A long-time favorite has re-entered the DaveCromwellWrites world with a brand new full-length recording. Alongside that is a previously never-before heard artist offering up their unique take on a 90's era classic. Finally an often reviewed, most-respected label has remastered and reissued an earlier catalog EP. Every song on all of the above mentioned releases now receive the infamous DCW track-by-track review.
Press releases indicating that new music from long-admired Cloudland Canyon had been trickling in over the last few months. Having already been a devoted fan of the purposefully vague and mysterious output from this creative force since the mid-2000's, each new single release added to the excitement. Now the full-length album is here, and for this reviewer it brings back all the memories and reasons for that initial fascination. Led by former New York and now Memphis based electronic music master Kip Uhlhorn, the artist has tapped into the mutual admiration of Spaceman 3/Spectrum's Sonic Boom (Pete Kember) for production assistance. The result is a magnificent collection of otherworldly music tuned into those dreamlike states some of us experience with each night's sleep.
Opening track “Circuit City” bursts out in full motion with no buildup, careening along at a bustling pace. Familiar deeply reverberated male vocals commence over (or is that under) a repeating AI voice pattern that sounds like the word “my, my, my” in perpetuity. There's a distinct pop chord progression at play, complete with a chorus (even if the lyrics buried beyond recognition). While the title line can be made out occasionally, that's hardly the point. Many wonderful sonic elements emerged throughout this over 6 minute opus. The percussion is busy, with bongo-like textures fluttering up (and then away). A driving synth-bass takes a dominant position at the 4 minute mark, with the previously bubbling sonics fading back. That sets the stage for a “battle of robotic sounds” (of sorts) to follow.
Follow-up cut “Internet Dreams” wraps itself in a dance-floor ready krautrock beat that pulls elements from both German electronic pioneers Kraftwerk and Tangerine Dream. Vocals come delivered with primary force from a strong female voice. “Losing time – barely there. Lose myself – light as air” are her opening lines. The hook comes in the form of a “Oh, Oh-A” vocal resolution at the end of each line delivered. “If I felt your touch – I might break apart” she initially concludes. Reading the artists statement that this song deals with something “you've already lost” and “our tendency to romanticize the past,” play out with the lyrics “old dreams light up my screen.” The suggestion that these “in tattered dreams” may be more “destructive” that we initially realized are summed in the the final repeated vocal hook “since you went away.”
“Future Perfect (Bad Decision)” taps into the dreamlike state and relaxed ambient pastel groove that initially caught the attention of this reviewer on their previous releases. Even though the rhythm is clearly defined with strong percussion, there's something about those vague and heavily reverberated vocals that instantly satisfy. Perhaps it's the dream pop and “gazey” music of initial practitioners like The Jesus and Mary Chain (and later on The Raveonettes) that has forged a connection with this sound. Something about the shifting voices that are just out of reach (like in a dream) find an emotional touchstone. The melody is romantic and builds slowly, creating the sensation that some kind of angelic experience is just over the horizon.
“SEA TACT / Whispering Waves” opens with a pulsating drone that continues while aggressive drumming thunders up from underneath in the mix. A variety of sound patterns begin to appear, some melodic and others adding to the hustling chaos. The halfway point introduces an elongated background vocal counterpoint to this otherwise hyperspeed sensation. Those vocals evolve into a more semi-coherent chanting phrase that sounds like “you don't say it's alright.”
There's a distinctive (once again) Jesus and Mary Chain feel on the slow, rambling two-chord appeal of “Recursive Excursions.” Choosing an undistorted guitar tone (like much of JAMC's 2nd studio album “Darklands”) sawing easily between chords, rattling tambourine and backing synth pads join in. Vocal delivery comes on soft and casually harmonized “we're not disappointed – just look where we've been.” Continuing in the aforementioned Reid brothers style, harsher electric guitar chords commence. From this point on, the actual Velvet Underground inspired source is more clearly revealed.
