2022's final month offers a time for revisiting music reviews composed and compiled here on this site throughout the year. The annual “Best Of” highlights those notable artists written about since January. A concise listing focused on each months entries in sequential order brings attention once again to the most engaging releases of 2022.
With the New Year came a fresh crop of album and single releases that were followed by full-length recordings later on. Most of these artists have been developing their individual style for a number of years. Featured on indie labels with consistent track records, the first month of 2022 saw this site digging in to a variety of creative songwriters and sound designers.
Frequent contributors to this site Big Stir Records rolled-out their first major album release of 2022: “Darling Please” from acclaimed North Carolina singer-songwriter Chris Church. A remastering of songs recorded a number of years back, the artists re-imagined his original vision aided by modern recording studio facilitation.
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Along with the lyric-heavy vocal music frequently reviewed here, this site has also made it a point to feature quality instrumental releases at times. The Seattle-based soul-jazz groove machine Delvon Lamarr Organ Trio first released the single “Don't Worry 'Bout What I Do” and full album Cold As Weiss via Colemine Records.
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Good Eye Records introduced an exciting new track "Boscobel," which served as the first single from new to this site band Sooner's debut album, Days and Nights. Sooner specializes in blending alternative rock, dream pop and gaze with romantic female lead vocals.
The Kool Kat Music label released “Wish I Could See” by Cheap Star. Fronted by Swiss-French musician Remi Vaissiere (who wrote, sings lead and plays guitar on all the songs). A distinct 'Americana/Powerpop' vibe runs through it all due to the artists long-time relationship with seminal late 80's/early 90's Posies frontman Jon Auer. Brought in to produce and mix the record, Jon also plays a variety of guitars and keyboards on nearly all of the tracks. The Posies connection doesn't end there as respected drummer Brian Young (a member of that band during their major label years from 94-98, before moving on to The Fountains of Wayne and then The Jesus and Mary Chain) delivers outstanding percussion on every one of these new songs.
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The music of Dead Leaf Echo is no stranger to this site, having covered their recordings and many live shows for over a decade. Notwithstanding some personnel changes one could hardly be surprised at over that length of time, the current lineup has been relatively steady the last few years. After completing their first Latin America tour, they released a six track EP. “Milk.Blue.Kisses.And.Whalebone.Wishes” is the mysterious and poetic title, serving as something of a hybrid to the song titles on it.
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Austin, Texas heavy-groove blues-rockers The Dizzy Bangers received a detailed analysis on their song “Painted Bruises,” which displayed an advanced level of musicianship and lyrical mastery within the heavy rock genre.
Equal measures of industrial electronics, heavy rock, seductive vocals, black-clad fashion glamour and spirituality are woven together in the music of Turbo Goth. As popularity continues to grow in both their native Philippines and adopted home of NYC, the duo of Paolo Peralta and Sarah Gaugler released their album “Awakened Imagination.”
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The always busy Brighton, England based Shore Dive Records contributed this month, promoting their 111th release featuring Stockholm, Sweden's We.ThePigs. This full-length album highlights a lovely collection of female vocal dreampop, harsh Sonic Youth-like guitar noise and even a JAMC “tribute” as well.
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Enticed to check out the music of already established indie rockers Star Collector proved to be a prudent endeavor. Working in the classic 4 piece, two guitar, bass and drums formation, an impressive level of vocal harmonies lift them above rudimentary “garage band” status.
The folks at Shoredive Records seem to instinctively knows what will fly here at this site. Offering the labels 116th release featured an artist out of Chicago called “Glitter Assassin.” That cool name along with the promise of noisy guitar layered indie pop with a heavy gazer influence received the full DCW analysis.
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Respected Label BIG STIR RECORDS rolled out the first in a series of singles highlighting Finnish power-pop guitar group The Bablers. An appropriate CromwellWrites deep-dive ensued.
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An interesting musician recording under the name Friends from Moon released a concept album titled “Astray.” It's epic and incendiary track “Marvels beyond Madness” garnered intense listen and review.
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The Rosie Varela Project released their album “What Remains,” with its single track “Fault Line” receiving a wordy investigation.
Four exciting new audio and video releases summoned attention for the month of May . Storied legends with lengthy discographies (still going strong) share space here with newer established artists along with debut entries as well.
Legendary gothic death-rock pioneers Christian Death have a long history that dates back to their original formation in the 1980's. Equal parts adoration and controversy have continued to surround them ever since. Featured track and video for “Beautiful” from their 17th studio album “Evil Becomes Rule” received primary focus.
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Inspired by a 75 million year old rock formation in Thailand that when viewed from above, create the visual illusion of a family of whales, 3 Robots Records indie label artists Sueño con belugas released their epic track “Normal.”
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With the release of her latest album “Tresor,” the evolutionary vision of musician Gwenno reached a new pinnacle. The title track and it's accompanying video provided a unique journey into her Cornish and Welsh history.
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A collective calling themselves Seedsmen to the World released their debut album on Blue Arrow and Birdman Records. Combining elements of trance-drone and folk music, it's offbeat qualities sparked further investigation.
Frequently featured label Patetico Recordings returned to the DCW realm with a new collaborative effort Heliocentric Overdrive and their debut EP “Weightless.” Their melodic-pop tracks are fuleed by a precise and frenetic delivery.
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If it seems like there is yet-another Shoredive Records artist being featured here on this site every other month or so – well, that's because it's true. One of the busiest, most-consistent labels out there, something new, exciting and previously unheard of appears in our listening sphere that simply can't be ignored. This time it was mysterious dreamgaze from Montpellier/Paris going by the name 40 Days Without Water.
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Another independent label discovery was the Peruvian based Chip Musik Records. It specializes in ambient, electronic, chillwave, experimental, glitch, dreamgaze, vaporwave and experimental artists from all over the world. Their release Lego 15 – Pulsos de Bosques (Forest Pulses) is an extensive collection of music from Central/South American and other international locales.
