The ability to attend live music shows out in public with your friends once again has been a long time coming. After a soul-crushing shutdown / lockdown of 2020 that continued into early 2021, we are finally getting back to in-person appearances. Summer in NYC and adjacent Long Island has always provided many opportunities for mostly-free events in open park theaters as well as clubs and restaurants. Along with a variety of recorded music both new and vintage covered in this months feature, comes a long-overdue return to live presentation recaps.
Among her many talents and accomplishments, Laura Schaefer is an impressive singer in the soft rock, country, adult contemporary, and pop music realm. Catching a recent run of live appearances both indoor and out in the open street festival environment showed the performer captivating audiences with her nuanced vocal interpretations. Appearing on Sunday night's during these summer months at the highly-regarded Westbury, Long Island restaurant Cassariano, the duo act of Laura and Bill (with the equally accomplished Bill Blais on keyboards and vocals) entertained patrons with a dramatic set of classic cover songs.
You can't go wrong digging into the summertime soul of The Drifters1964 classic "Under The Boardwalk."
The same can be said about exploring late 80's/early 90's mega hits like The Eagles "Love Will Keep Us Alive."
Street festivals are always a great place to check out live music on a warm summer night. A band Laura has been doing some guest vocal appearances with are the wonderful Americana Country Rockers Tri State Alehouse.
This band are equally adept at covering a wide range of classic covers songs as well as their own original music (more on that further down in this feature). Adding a female voice for solo and backup work fits in seamlessly with these guys.
In addition to her current collaborators and bands frequently offering guest vocal spots, Laura co-wrote and released a number original songs as the lead vocalist in a band called Blue Mile. The album's opening track “What I'm Cookin'” serves up an easy-going acoustic guitar and bongo percussion groove, with clever lyrics on the essential art of flirting. “Caught my eye . . . 'cause you knew I was looking,” gives way to references of “recipes” and “dishes done” tying together the song's title theme. Attraction may come via “checked makeup” and “straightened skirts,” however the cautionary chorus warns “don't you think that I'm just a fool in love” because after “spending some time with you” - well, they're “moving on.”
Deeper emotions are explored on the country-rock tinged “Rest Of Our Lives.” While the multi-tiered acoustic guitars mirror classic-era Crosby, Stills, Nash and Young – Laura's passionate phrasing and vocal tone bring to mind two legends of that same early 70's period - Emmy Lou Harris and Linda Ronstadt. “You expect me to take this lightly?” she questions - “sorry but I had to pause” is her immediate response. “Because when you showed your emotions – it took me by surprise.” “Why did you have to ask me – where do we go from here?” “Well I guess that brought up – All Of My Fears” (singing those last four words with powerful feeling), “and I got so many fears”. The chorus (and title line) is sung in tandem harmonies, with both male and female voices pulling it all together.
Gentle acoustic guitar picking introduces the predominantly Laura penned “Nobody Lives Here.” Singing out with tender sincerity, the listener is immediately drawn into her world of honest introspection. “I didn't come to break your heart, but somehow my life feels so incomplete.
I've gotta take my world apart, I'm sorry but that means I've got to leave. I think it's time, to shed the skin, keeping me wrapped up so carelessly. I look inside real hard, for what I just might have to see, is a heart so dark and cold and oh so empty.” Rather than a simple recitation of these already well-crafted lyrics, key words are extended and held for dramatic purpose, embodying the power of storytelling in a musical setting. Reaching the chorus (and song's title), male harmonies and tambourine percussion add richness to this poignant tale that resolves on the line “but the voices that I hear tell me to start again, make this heart a home - for you and me.” A second verse serves up one more truly insightful lyric, “when you're blind, to all that's true, the ghost of what you dream is all you see.”
A slinky cat shuffle melody provides the basis for Laura's frank look at manipulative relationships on “You're Not The Person.” Far from pointing an accusatory finger (only) a sense of complicit behavior is also noted. “Lovers and liars, we're both some of each – I guess that's the way it's gonna be,” sets the tone for a harmony-laden chorus. “You want me when and only, I can be your prize. Too bad for you I'm only using the same lines,” comes as a musically elevated punchline. “You're not the person I thought you would be. And maybe you're saying the same about me. But I won't be waitin' for you by the phone, I'd rather be lonely all alone,” is the ultimate conclusion.
Country-ballad acoustic guitar chords enhanced by chiming single note emphasis rolls out the heartfelt “Didn't You Know.” Against this lean accompaniment, Laura delivers her lyrical prose of loss and it's aftermath. “You walked through the crossroads of heaven - did you know, you'd leave me behind?