Another focus track “Two Point Zero” takes the quicker paced dance-floor electronica of earlier offerings and combines that with the preceding JAMC style vocals. A deep twang tone serves as a sonic balance point within shifting cacophony. With all that intentional aural chaos, a vocal hook “I don't want anyone but you” is purely evident. Plucking synths are pared with just enough percussion to generate the necessary forward motion. A timeless 80's through 90's feel abounds throughout, as if everything Depeche Mode, Howard Jones and other synth-pop pioneers of that ilk were put in a blender and poured out into this song.
Reaching deeper tracks, “LV MCHNS” combines buzzing brass synths, mechanized rhythms and icy female vocals that taps into the realm inhabited by bands like Ladytron. “Spacebar Blues” comes off as a less calculated studio jam, based around Kip's guitar and voice working out this “blues” progression idea over a ticking drum beat. Additional sound layers added on give it a fuller off-kilter appeal. Final entry “Gimme Tension” returns with full force everything that makes Cloudland Canyon so engaging. Swirling synths – check; forward charging percussion – check; anthemic dreamgaze vocals layered and distorted beyond recognition – double-check! Like most everything on this entire album – it's music to fall in love with someone - in an alternate AI universe.
Acquire this album at their label Medical Records HERE
Every now and then you get a message from a contact on Social Media that you haven't really interacted with. Such is the case with an Italian musician who puts out recordings under the name I'm The Villain. His latest release is a personal tribute cover of the song “Nutshell” by Alice in Chains.
Starting the track off with an acoustic guitar and 808 drum machine, an introspective, homespun feeling is the initial vibe. Getting right to the vocals, you can hear passion within his lyrical delivery. He's got Layne Staley's vocal inflections down, as he retells about “misprinted lies,” “the path of time,” and how “I fight this battle all alone.” Soon a series of slinky, echoed telecaster guitar riffs enter the mix adding depth and texture overall. Reaching the second verse and the desolate lines “my gift of self is raped” adds on to the guitar layering creating a near metal-slide feel amid the echo. While the acoustic strums throughout, those wirey guitar figures weave around with determined anguish. Building to an emotional sonic peak, the percussion, guitars and synths come together in a cacophony of sound. A single high-pitched guitar figure continues to rise, leading out the the ultimate conclusion of the strumming acoustic.
A recent release from our friends over at Shoredive Records find label boss Nicolas Pierre Wardell (a/k/a Nico Beatastic) reissuing his 2015BEATASTIC EP number 2 in newly remastered form. As the record was originally the second in a series of four, it's title goes by the numerically accurate 02 2002 02020 2 (Remastered). A careful listen inspires ideas, thoughts and words below.
Epic opening track “Butterflies” clocks in a nearly 10 minutes in length. As one might expect, there's a lot going on in that timeframe. Buzzy brass synths kick it all with quick rhythm, panning back and forth the sound field. Other synths begin to wade in, creating a more drone-like effect. As Kraftwerk-ian percussion clips and hisses, a distinct bass guitar pattern emerges creating movement underneath. Gazey guitars begin strumming busily and the thump and crack of drumlike percussion enters the fray. At the 3:20 mark a momentary halt and held ambience serves to set up oncoming vocals. Delivered in elongated diction, it's more like a mantra, before something approximating a chorus emerges. That's followed by some hard-edged (and ear pleasing) bass guitar riffing. Halfway in and the drums, drone and vocals run through that melodic chorus once more. At six minutes the track breaks down to a synth only segment that reprises the songs intro. Backward looping over top always gives this reviewer a Jimi Hendrix-in-the-studio sensation (since that's where it was first heard) or perhaps even Beatles “White Album” vibe. Vocals float in and out with “ohhh ohhhh ahhhh” placement showing keen awareness of what a studio recording can accomplish. Pushing forward into the final 2 minutes, all the previous sonic elements return in full force for the grand finale.
