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.
With Spring now in full bloom (the backyard here at DaveCromwellWrites estates a veritable nature preserve), bursting flowers, birds, lizards, bees and many other forms of flying and crawling things abound. Against that backdrop, four new recently recorded works (and an additional entertainment recommendation) are given this sites conscientious brand of literary analysis. While the great (frozen in time shooting star) Dale Bozzio once asked “what are words for – when no one listens anymore?” - a strong commitment to the arrangement of sentences in a coherent manner continues on here at DCW.
Sometimes the name of a band can provide a level of confusion that often undeservingly puts them on the backburner. Take Tashaki Miyaki for example (pronounced Tah-Shock-ee Mee-Yock-ee). Sounding like a singular Japanese solo artist, the images of a willowy red haired woman as their out-front focal point and dreamy sounding vocal music never quite seemed to match up. The periodic promotional reminders (mostly via email) over the years – with the latest coming this past month – finally put an end to all of this procrastinating. Simply put, attention to this band that makes the most wonderfully dreamy, melancholy music is long overdue.
Along with her fellow musicians, the band concept derives from the singularly consistent vison of frontwoman Paige Stark. While initially mistaking Ms Stark for simply the voice and image of this “Japanese band,” further investigation shows her to be the sole visionary for clearly defined image (she directs all the videos) sound, lyrics and mood. Credit must be given to guitarist Luke Paquin – who's dreampop style is integral to the bands sound. Current bassist Sandi Denton (there appear to have been at least a few over time) is more than competent, also providing backing vocals and dark haired attractiveness as well.
In advance of their upcoming sophomore album “Castaway” out on July 2, they've released a video for one of the track's “I Feel Fine.” Much like the album cover itself, the video for this song emphasizes the more muted colors of living. While the record cover shows a cloudy sky Los Angeles (where the band is based) with Paige tiny and dwarfed next to a large structure from decades ago, the video goes even darker. Described as an homage to her favorite vampire films, it's actually the first time the band has appeared in one of their videos. Opening with a simple drumbeat (Paige is the band's drummer – which in general goes against the grain of what a “frontperson” usually is) two women (Paige and Sandi) are sleeping on a couch in a candlelit room (all black and white imagery) with a snare drum by Paige's head (an amusingly clever touch).
As the impeccably disheveled stylish women slowly rise to the sound of twangy guitar wash, they both appear to be enjoying a wake-up popsicle as wall photos reveal images of Tom Waits, Patti Smith and Marilyn Monroe (among others). “Sitting all alone in my bedroom, wishing that I had more headroom” is how the opening lyrics go – processed with a uniquely appealing sheen. As the women put on their sunglasses at night – and looking so vintage in their clothes – they head out onto a night streetscape of subdued tone and occupancy. Paige revealed she imagined the vampires died in the 1950s and they’re still wearing the clothes of their time. The additional element of a romantic couple out on a date is added, providing the “prey” in this cinematic noir depiction.
When the romantic couple's female reveals herself to be a vampire as well, the neck gnawing commences with Paige and Sandi rolling up on the scene just in time to join it. It's both sensual and vicious at the same time, while little details like the kid on the bike from previous scenes appearing in background as an out-of-focus apparition. Before things get too grisly, they all appear back at the homebase together (with an adorable dog slinking through), satiated, asleep (again) with blood stained mouths.
With emphasis on the visual aspects of this production fully explored, the actual song should not be overlooked. It moves at a relaxed, measured pace – all country-western twang and drawl – initially popularized (to this listener) by Margo Timmins and her Canadian siblings band Cowboy Junkies with the breakthrough late '80's hit cover of Lou Reed's “Sweet Jane” - along with some Mazzy Star vibe as well. The lyrics (and vocal delivery) resonate on a thoroughly relatable emotional level. “I can't keep up with all the bad news, it's hard for me to just be me with you, anything I say or do is never right.” With the eventual question: “Is there anything left about us that you like?” “I love you but I can't stand you – after all the shit we've been through. Nothing for me left to do – but try.” “I think I am fine.” Of course that title and sentiment means anything but “fine.” But it's what you say when you are dissatisfied, but still willing to “try” and push through – to try and fix it.
Raising a child from birth to young adult has a profound influence on you in so many ways. One that took to all things anime (and art in general) from an early age provides a daily audio and visual reference point that otherwise may have been overlooked. Listening to the radio together in the car while shuffling back and forth to more serious tasks (like, say going to work) can provide mutually realized moments. Hearing a song by British indie pop band Kero Kero Bonito had both of us instantly captivated, declaring to each other “that sounds like anime show music.” While said offspring continued on their merry way back to (at present) “Steven Universe” (among many others) this writer needed to delve further into the sources behind the sound.
