” further solidify an overall thematic approach. Was this one of the first songs completed for the record?
A: I grew up on the coast and am landlocked in Asheville at this point in my career. I suppose the theme is being lost at sea rather than lost in a mountain. I’d prefer to be lost at sea. Since the record is in the can I’m vacationing on a beach at the moment. I think that song was channeled half way through.
Q: It's would be an understatement to say 2020 has been a rough year for most everyone. You in particular had to deal with the loss of your long-time band-mate, friend and essentially a brother with Adam Schlesinger's death. How did you handle the grieving process?
A: Still trying to process it really. Shockwave part 2 I’m presently on. We hung out at his karaoke place in Chelsea a few months ago and he was super keen to hear what I had done on this new record. I told him not until it gets mastered. Apparently Brian told him it was great. So there is a bit of regret regarding being Fort Knox about that.
Q: It's been reported that you initially hired Adam (who answered a bass player wanted ad) back in the early 90's to play bass in your band. Was that with your first noteworthy band The Belltower?
A: Yeah. The Belltower was my first band that made records. We were an indie success in the U.K.and that was enough for me. Adam joined when I moved back to the States but we only did one tour. Our Agent at the time was coming up with some shit bands to package us with and I kept saying no to everything. Adam never turned anything down and I think that’s what brought him success outside of our band. I didn’t want to be on a major but was nudged into lining people’s pockets which eventually destroyed the thing. I guess we owed some studio bills.
Q: Did The Belltower break up because of your marriage to Britta Philips coming to an end? Had Dean Wareham already entered the picture with her?
A: Nah. A nine year marriage is enough. If anything I dismantled it to team up with Chris and Adam. I have to say the US 3 piece version with Britta on bass was the pinnacle. Unfortunately we were not putting out records at the time so it all went into the ether. I don’t know Dean or when he entered a picture but I like some of his music.
Q: Once Adam and college-buddy Chris Collingwood started Fountains Of Wayne, they brought you and Posies (and current Jesus and Mary Chain) drummer Brian Young in to complete the band. Did you have to audition, or were you hired right away due to your previous relationship with Adam?
A: No audition. Just had to make up my mind. Brian did though and it was informal as fuck. We played a bunch of Steve Miller songs and after 5 minutes it was like there he is.
Q: You've been quoted as admitting to a “Keith Moon level” of rock and roll hotel wrecking debauchery on prime-era Fountains Of Wayne tours, where Adam was there to “bail you out of jail,” “at least two or three times.” These kinds of stories are always entertaining, so if there is any more there you can elaborate on, I'm sure people would love to read about it.
A: You’ll have to wait for the book (laughs) I’m not naming names but I didn’t act alone. I may have done a little art on the walls of a hotel a few times. Never threw a TV out the window.
Q: By 2007, Chris stepped back somewhat from the band and reports indicate that you and Adam made the Fountains Of Wayne album “Traffic and Weather” pretty much all by yourselves. Any additional insight on what those sessions were like?
A: Yeah. It was more guitar heavy and it was a collaborative effort. Bri had done his bits and was back in LA. Chris came down with one and a half songs but pretty much did vocal tracks in a few days. Because Adam and I were based in NYC the two of us were able to work daily.
Q: On October 5, 2013 I was fortunate to catch one of your final live performances with Fountains Of Wayne at Webster Hall in New York City. You guys were in prime form that night, performing on bill with the band Soul Asylum as well. Was that in-fact the band's last live performance? I had heard there might have been another show or two after that.
A: That was sort of the middle of the tour I think. The last show was a Prince's venue in Minneapolis.
Q: In June of 2017 I then caught an early incarnation of your Jody Porter and The Berlin Waltz live show during The Northside Festival in Brooklyn. It was great to catch you with such a tight band in that more intimate setting. Do you have fond memories of that show? Were you doing additional touring and live shows during that time period?
A: I think we did something in DC the night before.
Q: The All Music website has you listed as playing guitar on a number of The Monkees recordings. 2018's “Christmas Party,” 2016's “The Monkees 50” and “Good Times!” How did you become connected with that iconic pop legacy?
A: Adam produced both of those albums and I was living in LA at the time, so he brought me in. Good Times came out in 2016 and the Christmas one was after that.