You said that, you'd love me forever – you said that you'd always be mine. They told me that time would do the healing, they told me that you'd still be here. But now that you're gone all I'm feeling is the heartache of a life all alone.” As the chorus emerges, subtle slide guitar bends expand the country feel, as a harmony voice joins in on each “Didn't you know,” leaving Laura to complete each line with “that I would believe you” - “that life would deceive you” - and “that I would be left here – to make it alone.” Not content to resolve it all there, a extended bridge immediately follows with full tandem harmony vocals “Time passes by, I see you again, but only inside of my heart. You hear me cry, alone in the night, I need you to say it's alright.”
A lighter mood is set with the good-timey Bo Diddly-beat influenced “Party Dress.” Perhaps more inspired by the classic rhythm of “Willie And The Hand Jive,” Laura sings about the joys this life also provides. “Gonna get up for work and put my party dress on, gonna pick out some lipstick and put a lot on. Gonna shake like a tree in a warm summer storm when I hit the dance floor and party tonight. Gonna drink from the sweetest molasses tree, gonna love you and leave and then we'll see. Gonna let myself fly so high and so free when I hit the dance floor and party tonight.” Harmony voices join in on a joyous chorus that goes “Yeah life is treatin' me so fine so I'll take a minute and spend some time,
with friends who dance and party all night – these kind of people make me feel right.” Essential rhythm acoustic guitar backing tasty lead acoustic finger pickin' and shuffling percussion completes the happy-to-be-alive party atmosphere.
Although Blue Mile's time has come and gone, there are rumors Laura may record updated versions of some of these songs at an as-of-yet-to-be-determined point down the road. In the meantime, select live show appearances continue throughout the summer days ahead.
Live events attended, indoor and out
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While we wait for potential new recorded material, the previously mentioned band Laura has been doing guest vocal spots with recently – Tri State Alehouse has a more current album out with their inspired recording “Open Here.” Core members Jonathan Crist, Jeff Schumacher and Mark Ambrosino wrote and produced these 12 original songs (and one surprising cover) with a variety of guest co-songwriters and musicians. What you get on this recording is a quality Country/Rock Band with an “Irish Edge” from the Long Island/NYC area.
Opening the album on a reverential tone, “The Price” blends patriotic American country with the aforementioned “Irish Edge” by way of guest musician Eamonn O'Rourke's strong fiddle throughout. Follow-up cut “Highway” jumps right into the harder rock and roll realm with it's quicker rhythm and multiple guest lead guitarists delivering piercing solos. The song's title serves as a metaphor establishing open road driving as a means of alleviating life's pain. “Jump Right In” takes that rockin' vibe and swings it over into a deep shuffle groove. There's a southern rock feel to this good-time tale of calling on some sweet lady catching your eye. A hybrid of Lynyrd Skynyrd, Black Crowes and a bit of The Rolling Stones, essential lyric “you and that little tight red dress, I'm about to lose my mind” says it all.
“Everything's Gonna Be Alright” combines a jubilant country groove, southern Irish fiddles and sinewy electric guitar solos, with lyrical advice to focus on the positive around you. “Whitaker” builds off steady shuffling percussion, telling a tale of one man overcoming hardship to ultimately live a full and happy life. An emotional peak is reached at the album's mid-point with the Gospel infused “Who Am I To Judge?” A Neil Diamond feel runs through much of the lead vocal recitation (who has embraced Gospel elements on some of his own hits), with this track bringing in the Kellenberg Memorial High School Gregorian Consortium for spiritual backing vocals. Special props to guest musicians Steve Skinner (credited with piano, hurdy gurdy, keyboards, electric guitar) and Gus Fafalios (lead and rhythm guitar) for some truly firey licks on it.
Check it out right here:
“Loudest Party” serves up an appreciation for NASCAR racing, complete with opening engine rumbles before kicking in with a full-on fast and furious rocker. Chunky wah-wah enhanced guitar riffage sounds like Slash on GNR's “You Could Be Mine.” Shifting gears in every possible way, “Rock A Bye” presents an emotional story of life and the guiding hand of your dad. For those fortunate enough to have had a caring paternal role model throughout their lives (and having become one themselves), it's easy to relate to and embrace these affecting lyrics. It's a family affair involved with songwriting for the uplifting “On The Other Side.” Traumatic loss can either lead you down a dark road or conversely to one of forgiveness. Seeing the good your presence can offer and the family ties that bind convey views into our living years as well as the hereafter.
It's never a bad idea to include at least one classic cover on an album, and the band does just that with their version of the Rolling Stones “Angie.” While the original track relied predominantly on acoustic guitar, piano, orchestra (and Mick's voice, of course), this version has a harder electric guitar fueled edge to it. The overall pace is quicker, with the originals softer piano now replaced by hammond organ, more forceful drumming, a rougher lead vocal and soulful backing singers. Speaking of soulful, “Freedom Rise Up” approximates a similar electric guitar-based rhythmic groove of a song like Eric Clapton's “The Core” with a spiritual chorus elevated by additional expressive voices. “I See Harry” tells the story of a man who helped out wherever he could, wrapped in a country music form. Final cut “Wendy” serves as something of an homage to the Springsteen mystique of “amusement parks, boardwalks” and taking the night on the run with a girl – well, a girl named “Wendy.”