Following cut “The Ebb And Flow” comes on with high-pitched synth pulses, before solid drumming and vocals join in with a full progression. Fast strummed “gazer” chords are positioned over top of it all, along with harmonized melodic vocals. A shearing guitar and drums instrumental breakdown adds powerful juncture to the final vocal conclusion.
“Perfect Moment Perfect” emerges out of an ambient mist, before high-hat and snare percussion enter in. Vocals come on initially softer and introspective – as single line guitar figures weave around. As the synth pads rise and fall back, percussion stands out in front of the mix – as muted voices sing about taking a “moment” and “make it perfect.” More guitar lines step forward in a dominant way, as the song moves to it's conclusion.
After an ominous deep-buzzy synth intro, “Try Harder” quickly shifts gears as it bounces along bright strumming guitar and a solid drum pattern. Vocals come on in a softer, undistorted way, providing contrast to the bold rhythmic undercurrent. A Cure-like bass guitar and drum break provides thunderous reprieve before vocals return with the song's repeated title-line. “Stop Crossing Oceans” takes that bass guitar driven, matched with higher note six string guitar pairing and rolls it out in classic (once again) The Cure-style slow-build progression. Distinct forceful drumming joins in and the lyrical story commences. The dynamic chorus leans into gazey guitars (not really Robert Smith's thing) moving everything over to a more modern dreampop vibe. The song “ends” (then it doesn't) as a two minute coda floats everything away with textured guitar finesse.
The previously unreleased “Winter Bliss” emerges out of rising muted percussion before full-blown gazey guitar shear over top. The track then alternates between quiet verse passages of intimate nature (repeating the word “birthday”) and the shearing guitar enhanced chorus that goes “embrace me with a kiss – feeling the winter bliss.” Final cut “The Ebb And Flow (Country Version)” replaces the original's “fast strummed gazer chords” with down-home pedal-steel variations. Bass guitar and drums fall into an easy slow groove as the vocals are given an appropriately fresh reading as well. Country banjo pickin' can be heard within the mix, behind fiddles and those haunting pedal-steel strains.
Listen to and find out the multiple ways to acquire this album here:
Previous recent features covering Shoredive Records on this site can be found Here and Here.
The summer season is in full bloom with block parties, beach adventures and live show shenanigans. Gatherings with old friends inevitably lead to new contacts, which more often than not present fresh music review opportunities. Four separate recording artists become the recipients of these recent connections, motivated by an attentive listening (and viewing) of their current output.
Meeting creative new bands in personal, casual settings through mutual friends has become a preferred method of discovery. Spotting Singer, Songwriter and Record ProducerVanessa Silberman at a number of recent live events presented by like-minded artists led to some lively chats. Further investigations has now provided ample opportunity for discovery of her duo project LOVECOLOR. Collaborating with Musician, Drummer (and Actor) Ryan Carnes, the two member band strike the same kind of attractive visual imagery of acts like The Kills, The White Stripes and The Raveonettes.
The band themselves namecheck Sinead O’Connor, The 1975, Chvrches, Lana Del Ray, St. Vincent and M83 as guideposts. Having toured considerably over the last few years, Vanessa is also an accomplished studio engineer, producer, shredding guitarist and runs her own record label Diamond Heart Productions. Ryan is a well-known actor who also seeks an outlet for his musical passion. Playing drums live with this band allows for a different kind of artistic expression. LOVECOLOR has two singles out so far, written and produced by Vanessa, with capable assistance by Ryan. A detailed exploration of these two tracks now follow.
The current single “Pure Love” emerges out of a deep buzzing synth texture before kicking in fully with driving melody and percussive beat. Vanessa's vocals are ambient, reverberated and floating on the initial verse. Intentionally structured to pop criteria, a bridge is reached under the first minute with descending melody and echo keyboard line. That leads to the payoff hook chorus that lavishly states “Oh-wah-oh – can you feel it – can you see it – can you taste my pure love,” and “can you touch my pure love.” Returning to that 80's darkwave synth rise from the intro (bringing to mind classic albums like Human League “Dare” and their more ominous tracks like “I Am The Law”).