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Sometimes a record is released in a low key manner with little fanfare, and the band moves right to playing live as a means of showcasing this new material. Such was the case with Tight Lips debut EP, which was released at the end of March. With bands and audiences reconnecting at live shows again, the opportunity to focus on this previously uninvestigated recorded music presented itself.
The good folks over at Big Stir Records released a full-length album by LA psych-pop rockers Maple Mars. Titled “Someone's Got To Listen,” it's the band first album in over a decade, and debut for this label.
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Andres Alfonso Lugo is a Baltimore-based recording artist who's work has been featured here on DCW numerous times. While those previous reviews focused on the bands he belongs to, the current work here being delved into is his solo project Los Dientes Hundidos en la Garganta. With that phrase translating into “the sunken teeth in the throat,” the music created is less ferocious (though still quite powerful) than that expression would suggest. Andres provides guitar, loops, programmed drums, bass and synth, while enlisting contributions from Ferran Pont Verges (Die Noia Futuriszka) with guitars, voice and mixing on "Loops of Energy."
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Receiving news about a new project involving long-time fave David J (of Bauhaus and Love & Rockets fame) is always welcome. Busy as he's been over the last few years with revived live shows, hearing about brand new songs and group collaboration peaked curiosity. The debut album “A Free Society” by newly minted combo Night Crickets also includes Vincent DeLorenzo (from Violent Femmes) and multi-instrumentalist Darwin Meiners. Drawing their name from a conversation about something David Lynch said, the recordings came together via audio files shared between Los Angeles, Milwaukee, London and San Francisco. Their music video and song “The Unreliable Narrator,” received a detailed review.
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An inquisitive individual who records and plays live music under the moniker 77 Apes caught the attention of DCW through their steady persistence. It is a solo artist endeavor where lyric-heavy songs are accompanied by acoustic and electric guitars, fleshed-out with background rhythm tracks.
Longtime friends of this site The Stargazer Lilies released a video for first single “Bending The Lines” in advance of their 5th studio album release “Cosmic Tidal Wave” via Floravinyl Records. The track and video receives appropriate fragmented windswept reverie.
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The steady output from Philadelphia's Patetico Recordings assures ample opportunity for frequent reviews here on this site. This particular month saw the release of “From the ashes” by Stellarscope, which featured a precision review of single track “All the lies.”
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Influential bands of the 90's continued to re-emerge with new material, which was welcome news to audiences who have missed them. Consider the Portland trio – No 2 – back with their third album, but first in a number of years. Fronted by Neil Gust who originally shared songwriting duties in Heatmiser (along with Elliott Smith), No 2 rose out of that bands ashes in the late 90's. The album titled “First Love” was released on Jealous Butcher Records.
Heavy blues rock has always been a particular favorite here at this site, and nobody does it better than Austin, Texas-based The Dizzy Bangers. Though relatively new here to the DCW orbit, a number of reviews have already made their way into prior features. The band returned once again with a new video release for their song “Painted Bruises,” earning additional commentary and analysis on it.
Turning attention once again to one of Shoredive Records releases found this site focusing on the recording project Xeresa. Simply titled “IV” (as in album number 4), the fully named Nicolas Pierre Wardell (previously only known as Label boss Nico Beatastic) serves as the bands primary catalyst. Painstakingly recorded between 2019 and 2022, each song features guest vocalists, some who have full releases on the parent label. Each track was built in the more common now than ever way of sending instrumental basic tracks to each respective artist for their creative additions (predominantly vocals).
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UK Power Pop Rockers It's Karma It's Cool released the track “A Gentle Reminder,” accompanied by an in-studio style video performance, providing visual imagery of the band performing. This perfect slice of powerful pop music received a full DCW breakdown.
It had been a year or two since new Lunar Twin music entered our universe. The enigmatic west coast duo returned with “Beyond The Sun,” the first single release from their upcoming album “Aurora.” Bryce Boudreau (vocalist/songwriter) and Christopher Murphy (multi-instrumentalist/producer) continue to expand on their sonic vision with this new material. “Beyond The Sun” received a close listen and complete review. A full nine track album is due soon, with another track “Android Dreams” available now to acquire and listen to.
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Returning here for another review is the work of Baltimore-based recording artist Andres Alfonso, who makes solo music as Los Dientes Hundidos en la Garganta. While that phrase loosely translates to “the sunken teeth in the throat,” Andres composes his ambient works with guitars, bass and heavy looping. What comes out of that are wonderfully dreamy experimental ambient electronic soundscapes. The second single “Configurations” from latest album “Infinite Past” on Jak Jonson Tapes has recently dropped, and got the full review treatment.
An in-depth Interview and hotly anticipated EP Review shared space with two full-length, track-by-track reviews from trusted labels and artists. With one returning and another first-time creator receiving detailed analysis on their latest recordings, the quest to make sense of it all carried on without limit.
When press releases about a new band called The Buckleys started showing up via email over the last two years, an appreciation for the music and image they were producing was instantly felt. With the band recently coming to New York, Nashville and LA for press stops and personal appearances, I was honored to catch up with them for a face-to-face interview.
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Back in May of this year, ambient dreamgaze collective Sueño con belugas were reviewed here on DCW for their introductory track “Normal” in anticipation of upcoming album “Memoria Cósmica.” With the release of that full eight song album, a chance to dig deeper into their sound presented itself.
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Bookending Big Stir Records first major album release of 2022 (as mentioned here at the beginning of this Feature) was their final release of the year, “Sounds In English” by Sweden’s Richard Öhrn. Best known as the guitarist and one of the songwriters for the indie pop band In Deed, this release serves as his solo debut.