Check out all of these songs at the band's official site – including how to acquire this album, as well as when and where their next live appearances will be.
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Continuing their relentless quest for sonic excellence, Ottawa-based Paragon Cause have now released their third album “Autopilot.” Expanding on the auditory palette they've been building since their first two albums “Lies Between Us” and “What We Started,” (both meticulously reviewed previously here on this site) a bolder evolution in composition and sound design has arrived.
The core duo of Jay Bonaparte (guitarist/songwriter) and Michelle Opthof (vocalist/keyboardist/lyricist) bring back Raveonettes legend Sune Rose Wagner as an equal songwriting partner for all of the songs. In addition to his impeccable production work, Sune adds guitars, backing vocals, percussion and keyboards, creating an instantly recognizable imprint on much of the work.
Lead off cut “Two To Play” builds out of a straightforward snare drum and high-hat pattern before a deep-bass guitar rumbles out front, defining the progression. Poetic lyrics describing motion (“looking forward, falling back – running – moving along”) and dual involvement (as the title would suggest) come wrapped in glorious rising hooks and lush keyboard enhancements. Second track “I'm Not Here” puts out an icy late 80's film-noir homage vibe, with it's long-note synth pads, distinctive heavily FX'd guitar figures and stalking beat. The mental image of Terri Nunn with Berlin or Dale Bozzio fronting Missing Persons walking mysteriously through a Blade Runner future scenario (so popular at that time) is evoked through this audio experience. The shimmering vocal lines “I can't live like this” and “I scare myself sometimes” furnish necessary hook resolution.
Reaching the third entry finds the first of six total versions for the album's initial single “Think I'm Going Crazy Over You.” With five separate remixes (and one bonus track live version) “Jupiter Mix” is up first, receiving a full video treatment along side it as well. Enlisting the aid of producer and Sneaker Pimps co-founder Liam Howe, the notable English collaborator relies heavily on celebrated 80's synthesizer Roland Jupiter 8 (inspiring this mix title) for the retro sound quality and overall mood. “Brooklyn Mix” leans more on a traditional bass guitar approximation at first, before bringing back the recognizable buzz of that polyphonic analog synth heard on so many of the 1980's biggest hits.
“Acorn Mix” (the longest version) takes yet-another approach, building up via an over 30 second drone, before a traditional rhythm second of drums and bass drive the progression forward. That trad-band feel is the direct result of PC recruiting formidable assistance in the form of veteran LA musician Eric Avery. That angular, melodic bass pattern combined with more forceful, syncopated drumming affords a foundation for dynamic synth flourishes throughout. It's not until the “613 Mix” that Mr. Wagner makes his presence felt on this song. Providing his own bass and drum treatment, more atmospheric space is allowed overall. One more SRW version shows up dubbed the “Staten Island Mix,” whereby Sune's fondness for hip-hop percussion creates a busier undertow. Those privy to the “Live” (Bonus Track) version will get the most guitar heavy version of all.
A sense of relief in the act of unplugging and focusing on internal well-being comes shining through on “Disconnected.” A driving beat, electronic hand-claps, buzzing guitars and tinkling-ice keyboard fills dispense audio delights. However, it's the chorus that yields an instantly catchy sing-along hook that would slot right along side any pop-hit Charli XCX has written. The majestic “Making Up For Lost Time” becomes the album's high-point, combining precise songwriting with opulent production. Overdriven guitar chords, slow-moving riffs, Phil-Spector-like tambourine and minimal bass drum percussion render a lush sonic field for the emotive vocals. The truly beautiful chorus proves once again that simple ideas are often the best, when expressed with this much passion.
Check that one out right here:
“Play Me” continues with that rough-edged guitar sound (near industrial) while adding some welcome pitch-bending for good measure. Alluding to the games people play with each other in relationship, the relatively brief track (at a mere 2:15) benefits from it's quirky rhythm and towering vocals (particularly at the end-out). Alternately, the albums longest track (at 5:06) “More Than We Can Handle” materializes out of softer, distant synths, mechanized percussion, low-growl bass and ethereal guitar figures. Voices float in, sharing space between the gentle reverberated guitar textures. Relying more on mood than defined structures, a Cocteau Twins feel is diffused throughout.
“Denied” embraces a gothic atmosphere using dungeon-synths, lyrical guitar figures and melodramatic vocals. A new level of backing voices emerge with a synthetic echo line following the primary one. The overall feel is dark and foreboding, with accusatory lyrics suggesting nefarious activity needing to be exposed. The album's final track “Time To Leave” is keyboard-driven with ghostly background voices, steady bass-synth pulse and melodic electric-piano figures. Against the repeated line “time always tells the truth,” a variety of expanding structural changes and diverse instrumentation enhance the overall experience.
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.
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.
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.
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.
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.
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.