Began by multi-instrumentalists/producers Gus Lobban and Jamie Bulled in London now a decade ago, the band is fronted by a near perfect for the sound (and image) vocalist Sarah Midori Perry – who affectionately goes by her stage name Sarah Bonito. Alternately singing in both her English accent and the Japanese language (both of her ethnic heritages) encapsulates a consummate approach to today's target audience encompassing alt pop, computer music, electro-pop with a touch of hip-hop and j-pop thrown in for good measure. Perhaps the guys should have gone “full Ramones” and used the Bonito tag as well. Either way, the band now has a sizeable collected works of recordings and a dedicated, adoring fanbase. Their latest EP “Civilisation II” was recently released with two of the three tracks already receiving a full video roll-out.
The EP's second track (and current release) is simply titled with a date from a year ago “21/04/20.” That track (like much of their music) is driven by an upbeat groove, while lyrically recounting a day-in-the-life, as it were. There's an almost “Our House” talking vibe to the tale as Sarah sings in her appealing childlike voice “Out of bed just after one” (nice – and here I thought sleeping to 11 was being “lazy”) “Down in time to catch the sun. All the bugs are at their business now the flowers are in bloom” (“bugs at their business” - how quaint) “We take a note of their perfume. Underneath the pale spectre of the moon.” An nice vintage sounding synth-sax riffs blows a few hooky notes (we know it's vintage since they literally tell us in the descriptive notes that the tracks are “all completely devised using vintage hardware” - so – take that modern computer equipment!)
As for the groove itself, it's bass-synth driven with those charming ticketty casio-drum sounds so popular in the late 80's (included on every beginner keyboard of that time period). The storytelling and rhythmic vocal cadence continues to mirror “Our House” somewhat – but far more pleasant periodic minor-key interludes than the aforementioned heavy-handed track – one which has not worn all that well over time (with it's constant repetition and frankly beaten-to-death airplay). “Last night's pasta in a tub, Out the fridge for lunch and breakfast, But as I sit down to eat I hear a song riding the breeze - "Happy birthday to Eloise" - Then mum and dad both let out a cheer, They're gonna throw a party another year.” That last line gives the first clue this is actually a dealing-with-the-pandemic-lockdown song.
The video is a wonderful animation that flows horizontally at a relaxed pace, with one panel showing musical notation in ¾ time as Sarah drops a 70's soul vocal phrasing on the line “then mum and dad both let out a cheer” - which is sweet on a number of levels. More hooky keyboard riffs ensue, adding pop lightness to this overall bittersweet melancholy vibe. The story goes on “As I head up the road, A private ambulance zooms off into the distance. In silence, All the shops are closed. With rainbows painted on the glass. Covering notes - That they hope to see us soon. But right now, There's not much they can do.” Hopefully these pandemic blues are coming to an end (there are certainly current rumblings to that effect). Simultaneous with those just quoted lyrics are a myriad of synchronized vocal cadence and instrumental accents, sharp turns and precise rhythmic pauses. That is to say there is A LOT of movement within this 3 minute “pop song.” (It's in quotes because clearly this is far more sophisticated music than so much of the mind-numbing simpleton pap one is forced to endure under the “pop” banner).
“Back at home I play the game, Rewatch repeats, And set a call up with a friend - A means towards an end, 'Til we can meet again. "Hey so how are you doing?" "I'm ok you know the usual kinda weird." It's all so poignant in the most casual conversational way. Speaking to the world and the crisis we all share(d) in our everyday lives. The story concludes, “I can't stifle my yawns - I make my bed up after I floss” - with one new audio element emerging as a percolating sound - “And tuck in tightly” (dramatic pause held here) - “For a new day.” The overall melancholy-to-hopeful sentiment is inspiring.
Check out this wonderful song and video here:
Connect with Kero Kero Bonito via their socials here, here and here.
To learn more about the band in a little over 4 minutes (and who doesn't have that small slice of time to spare) check out this humorous video recap that has the nerve to call itself the “Accurate History of Kero Kero Bonito.”
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Another trusted source consistently presenting exciting new artists is the Gothic/Industrial publicity agency New Dark Ages PR. More than a few from their roster have been featured here over the last couple of years, with the depth of their talent pool impressive and diverse. The latest now comes out of Chicago as "one-woman industrial army" I YA TOYAH enters the realm via her just released EP, Out Of Order and video for the single, "Pray."
That song and accompanying video is a technical tour-de-force combining pummeling industrial percussion, razor shred guitars, passionate vocals and quick-cut imagery that is equal parts glamorous and foreboding. Like much of new material coming out these days, it was written during the pandemic lockdown, combining desperation with hope for a revitalized future. Opening with a whispered plea “pray for me,” an array of buzzing synths, thundering percussion and slashing guitars introduce goth-glam images of the artist in a succession of visual appearances.
The chord progression is sophisticated and unpredictable, while ample room is left for ambient interludes of quieter intensity. As the vocals begin with lines “Somebody stop the world from shrinking,” another visual storyline is introduced, showing the artist “on the road” in a hotel room. An attractive audio element is how words are pronounced. Originally from Poland, the vocalist applies a stylized diction to words like “realm” (which become “ree-alll-ummm”). What's decidedly more clear is the depiction of someone wrestling with mental distress paired to lyrics “lost in the white noise of insanity.”