The Kings and Queens of that glorious Astoria music scene – GIFTSHOP, performed two notable live shows that certainly qualify for “Best Of 2022” designation. Back on the final day of April the band played at Otto's on NYC's lower east side as part of a benefit to aid Ukraine.
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Treating the audience to many of their classic tracks like “Despicable,” their careful selection of classic covers contribute to a total live show experience. Check out their glorious rendition of The Cars “Just What I Needed” on this night right here.
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A more recent show went down earlier this month at beloved Astoria, Queens venue The Shillelagh Tavern. With dazzling frontwoman and lead vocalist Meghan having morphed from platinum blonde to bright-fire redhead, the band ripped through another killer set of originals and choice covers.
Opening with perennial favorite “Purchase,” they hit the ground in high gear and everything was “soo good – soo good.”
Was great to hear an updated version of “Same” which also included room for Jordan to showcase his drumming skills. There was the how-does-she-do-it hyper-speed vocals on “Things I Feel.”
Damian and Matt - axe-slingers on the corners.
Other enjoyable tracks played were "Stylish Junkie," "Spooky Halloween Christmas" along with bring-the-house-down covers of "Creep" and "Only The Lonely" (a clip of which can be heard at the end of this Instagram Post here).
An in-depth Interview and hotly anticipated EP Review kick-off this month's DaveCromwellWrites Features. Experiencing their debut New York City arrival fueled a lively and insightful interaction. No less important are two full-length, track-by-track reviews from trusted labels and artists. With one returning and another first-time creator receiving detailed analysis on their latest recordings, the quest to make sense of it all carries on without limit.
When press releases about a new band called The Buckleys started showing up via email over the last two years, an appreciation for the music and image they were producing was instantly felt. The ear (and eye) catching track “Money” (the band's first worldwide release) was simply too good to ignore. Keeping an eye on their progress from that point on, the band is now back with a new EP “Take It As It Comes.” Hailing from the southeastern coastal town of Byron Bay, Australia, the hardworking sibling trio of Sarah, Lachlan and Molly Buckley embody a wholesome quality combined with a touch of glamour and timeless cultural appeal. Raised in a musical family, they were all taught instruments and began singing together at an early age. An enlightening introductory video “Meet The Buckleys” sheds more details on that.
Combining elements of Pop, Nashville Country-Western and Indie Rock, initial press began calling their style “Hippie Country.” With that designation referencing a new look on what came before, their sound is the epitome of modern creativity. They took an immeasurable step forward after signing to Chris Murphy's Petrol Records label in 2019. The former INXS manager encouraged them to emphasize creative freedom above everything else. Having traveled and recorded multiple times now in the Country Music hub of Nashville, the band has been allowed to further spread their creative wings under the tutelage of Grammy-winning producer/engineer Chad Carlson. With the band recently coming to New York, Nashville and LA for press stops and personal appearances, I was honored to catch up with them for a face-to-face interview.
Meeting for in-person interviews are often on-the-fly events, with locations switching inside a 24 hour window. New York City's University Place was the designated neighborhood, with final destination at Tortaria Mexican Restaurant. We were able to secure their street-side private enclosure, allowing for a completely-to-ourselves, no distraction environment.
Running first into Reybee PR rep James Boss and Lachlan Buckley outside the enclosure, Lachie (as he is sometimes called) remarked on how he liked my t-shirt, which had a skeleton skull with tophat on it. He asked if that was “skeleton Slash” but I let him know it was simply a more seasonal image. However, the guitar-centric member of the band confirmed he was very much a fan of the GNR guitarists playing. Moving inside the intimate space, both Sarah and Molly Buckley greeted us with warm smiles and overall friendly demeanor. The conversation was lively and casual, as we explored a variety of topics regarding the bands inception up through and including their current direction.
The band were featured at the end of October during the Byron Bay Film Festival where they premiered their new documentary, Take It As It Comes. Capturing their time recording current EP of the same name at East Iris Studios in Nashville, the docu is dedicated to their mentor, friend and guiding hand Chris Murphy (who sadly passed away in 2021). Some of the songs were also written in direct response to the devastating floods their home country has been facing. “Have you ever slowed down – stopped to take a beat – listened to the sound – of two hearts in harmony. Could we all take a step back – be thankful for what we have – lend a hand and stand together- through times of uncertainty” is how the opening lyrics go on the title track. The band explained how this sentiment refers to their hometown community coming together in a time of crisis.
Co-written by all 3 members along with rising Nashville star Jared Hampton of the band LANCO, Molly explained “we wrote this track at the very end, a day before we went in to record.” Noticing what sounds like a minor chord on the changeover word “uncertainty,” Lachlan confirms it and adds “it's actually a minor 7th.” Such is the subtle sophistication of their compositions. Asking who's voice is doing the “1, 2, 3 go” count-up bridge between gentle acoustic opening and the song's mostly upbeat remainder, Sarah states “that's Jared on there – we kept it from the original demo.”
More positivity is revealed with subsequent lyrics that go “I don't know where the winds blowing – I don't know where the road leads – maybe left is right and right is wrong – but maybe all we need – is to hold each other closer – is to love a little longer, and stop searching for a reason to divide and disagree.” That leads into the BIG Chorus “Take, Take Take A Look Around – the Clouds are gone, the Suns Come out. Gotta Take, Take,Take it as it comes – cause you might not get another one.”
[With vocal steps rising ] “oh, oh, oh, oh – as far as I know – nobody knows – we make it up as we go.”
[resolving the musical circle] “Gotta take it as it comes.”
Listen to this gorgeous song and view the accompanying video here:
Initial single and the EPs second track “Oops I Love You” is a bouncy pop-country gem that showcases all of the bands appealing qualities. Sarah's vocals deliver universally relatable lyrics with lines “Our love is overrated, promises break, I don't like complicated, the movies are fake yeah. Ain't it so lame how they all end the same damn way. Now I never believed.” Moving quickly to a vocal hook, Sarah and Molly harmonize “But You ooo ooo – taking me down – I don't know what to do – nowwwwww.” Leading into the most-catchy, earworm Chorus: ““Oops I love you, don't mean that I want to baby – Oops I kiss you, don't pretend you didn't want it – my mistakes are yours to take so please do .”