Q: Newer released track “Sunsick Moon” (continuing a “moon” theme as well) comes on a bit harder, with riff-heavy aggressive guitars this time, yet still stradling a hazey-gazey feel. Lyrically expressing a chastising look-back, “no flowers bloom under your sunsick moon” is the exiting send-off. What were the inspirations for this track, and how quickly did it come together?
A: It’s another one that’s been lurking around. I just thought it fit with the others. Not sure why I pulled it out. Brian plays some good skins on it.
Q: You recently posted on social media about a dream you had where you were on tour and got locked out of your room. It seems like the dreams we recall often come in that hour right before you wake up. The back-in-a-work-related scenario with some kind of odd difficulty is a frequent one for me. Do you remember your dreams most of the time? Write them down for future reference?
A: Yeah I sleep a lot. Borderline narcoleptic. Sometimes a melody will wake me up if it’s good and I’ll whistle it into my phone or something.
Q: How much of this new record was done at home versus in the studio?
A: I recorded it at home mainly. I think 2 songs were recorded in a “real”studio but my permanently loaned mobile has everything I need. Just had to learn to use it, I was a little spoiled being able to call stratosphere and do a graveyard shift if no one was in. Lure an engineer in with promises of bringing in a keg. The mix and mastering sessions were done in more elegant studios.
Q: What favorite pieces of equipment (other than your guitars) do you favor when recording at home?
A: I’m on Logic but apart from the lack of a 2” tape machine everything is fairly analog. I don’t normally use plug ins so my early 60s coppertop AC30 and a couple of black face Fenders. There are more pedals employed on this album and I made good use of the tremolo/pan which I’ve had since 1990. I’d always run tape at our old studio as well but everyone is mac’d out now so I joined the party, albeit late in the game. A couple of years ago I heard that David Byrne and Annie made a file share album which kind of gave credibility to sending out for drums and mixes. I miss being in a room with some guys and banging it out. That Monkees thing we did with Peter Buck was 3 takes and there’s the record. Adam and I agreed that we would like to do another record old school like that rather than playing the instrument known as the computer. I’m ok in this era sharing files but there were some high fives after that session.
Q: At it's peak, how many total guitars did you own?
A: Sort of embarrassing but maybe forty or so. I get restless and move around a lot. Could probably pair it down. Pain in the ass to lug around.
Q: I understand you self-produced this record. Since you are quite knowledgeable about the whole recording process, would you ever be inclined to work with an outside producer again?
A: Oh yeah there are some like Albini or Brian Eno depending on the songs. People like that. I’ve gotten used to letting other people’s ideas in. Brian co produced with me this time. There are some songs he didn’t do but the ones he did he did drums and often mixes.
Q: Is there a person other than yourself that's been important in perfecting your recorded or live sound?
A: Mix engineers. I know my limitations and don’t enjoy using a lot of technological stuff I don’t understand. Don’t have the patience. I can tell you the final mixes that came back from those guys were hella better than my ruff references. They really brought something to the table.
Q: What one piece of hardware/software would you most like to add to your recording setup (cost not an issue)? Why?
A: Pretty much have everything I need but could always do with another Neumann. Really apart from Logic I stay as old school as possible. Basically put the 47 on vocals and mic the amp. I like the Daking pre. Omnipresent on the guitars.
Q: Your wiki states you have “used an arsenal of vintage guitars over the years, most notably a three pick-up Les Paul Custom, several early '60s Fender Jazzmasters, Fender Telecaster various vintage Gretsch models, and more recently a '57 Les Paul Junior that belonged to your father and a new signature guitar. That signature guitar is a SchoolHoused BeachBlaster which consists of a surf green finish and 3-Seymour Duncan Whole Lotta humbuckers, and you've generally favored Vox amps. Is all that still accurate? Any subtractions or new additions?
A: Using a lot of Rickenbackers lately. There are more acoustics on this as than the last one as well. Everything is in my studio so I can grab something out of the rack. Usually I’m able to find something that works tonally after auditioning 3 or so. Props to my techs for taking good care of them over the last 2 decades. All I have to do myself these days is occasionally change the strings (laughs).