The chorus is big and hooky, with vocals carefully layered in just the right amount of harmonies and echoed lines. “All I’ve ever known - Is dying within. All that I’ve wanted - I watch disappear.
“Dreams turning against me” (with a delightful rising notes emphasis on the words “against me”). “One by one. So pray to your gods for me - Cause I got none.” It's dark and bleak with the sense of being forsaken, yet the audio aspects are somehow uplifting. Going deeper into the void on the following verse, the “need (for) more than just to survive” (only) leads to “confusion, toxicity” (and the specter of chemical crutches). As the mind is blinded, it hardly makes a difference if it “wonders” (or wanders) as either one can lead to it all falling apart.
The sparsely adorned bass pulse of The Knife's “Silent Shout” (currently in the midst of a 20th anniversary celebration) is referenced briefly. While the sheer power of her operatic singing prowess brings to mind those similar qualities in Amy Lee's Evanescense and the groundbreaking song “Bring Me To Life." Check out I Ya Toyah's wonderful song and video for "Pray" here:
Special kudos to the costume design team (which most-likely is her alone) for reviving Brian Eno's Roxy Music look from their early 1970's “For Your Pleasure” period.
Also be sure to check out This Great Introductory video with the artist, which reveals her eminently likeable qualities as an unassuming, sweet and sincere person.
Connect with and follow I Ya Toyah on all her socials:
In contrast to the slowly unfolding, floating quality on previously reviewed UN.REAL track “Lovely one/Islands,” current release “Sun Like Star” comes on as an uptempo affair. Anchored by songwriter/musicians Hector Caolo (bass), Eden Cruz (drums) and Gardy Perez-Ruiz (guitars), lyricist and vocalist Bernice Cruz completes this dreampop quartet. The track bursts out from the first note in full bloom, with slashing gaze guitars in lavish expanse across the sonic field. The bass and drums are thoroughly audible in the mix (as they should be) pointing to impressive production values and recording techniques. Capping it all off are Bernice's deep and resonant vocals, with opening lines “this is exactly how I feel right now” drawing the listener in. Her voice is pitched deeper this go round, moving away from Liz Frazer stylings and closer to Siouxsie Sioux (and in particular, the song “Shadowtime”).
The chorus goes down in a dreamier manner, with shaded voices supporting the title line (and sentiment) “you are – sun like star.” An immediate second verse leads into the all enveloping chorus once again, followed by a brilliant ambient interlude. At approximately 1:45 (of this 4:14 length song) the percussion drops out completely, leaving room for an emotive bass guitar note statement. The buzzing atmosphere deconstructs even further, washing out all structure (creating the sensation of gazing up into a night sky full of stars). This momentary drift into bliss is ultimately awoken once more with the band returning for a repeated run through the chorus hook. A final minute of pure instrumental and vocal euphoria lifts this gorgeous track to it's ultimate conclusion.
There is also a campaign now where the full 10 song ISLANDS album can be ordered on a limited run color vinyl edition. Check all that out here.
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One of the great advantages provided by our current “streaming” culture is the ability to go back and rewatch an entire catalog of shows from decades gone by. Whether watching for the first time (like millennials are now doing) or re-living what you loved about it the first time you saw it, everything is now at your fingertips and a click of a button. This writer, (also a film and quality tv series fan) is now deeply ensconced in (and thoroughly enjoying) the incredible 2006-2013, 8 season, 96 episodes (12 per season) run (once again) of Dexter. To say this show doesn't get nearly the credit and accolades it deserves is an understatement.
It has everything you could ever want. An “anti-hero” you completely root for even though he is doing “bad things.” The brilliance of this show is listening along with Dexter's mind (impeccably delivered by lead Michael C. Hall). His thoughts-only “replies” to people and situations are hilarious. There aren't that many “cop dramas” that consistently make you laugh out loud, but Dexter provides multiples in every episode. You want strong, good-looking, independent, but totally vulnerable and loveable female characters? This series is loaded with them. It's no secret that long-time crush Jennifer Carpenter as Dexter's sister Deb (that's Officer Morgan to you) holds a coveted place on the Mount Everest of crushes.
She's adorably foul-mouthed and hits all the marks of attractive “normal girl” (as opposed to her anything but “normal” brother Dexter) even if she does suffer from “overlooked child” syndrome. Actually, that only ADDS to her appeal. Then there is their father (played in memory clips only by the criminally underrated James Remar) who's “Harry's Code” informs every one of Dexter's moves. Anyone who hasn't seen the show or would simply like to enjoy it all over again is encouraged to do so. The fact that they are finally coming back with a brand new 10 episode 9th season this year is almost too good to be true.
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.