Second verse delves into the natural laws of attraction in this modern society, stating “So where the hell you from? And what were you thinking – walking in, messing up everything. If it's true, then why'd you do - I bet you do it on purpose. You think it's so cool. You're probably worth it.” The accompanying video features footage of them performing at East Iris Studios in Nashville, with Lachlan playing an angular, inverted guitar hook on the upper half of his double-neck guitar. The second pass through shows him playing the riff on the lower half. Asking him if the combined guitar is actually needed to cover different sounds, he confided “sure, the 12 and 6 string halves each serve their own purpose,” plus he added “it's also looks pretty cool.” A nod to Jimmy Page as visual influence in this regard was cheerfully acknowledged, though he cites Jimi Hendrix as his primary inspiration.
Watch and Listen to THIS wonderful track here:
Deeper tracks like “What Ya Gonna Do About It” opens with a forceful drumbeat, chugging bass-heavy low-end notes and higher register guitar accents (that have some kind of wiry effects on it). There's even an organ chord dropped in there for good measure. Sarah initially sings in a lower-pitched, intimate vocal reading, before changing over to a fuller, passionate voice. A rising step bridge to the chorus continues the feeling with lines ““Would you believe me if I told you that I loved you – would you try and stop me if I let you in – put your money where your mouth is – your mouth on my lips – yeah, I want your kiss.” On to it's captivating chorus: “So what'cha gonna do about it” [sung in harmony with background “oooh oooh oooh's”]. “It took you long enough so listen – I wondered when you figured it out.” Enhancing this chorus are three big descending progression guitar chords, prominently featured in the changeover to the next verse.
“Fool Me” is a country-western ballad driven along acoustic guitars and rim-clack percussion. “I wonder where you are and I know I shouldn't – everyone's asking what we're doing. I don't know what to say – how about you?” Sarah sings. “Everything moves it's own motion, watching you move has got me holding my breath – and you are too” she continues. The bridge rises with lines “This flame, it keeps burning – is burning – perfect (with the final word stretched out “perrrrrfeeeect”). Right into the smooth chorus: “Foooool me again – I want you to fool me again. Baby we are what we are – we both know what this is. I can't not let you in - So Foooool me, fool me again.” A song for those times when the fantasy and illusion of something more is good enough for now.
EP closer “Love Me Wrong” (which is currently topping the Australian Country Music charts) emphasizes an easy, breezy style, with high-end bended/reverberated guitar notes leading the way. “I've been waiting for the real thing,” Sarah emotes, “and it feels like this is it, yeah it could be” she continues. Clever twists on traditional themes, like the line “trying to fit a square into a round heart” create an endearing sentiment on loves possibilities. “You can't take it baby if you don't break it – I will give you all the space in my heart” becomes the singalong hook. With the ultimate request that you “DON'T love me wrong,” the songs title is a subtle deception. The charming addition of film clip audio adds one more appealing element to it all.
Other miscellaneous topics covered in the interview were things like current books being read. Molly confessed to presently reading Keith Richards outstanding memoir biography “Life.” That lead to lively chatter about it since I had devoured all 547 pages of it on it's initial release. Sarah mentioned to also being a fan of biographies, with “Julie Andrew, Blondie and Carole King” being the most recent coming to mind. Molly put forward that “Lachie is a surfer” as one might expect from growing up in the Bay community. “Yeah, I'm a surfer boy - a surf rat,” he chimed in. Sarah mentioned how they're “into fashion” which Molly quickly interjected “yes, we looooove fashion.” This was immediately apparent from one look at their very stylish, but not necessarily practical for walking around New York City shoes. The ladies acknowledged indulging in bit of a “Carrie Bradshaw, Sex In The City” appreciation in that regard.
It was a pleasure to interview this bright and talented band of budding superstars!
Keep up with The Buckleys on all the popular Social Media as well as Their Official Website.
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Back in May of this year, ambient dreamgaze collective Sueño con belugas were reviewed here on DCW for their introductory track “Normal” in anticipation of upcoming album “Memoria Cósmica.” With the release of that full eight song album, a chance to dig deeper into their sound is now available. While collaborative in both writing and recording, the prime motivator behind these “dreamers of whales” is Héctor Caolo Alvarez (known also as bassist and key member of Puerto Rican dreampop band Un.real).
The full album continues with that experimental concept first heard on “Normal,” which emphasizes collaboration between a number of like-minded musicians throughout Puerto Rico's independent music scene. Designing the recording to flow continuously like a single piece, each of the eight compositions come together for an uninterrupted listening experience. Opening track “52 Hz” floats along a gentle strumming of electric guitar, background drone and additional layers of brighter guitar notes.
A singular synthesizer textures takes over for it's conclusion, bridging into next cut “Agua Atómica.” At nearly seven minutes long, the albums lengthiest track evolves out of a mysterious shimmering undercurrent. A slow, chugging progression emerges after a minute in, with solid, easy-groove drumming and clarion bell guitars. Soft, sensuous female vocals commence, and the feel is like a deliberate journey desert terrains. The beat drops out momentarily, allowing the voices to elevate skyward. As the journey commences once more, full beat, background vocal layers and rough-edged guitar distortion all come together for a final push.