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The new full-length album "Waterways" from Jody Porter and The Berlin Waltz is expected very soon.
A previous feature on Jody can be found on this site HERE.
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With limited live show opportunities in these pandemic times, musicians have taken for the most part to recording studios as a means of working on new material. New York City's The Carvels approached it from another angle by recording a new full-length album live in one of the better equipped music venues. “Live At The Cutting Room” serves at the band's debut long player, released on Die Laughing Records. Recorded back in May 2020 on The Cutting Room's legendary NYC stage, production work was handled by Freddie Katz, with mixing and mastering by Jim Diamond (who's work with The White Stripes and Jon Spencer Blues Explosion is well known).
Originally set to be recorded in front of a live audience during a show back in March, those plans came to a halt due to lockdown closures of the city's music venues. Creatively regrouping with a revised approach, the band got the album recorded two months later at this legendary (now empty) venue. Nine tracks in all, choosing to open the record with a classic Ramones cover “I Wanna Be Well” pays homage to an influence, and a nod to the current cautious times. As the core unit of drums, bass and guitars commence to chug-out this punky-power-pop groove, Lynne Von Pang's richly resonant voice shines above it all. Once again adding R n' B saxophone to the mix expands sonic reference points out of 70's punk, pointing back to the 60's and 50's.
Follow up (and first original) track “My Little Troll” is a rollicking and lyrically amusing expose of those internet people who seem to have endless amounts of time to fixate on someone. Humorous lines like “letting me know I'm not alone,” and “I thought nobody was paying attention” is smile inducing stuff. It's a special relationship indeed, where anonymous internet obsession is the only way to connect.
An even more maniacal rock and roll rave-up comes by way of the equally lyrically clever “Lonely Fantasy.” Delivered at a frantic pace, one more example of the inability to connect in a mutually healthy manner is cleverly spelled out. “I looked at you, looked at me, looked and then you looked away. You went off on your own, thought about me later when you were alone. You made mental maps, from the front and oh baby from the back. I don’t want to be -Your lonely fantasy.”
First single “New Normal” takes full aim at our present-day social-distancing caution via a mid-tempo, western-sky rocker. Although serious enough about this real world problem, a quarantine and have sex with your loved one scenario is suggested with lyrics “now we finally got the time,” “we will make our own vaccine,” “let me be your COVID queen” and “come on baby, let’s make a new normal together.”
Thematically paired flipside to the single is the hyper-speed punk rocker “Stay The Fuck Home.” Clocking in at just over a minute and a half (in true punk rock brevity) a litany of inconsiderate sins are noted for germ containment failures. Crushed out with punk rock sincerity, there's still room for bassist/backing vocalist R.B. Korbet's spoken lead-it “make me sick, Brian!” right before the named lead guitarist rips into some incendiary licks.
Those two songs are available now via this link (where you can hear clips of each track).
“Darling Where Are You?” begins with a deceptively slow intro, before charging into another high speed two minute raveup. Depicting an “I can't remember last night” scenario, Steve Pang's double-time drumming sets the requisite pace. Vocal interplay between Lynne and backing vocalist (and bassist) RB Korbet on the chorus adds an impressive touch. The final half-minute features another blistering riff burst from guitarist Brian Morgan, leading into trade offs with the sax.
Dipping into another classic deep track to cover has Lynne and the band doing their own interpretation of The Velvet Underground song “Candy Says.” Written by Lou Reed, the track was originally sung by new (at the time) band member Doug Yule (replacing John Cale) on their 1969 self-titled third studio album. Inspired by that generations transgender superstar Candy Darling (who was also referenced again later in Lou's song “Walk On The Wild Side”) the issue of body dysphoria is explored. Reed has been quoted as saying it's also about more than simply that. It also speaks to "something more profound and universal, a universal feeling I think all of us have at some point. We look in the mirror and we don't like what we see...I don't know a person alive who doesn't feel that way." For their part, The CarvelsNYC deliver a louder, more fuller band version than the original track. Lynne shines when singing out in full on the joyous chorus lyric “I'm going to watch the blue birds fly.” The band brilliantly capture Lou's everlasting love of NYC street “do wop” with a gorgeous rendition of the songs “doo – doo wah!” coda.