“Caracol” rises slowly out of natural field recordings that lead into a spoken-word segment. Deep humming tones are blended with the sound of ocean waves and loops of unknown origin, paying homage to Brian Eno's more experimental ambient pieces. That leads into previously reviewed cut “Normal,” which features bold electric guitars, throbbing bass and cymbal-wash enhanced drumming. Heavy guitar and bass interplay provide strong rock and roll hooks between female voiced Spanish language vocals. Belugas can be heard swimming in the tracks final minute. “Fantasma” changes course with it's opening strains of gentle acoustic guitar. A whispery, near childlike voice begins to sing, as a rising pitch ambience builds from underneath. A dream-like lullaby feel permeates throughout, from start to finish.
“Gris” comes on like a proper rock song, bass guitar driven with clearly defined guitar chord changes and precise drumming to match. A male-female vocal duet takes alternating verse lines, before coming together in richly textured vocal harmonies. A deep bass and drums instrumental midsection thunders along with higher-register guitar lines soaring over top. Those guitars are given an additional bass-and-drum-free segment, sounding like the kind of break The Smashing Pumpkins build into their songs. All the instruments return for the driving conclusion.
“Detrás del Volcán” changes the tempo considerably, with an introspective, soft-vocal presentation. Open note guitar chords provide initial musical accompaniment, before gazey, quick-strum washes and a steady drum beat fill-in midway through. The final (title) track “Memoria Cósmica” extends out those “interludes, field recordings and cosmic experiences” promised in the liner notes. That eventually morphs into fuller guitar washes with ticking time-clock percussion. Low-end notes seems to double-down further on what Beluga whales might sound like, if we could listen in to them out in the deep oceans of our planet.
Listen in and learn how to acquire this magical journey here:
Previous Features on this artist can be found Here and Here.
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Bookending Big Stir Records first major album release of 2022 (reviewed here way back in January) is their final release of the year, “Sounds In English” by Sweden’s Richard Öhrn. Best known as the guitarist and one of the songwriters for the indie pop band In Deed, this release serves as his solo debut. Taking the “solo” designation to it's utmost extreme, Richard wrote, arranged, recorded, played all the instruments and sang all the vocals. Coming together over a period of nearly a decade (while also working on other projects) out of a home studio in the Swedish countryside, a penchant for retro sounds spanning the '60s through '90s can be heard throughout the 12 tracks. The album title refers to what you hear when listening to songs – the sound of the words, rather than it's literal intended meaning. It also points towards the English and American bands that influenced many of the songs.
Opening track “Seal Your Move” dives right into an early 1960's pop feel, with chiming 12-string electric guitars leading the way. Sampled mellotron flutes inject a folky chamber pop quality as the track progresses. The title refers to a chess tactic where one seals their next move in an envelope, to be opened when resuming a paused game. The poetic parallel is urging someone to delay their actions until they can think it over one more time. A beautiful Simon and Garfunkel vocal-harmony inspired “5th Month Announcement” follows, with gentle finger-picked acoustic and deeper electric guitar accompaniment. The “announcement” comes as the result of discovering a pregnancy half-way through term. Shuffling percussion, bass and additional guitar licks contribute to an overall flowing river feel.
An agile toms and snare drum fill introduces the speedy power-pop gem “Time's Not Running Out,” an homage to the American Merseybeat-influenced style of the '90's. Referencing the aftermath of a breakup, “It never ends the way it started, the past is for the broken hearted” provides clever lyrical insight. Some sweet, ripping guitar solos commence midway through, enhancing the sweeping, forward driving experience. Piano and organ figure prominently on the 1-2-3 waltz time signature of “The Coolest Manners.” There's fascinating bits of Beatles-y nuggets (circa “White Album”) woven inside it's structure, and a tasty rough and tumble guitar solo throughout the final minute. “Someone To Forgive You” accentuates that early 60's Merseybeat vibe, with 12-string acoustic and organ prominent in the mix. A wordy tale of regrets and dealing with the fallout from decisions made.
An inventive hand-clap loop and gentle piano melody sets “Love and Friendship” in motion. As the positive story of reconnection unfolds, a string section plays in the space where a guitar solo might ordinarily occupy. While The Byrds “Bells of Rhymney” is evoked on the intro of “Take This Bottle,” it's their mentor Bob Dylan (and a touch of E. Costello too) serving as touchstone for the bulk of this track. The 12-string chime is apparent along with old-school acoustic piano. The chorus is perfect for a pub singalong, while vocal diction on lines like “now you're just a little bit too close” channels Dylan-esque phrasing. A circular snare-roll-to-around-the-toms drum pattern and distant reverberated clack sets up “Every Shade.” Minimal accompaniment under the vocals allows for lyrical focus on verses, and emphasis on the lush background harmony chorus. Measured slide-guitar forges an emotive element within the songs structure.
Alternating rising and descending piano chords serve as the rhythmic progression for “I Chose You.” Lyrically contending with end of a friendship (and not really knowing why), the songs title and associated words make clear who it was that initiated this relationship. There's a brass band backing to the New Orleans-meets-Country vibe of “Could Have Loved You More.” A particularly favorite line (and one that hits close to home) offers: “I don't dream – I only think while sleeping.”
Flamenco-style guitar and reverberated piano also factor into the overall experience. The piano driven “If I Could Read Your Mind” has an initial torch song feel, along with elements of Jeff Lynne/ELO emotive vocal/chord changes. Edgy guitars snake their way into the mix, adding an epic quality to the overall production. Final track “Spanish Moon” combines keyboard plucked strings with acoustic guitar and progressively ascending military-roll percussion. A fuller string sound ultimately emerges accompanied by the wistful fade-out line “someday you'll know.”
The month of October is well-known for Autumn leaves and Halloween parties. As some contemplate what costume to wear, or to simply prepare for trick-or-treaters outside their homes, the diversion of a new DaveCromwellWrites music review is now present. Familiar electronic artists who work in the synthetic realm are featured here alongside similarly situated creators. While some are equally focused on thoughtful lyrics and their vocal presentation, others opt for sprawling ambiance of epic proportions. The universal line connecting them all is the ability to make inspired tangible recordings.
It's been a year or two since new Lunar Twin music has entered our universe. The enigmatic west coast duo are now back with “Beyond The Sun,” the first single release from their upcoming album “Aurora.” Bryce Boudreau (vocalist/songwriter) and Christopher Murphy (multi-instrumentalist/producer) continue to expand on their sonic vision with this new material. A full nine track album will be released on the first of December. Until then we have this wonderful new track which receives a close listen and complete review below.
Regimented electronic synth-bass pulses kick the track off with Kraftwerkian aplomb. Modulating through a distinct progression, subtle explosive hiss leads in to the opening lines. “I watch you fly away” is delivered in that now familiar Lannegan-eque sandpaper rasp. “Shadows stay the same” continues the vocals, cycling the intro line once more before capping this time with “our love with never fade.” A mixture of electronic and traditional sounding drums enter the mix, expanding sonic parameters. Vocals become more expressive through elongated diction, phrasing and apparent sharp-edge layering. All of that creates a psychedelic sensation to the floating/flowing voices and instruments of synths and percussion. A plateau break of sorts emerges midway, pared down to only drums and voice, with those vocals extolling the virtues of “sun” and “sleep.” Trippy-somnolent voices continue on, and bass-heavy synth throbbing returns the full sonic palette. There's a Nine Inch Nails feel to it all, who have also been known to rely heavily on bassy synth-lines and obscured, whispered vocals.
Previous Lunar Twin reviews on this site can be found HERE, HERE and HERE.
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Multi-disciplinary artist and singer-songwriter Ora Cogan is no stranger to the DCW review world. Having previously covered her psychedelic folk and ambient dream pop album “Crickets” a few years back, discovering a new EP "Dyed" has now arrived serves as welcome news. This latest music expands on her previously established hypnotic opulence and reflective elegance. These soundscapes touch on neoclassical themes, weaving together Gaelic folk, mantras and chant into unique art-rock compositions.
Commencing immediately in full falsetto-voiced motion (bypassing even a hint of slow-build instrumental intro), title track “Dyed” lyrically feels more autobiographical than fictionalized storytelling. “I woke up by the field, with a bee hitting the glass. You rolled your sequined eyes at me, as you pulled up your pants.” There's a floating sensation to the guitar and background voice elements, creating a dreamlike feel. A descending progression serves as foundation for the distinct chorus that goes “I am a fool in love and I’ve got nothing to prove.” Longer-held dive down notes and soft percussive flicks contribute further movement within this section. A brief twangy guitar interlude leads into the next verse. When the subsequent chorus section emerges, lyrics become more poetic, making comparisons to “love” as “an island forever losing its shore.”
A pleasantly surprising choice for the EP's middle track is a personalized reworking of PJ Harvey's 1995 song “To Bring You My Love.” While the original had only sparse instruments of guitar and organ, focusing predominantly on Polly's deeper vocal register, Ora adds percussion and a lively bass guitar to her higher pitched voice. Although the lyrical story is true to it's original - “I was born in the desert - I been down for years - Jesus, come closer - I think my time is near” - Ms. Cogan bathes it all in her familiar softly psychedelic sheen. Long instrumental passages between verse and chorus amplify the more musical qualities to this piece. Slight lyric changes appear in places, using “fell out” in place of “cast out” in both instances on the second verse. Ora speeds up the pace of the original somewhat as well, moving it away from Harvey's dirge-like progression to something lighter. Different too are the vocal ranges, with PJ's leaning more towards Patti Smith, and Ora falling closer to Joni Mitchell.
Final entry “Driver” is a lengthy 6 minute ambient meditation that stretches out time and thought processes for maximum introspective effect. Voices are flow in ethereal clusters, at first unintelligible like Gregorian Chants. A steady guitar churn creates a semblance of pace, as fragments of lyrical voicings emerge. “Black marble steps shining in the sun - And if anyone gave any reason,” can be made out through the undulating disquiet. “You’re growing out of your shadow. Every morning you hear It - So clear” the celestial story continues. An impactful rising guitar drone emerges near the midway point, providing a gritter element to the floating atmosphere. Layers of chanting are reestablished, infusing an avant-garde formation reminiscent of Lisa Gerrard's work with Dead Can Dance. Chiming guitar figures present snippets of melodies against a wind-rush field, enhancing the full sonic expression.
Returning here for another review is the work of Baltimore-based recording artist Andres Alfonso, who makes solo music as Los Dientes Hundidos en la Garganta. While that phrase loosely translates to “the sunken teeth in the throat,” Andres composes his ambient works with guitars, bass and heavy looping. What comes out of that are wonderfully dreamy experimental ambient electronic soundscapes. The second single “Configurations” from upcoming album “Infinite Past” on Jak Jonson Tapes has recently dropped, and get's a full review below.
A dreamy ambience starts immediately in full flight, as gentle rising waves envelop a wide sonic spectrum. Powerful staring-into-the-void atmospherics create a sensation of awe, as if experiencing something otherworldly. With this initial glacially strong soundscape making a large impression, subtle movements ebb and flow inside of it. Higher pitched tones can be detected, elevating above the mass to create an almost-reverential quality. There's a depth to this audio composition that entices our mind to go on a vision quest. One in which hallucinations and/or dreams would have you flying over vast mountain ranges and deep unexplored oceans. A sensory experience that slows down time, affecting both the auditory and neural systems of mind and body. While comparisons to Harold Budd's “The White Arcades,” Brian Eno's “Apollo” and their collaboration on “The Pearl” all come to mind, a more obscure album by Vidna Obmana - “The Contemporary Nocturne” serves as a like-minded work as well.
Alternative, electronic, dreamgaze, power pop and progressive jazz all share space here for this month of September. The artists chosen for review are not random, but selected via thoughtful consideration. Familiarity with the quality of their work and a willingness to take interest is what is being written about them is weighted heavier than other factors (like mass popularity or aggressively financed PR campaigns). Chances are taken on new stuff as well, but are ultimately held to the previously stated criteria.