Eighth track “I Don't Know How You Do What You Do” rumbles up through a tribal drum beat, chunky sawing back and forth guitar chords and bass-guitar/saxophone punctuation. Along with a distinct hook guitar melody comes the lyrical story of a journeyman's dilemma. Who's to say when it's time to finally “give up the ghost” (as that expression goes) or even if you ever should? An artist creates because they have to, it in their soul. Lynne ponders this existential state-of-mind while adding Buddy Holly inflections to the end of numerous “oooh oooh oooh” lines.
Fittingly the album closes with it's most energetic rock n' roll rave up in “Saving You For Later.” Bold guitar chords and searing sax lead the charge over rat-a-tat drumming and rubbery bass-lines. A song of appreciation for coming together with someone at the right time (later on), where an earlier meeting most-likely would not have clicked. It's an honest and heartfelt insight that strikes at a universal truth many can relate to.
The full album comes out September 25 on Die Laughing Records, with Pre-Order and Save options on all download and streaming platforms right now!
Previous Features on The Carvels NYC can be found on this site Here and Here.
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Shoredive Records is a label this site has become quite familiar with over the last year. Always providing a steady stream of creative new music from around the globe, there have now been multiple DaveCromwellWrites features on their growing catalog of artists. The recent release by indie rock/dreampop band Just Like Honey “Into The Wild” is a gorgeous full-length album that deserves to be heard.
With the opening notes of percussion driven, under two minute “Intro” a sense of “light” and “heavy” is showcased, setting up how the album will unfold. “Slow Lane” bursts out with heart-tugging hooky melody before the sweet, angelic solo female vocals begin a wistful lyrical tale. The true strength of this band quickly emerges via their multi-voice harmonies. Lavish guitar layers become enhanced by overlaying a truly passionate guitar solo. “Peace Of An Evil Kind” moves at a more languid pace, combining a slight country-vibe within an indie rock structure. The pace quickens exponentially on “Heart Has No Place,” where jangly “C86” style guitars share space with soft whispered female vocals and an echo harmony chorus.
“Goddess In A Cadillac” begins with a bass guitar “tribute”nod to The Pixies, as slow-build acoustic guitars lead in to an insightful lyrical contemplation on today's idolization of the feminine ideal. A high point is reached near this albums mid-point with the glorious “Dream On.” Over an impeccably recorded, crisp driving snare-drum pattern, dual female vocals create a beautiful tapestry of love, longing and hopeful desire. With everything dropping out at the two and a half minute mark, majestic guitar figures slowly bring the melody back in with the full force of the band (those drums!) and emotive Liz Frazer/Cocteau Twins-style chill inducing vocals.
“Pauline” emerges out of the rhythmic style and bold chord progression pattern that served a band like The Cranberries so well. There's a sensation of Irish Country Folk mixed in with the Indie Rock here. “Shorelines” dips back a decade further with its Harriet Wheeler/Sundays inspired combined falsetto and harmonized vocal ode to nostalgia. “Fragments” delve into a less structurally defined, slightly psychedelic combination of quieter moments and quick flash chaos that is often experienced while submerged in the dream state. Chunky, chiming guitar chords provide the driving force for “Rain.” Dipping once again into the Wheeler/Sundays sweet vocal stylings, busy tom-tom drumming add motion underneath steady held guitar textures.
“Velvet Skies” straddles the line between emotive indie-rock ballad and it's country-tinged counterpart. Vocal harmonies stand out here,with deeper male voices adding depth to the female sweetness. There's a subtle time-signature change on “Only One” where a 1-2 rhythm supplants the more traditional 1-2-3-4, creating a heightened sense of urgency. Bonus points for the final :25 seconds of extended ambient fadeout. “Do You Realize” initially slows things down considerably, creating additional space for the tandem harmony vocal storytelling. “No one said it would be easy, no one said it would be hard. Take me back to the start,” is how the key refrain goes. Unique guitar textures are presented throughout the instrumental interludes, adding yet-another level of audio satisfaction. Final entry “Outro” is a two minute and twenty second instrumental rumination combining Cure-style bass-notes, phased guitars, steady, forceful drumming up to it's lighter ambient conclusion.
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.