Turning attention to one of Shoredive Records recent releases finds this site focusing on the recording project Xeresa. Simply titled “IV” (as in album number 4), the fully named Nicolas Pierre Wardell (previously only known as Label boss Nico Beatastic) serves as the bands primary catalyst. Painstakingly recorded between 2019 and 2022, each song features guest vocalists, some who have full releases on the parent label. Each track was built in the more common now than ever way of sending instrumental basic tracks to each respective artist for their creative additions (predominantly vocals).
Opening cut “Wish” pairs Wardell's basic track composition with first collaborator Daydream Deathray on vocals and guitars. Emerging out of synth tones and light percussive pulsing, classic-gaze pitch-bended guitars propel a fragmented time-signature chord progression forward. As the ticking percussion gets busier, melodic guitar figures enter the mix as an alternate foil against the initial tone. Ghostly voices commence over top as ticking, pulsing movements churn underneath. Dramatic breaks emphasize quick-burst-clatter stops, against those dual guitar melodies. This cycle morphs and evolves with dream-like qualities with a reverential nod towards the vague beauty of MBV's “Loveless.”
Deep buzzing bass-synth notes introduce “Untouched,” a co-write collab with vocalist Dorothea Tachler. “They say – don't touch – don't touch each other” are the first lines from this bewitching female voice ascending over synthetic hiss-clacks and open note guitar figures. As the rhythm continues to develop and fill out, further exhortations of “don't shake my hand – don't hug me” play against an increasingly busier backdrop. Additional developments present vocal lines delivered with quicker urgency, cleverly built on top of that initial basic synth-pulse intro. Guitars, higher-register synths and electronic drumming all share sonic space with this lovely harmonized voice that ultimately shifts the narrative to (post-pandemic) human contact again. Dorothea also delivers a cool guitar solo and optimistic vocal end-out over a rising synth backdrop.
Abrasive guitar textures usher in “Bye Bye,” a pairing with vocalist Hiacynta Szulc. A loping drum pattern lays out central movement against those modulating guitars, while yet-another appealing female singer straddles the edges of Liz Fraser/Cocteau charm with her delivery. The title-line chorus pivots away from harsher tones, emphasizing romantic overture, and contrasts well against the rougher guitar undercurrent on verses. A lengthy final minute coda merges vocal mantra (“I'm not as strong”) with hybrid melodic and drone guitar textures.
Rising swells and bird-like warbles (reminiscent of Yes's “Close To The Edge” intro) usher in the Omega Vague partnership “Burn.” The swirling void gets stretched out further, now moving deeper into The Orb's “A Huge Ever Growing Pulsating Brain” point of reference. Voices ultimately emerge, with understandable lyrics “soon it all it ends the same – through it all we can't refrain – setting fires to the flames – just let it go to pieces.” What started out as a potential ambient music soundscape, ultimately evolves into lyric-heavy storytelling. “All you ever need is someone to be on your side.”
Plunky open note guitar chords and buzzing synths serve as introductory basis for “Fall Into Unknown” featuring Phil Wilson (aka The Raft) on vocals. “All I can do is wait for you,” Phil coos - “wait to lose control” over a bed of quick-pulse electronic percussion. Subtle changes oscillate through those beats, generating forward motion under Phil's soothing vocal style. A dramatic halting just past the midpoint emphasizes synthetic strings approximating full orchestra. Vocals resume with climbing stair-step cadence and gentle passionate payoff, ultimately fading out with a final :15 seconds of tubular bells-like tones.
It's not too long before shearing guitar distortion returns, this time providing the fade-in on “Ghost In Your Mind” (Ft Ural Mountains). Rat-a-tat drumming soon joins the fray as the fuzzy wall of sound pushes forward. It all suddenly drops back as the surprising romantic vocal style of the mysteriously named Ural Mountains commences. A pleasant mix of clean guitar chords and mixed-bag percussion provide undercurrent for a vocal style similar to the band Crowded House. When the wall-of-fuzz guitars return, both vocal cadence and rhythmic propulsion become more active. A quieter plateau is eventually reached, featuring spacious guitar chords, rumbling undertow, synth strings and further vocal recitations.
Gentle chiming guitar chords open "Where Could It Have Been" (Ft Aura Zorba). A syncopated electronic drum pattern soon joins the mix providing counter-rhythm. With ethereal vocals commencing, a pliant guitar figure bounces between those lines. Deeper bass synth enters in after the initial cycle, conjuring a rising step melody. Along with the title line, other fragmentary thoughts emerge like “what's on your mind?” The final minute presents a descending coda of instruments, “ooooh's” and spoken word.
The albums only solo-penned cut “Slavic Stars” is a tour-de-force of low buzzing synths, gentle guitar strums, electronic percussion and higher-register synth-melodies. With clearly defined chord changes and structured segments, this is no rambling instrumental soundscape. Vocals appear a third of the way in, adding to an overall wistful feeling. Bright clarion guitar notes are carefully slotted in open spaces for one more level of audio delight. “Where the sun you gaze at meets the water” becomes a thematic mantra in subtle changing forms (“where the sun meets the land meets the water”) of psychedelia.
A 1-2-3 time signature establishes the basic cycle for “Could Have Done Better Than That,” Ft Jackie Kasbohm on vocals. Alternating lyrical segments place emphasis on contrasting singing styles and associated rhythm cadences. Jackie's repeated title line follows that primary descending thirds pattern, while the second voice moves in contrast to it. A quieter centerpiece lays down one more counterpoint, before the circuit begins again with blended voices going forward.
Odd timbre spiky synths herald in the album's final offering “Retrospection,” which features the artist Glassmanet on vocals, strings, extra guitars, keyboards and programming. Bright drumming and a clearly defined melody soon joins the mix, setting the stage for the gossamer vocals that follow. The voices are soon amplified with layered harmonies, enhancing the listening experience. That primary melody line is meted out via a deep-hued synthetic horn texture. There's a violin quality to segments of the synthetic instrumentals along with open air wind-instrument tones supporting downy vocals. It all floats to a glorious conclusion of Cocteau-level beauty and wonder.
UK Power Pop Rockers It's Karma It's Cool recently released the first of what is to be 6 singles over the next few months. Initial track “A Gentle Reminder” comes accompanied by an in-studio style video performance, providing visual imagery of the band performing. Along with James Styring on vocals, Martyn Bewick (Guitars / Recording / Production / Mixing), Danny Krash (Drums) and Mikey Barraclough (Bass) is the inclusion of noteworthy multi-instrumentalist Peter Holsapple (of The dB's, R.E.M., Hootie and the Blowfish fame) on keyboards.
The song opens with a gently reverberated acappella reading of introductory lyrics “We outgrow the ghost, and get gone - With our slogans and cold ones - Turn the stereo pop on.” The band then kicks in full throttle with thematic title lines “Here's a gentle - Here's a general Reminder for you. Don't you look up with vertigo, if so, the sky comes fallin.' Along with the basic guitar, bass and drums plugging away, you can clearly hear the Peter Holsapple keyboard additions adding a richness in those open spaces between. As the band bounces along with crisp precision, there are elements of Feargal Sharkey's well-known vibrato in Jim's vocal style. A cleverly turned reference to XTC also pops up in the lines “Drive into the city and the radio was makin' plans for Nigel.”
Reaching the high-point peak catchy chorus that goes “We all find our feet, when we run - And our shoes have come undone - Spark-out the circuit breaker,” finds the Holsapple touch churning organ tones and rhythms to delightful effect. The chorus continues with those opening acappella lines now fully embedded where they clearly belong. Multiple camera angles keep the video fresh and unpredictable, with shots of tapping feet and some really amusing “rawk” faces from drummer Danny. Also kudos to bassist Mikey for best overall hide-in-my-long-hair moves. Two minutes in drops everything out to a single guitar figure before launching into a full-on ride with rolling keyboards, distant-effect vocals and more distinct rising guitar melodies.
Check out this perfect slice of powerful pop music right here:
It's a rare occurrence when an instrumental jazz album inspired by the Sumerian mythology of ancient Mesopotamia turns up here for review. However, that is exactly what you get with pianist & composer Connie Han's latest release “Secrets of Inanna.” Drawing inspiration from the 1900-1600 BC poem The Descent of Inanna, Han crafts 12 sophisticated piano driven compositions based on this detailed metaphor of femininity, grace, and poise. To that point she's also mastered the art of stunningly gorgeous imagery. Being young, pretty and physically sculpted is a great starting point for all that. What follows here is a detailed track-by-track review of the entire album.
Opening track “Prima Materia” instantly establishes the modern jazz trio concept with graceful affluence. Lightly reverberated electric piano serves as initial melodic source, accompanied by an expected high level of bass and drums. A flute tone provides additional melody, with quick-burst piano lines woven inbetween. As a point of sonic reference, the overall sound design is akin to Angela (Theme From 'Taxi') by Bob James. The extended piano flights on this over 5 minute piece are next-level sophistication, however.
“Ereshkigal of the Underworld” comes on quicker with an angular time-signature, driving deeper into the finesse of jazz trio interplay. The drums and bass are allowed to expand their repertoire under the free flowing piano improvisation. “Gilgamesh and the Celestial Bull” continues with a similar tonal quality, while incorporating that “hammering” technique inside the piano melody. An impressive left-hand lower-note rhythm creates counterpoint for the high-flying right-hand forays across the keys. A sense of similarity with the master Chick Corea comes to mind.
“Morning Star” employs brushes on drums and a sensual saxophone melody, leaving the bandleader to support with block chords at first. Midway in the sax drops out for an extended piano solo, before returning to close it out. “Vesica Piscis” continues with the tenor sax as slower moving melody over active piano figures. The mood is melancholy and subdued, going without bass and drums that place emphasis on melodic instruments only. “Young Moon” returns to the Fender Rhodes electric as primary keyboard tool, with Ms. Han exploring melodic possibilities against attentive and accent-laden drumming. A bass guitar driven interlude provides space for that essential instrument.
“Ninshubur’s Lament” is a half-minute tone poem on drums, with toms receiving up-front focus before closing out with a perfect snare press-roll. That leads into the buoyant seven minute piano and sax driven “Wind Rose Goddess.” With a sense of joy embedded in it's rhythms and overall vibe, ample room is given for extended piano improvisation, with equal emphasis on saxophone phrasing. “The Gallû Pursuit” revisits Corea's Return To Forever hyperdrive style, with fluid piano lines driving both melody and rhythm. The bass and drums hustle to keep up with a frantic pace that encourages the listener to hang on to this wild ride.
Check out this wonderful composition here:
“Dumuzi of Uruk” doubles down on the Wayne Shorter-style saxophone, with shifting rhythms underneath. Momentary space highlights piano movements, before lurching back in to the full band drive. A walking bassline sets a pillar in which flowing piano lines can improv off of. A quieter presence initiates the nearly eight minute (and album's longest track) “Desert Air.” Brushes are once again employed on the drums and the extended time allows for a number of sub-movements within the overall framework. Space is once again provided for stand-up bass improv against that soft brush drumming. What remains consistent however, is the tinkling of keys on multiple flights of fancy that frequently pay homage to the inspirational influence of Kenny Kirkland. Final track “Enki’s Gift” is a relatively quick study with emphasis on flutes, bass, rim-clack drumming and (as one might suspect) quick-fingered piano.
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.
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