Vanessa's vocals are powerful and yet ethereal in that Liz Fraser Cocteau Twins way. There are multiple overlays of distant backing voices to go along with a steady percussive thump. At 2:45 in, everything drops back leaving open space for a single keyboard line. That sets the table for backward run voices, creating a pleasant yet slightly unsettling textural mix. Like all great pop songs it closes out with a big, grand finale chorus (with the word “love” frequently pronounced as “lo-E-ove”). Crunchy guitar chords emerge at the very end for good measure. The band has been quoted as stating this track is meant to be “sultry,” while being about “a relational dynamic and see someone truly and purely for who they are rather than what we’re projecting onto them via our past experiences.”
A music video for this song is promised to be coming soon.
In the meantime, we DO have a video for the bands previously released single “Dangerous.” Opening to the sound of a telephone ringing, the track bubbles to life as the image of a glittery, glamorous, neon-lit Vanessa descends the staircase to a club. “Taste the scene, make me weak – Dangerous,” she coos into a microphone as images of Ryan behind a clear drum-kit bathed in blue lighting emerges. Starkly lite in neon shades of purple and blue, Vanessa's face is enhanced by reflective jewels. We then see Ryan walking down the club's staircase like a secret agent in long leather coat. The bridge is again reached in under a minute with close-ups of Vanessa singing against keyboard rhythms and finger-snap percussion. Reaching the chorus, visual clues continue to emerge, specifically in the form of an origami crane which symbolizes hope, healing and wishes to come true. Ryan's video character is given this symbol in a drink glass from the bartender.
The musical rhythms are pulsating, with deep bassy synths driving a rough edge underneath. Vanessa exudes a sultry presence at the microphone, calling out to “set me on fire” and “you're all I desire” inbetween the singular repeated songtitle. With a minute to go we're treated to a brilliant blusey guitar solo that adds a perfect rock and roll element to it all. Deep saxophone style horns enter the mix as Ryan continues to ponder the origami symbol in his hand. The video ends with him dropping the crane down as audio pivots to the opening phone line, seemingly now gone unanswered. The band has explained how this song and video “is about a few things.” Like “being so drawn to someone that it's almost dangerous” - and how you should strive to “ being free and open with your sensuality.” About “being fully aware, alive and sharp in the world” where one can “fully embrace their whole true selves.”
It's been a year since the ambient duo Cielo Oceano has provided this site with new material to dig in to. The Philadelphia and Baltimore based collective are now back with a brand new track “Cycle Eternal.” Released on Andres Alfonso Lugo's Jak Jonson Tapes label, the collaborative artists recorded this new composition at Laboratorio Soniko Studio Middletown, PA and Where Are We Going Studio Lab in Baltimore, MD. This synergistic process features Andres on guitars, and Tom Lugo on bass, guitars, synth, voice as well as composing the lyrics.
Deep synth pads and a tinkling sequential keyboard pattern over it are the initial sonics opening this track. Bold wind rushes quickly emerge and usher in layers of ambient guitars along with a timekeeping percussive drum beat. Busy bass guitar patterns join in, adding a melodic force to it all. Tom's vocals begin “I want to break free – get rid of the chains – I may have forgotten, how to play the game.” Synth backing is kept static at this point, with the snare drum shot standing out in the forefront. At this point the “gaze” takes over and a wall of ambient guitars create a driving force behind hook-filled lyrics “there is no beginning, there is no end - into to heavens, we will ascend.”
Soaring guitar notes are laid out in a slow and deliberate manner, while gentle chiming keyboards , hustling bass and strong percussion carry on underneath. The sonic field goes quieter once more as Tom delivers a second verse “lose yourself again, a small price to pay - with your eyes wide open, the illusions all fade.” Those lofty, climbing guitars return once more as the final chorus goes further into an ethereal realm, where bass and percussion become alternately buried in the mix. As those chorus lyrics are repeated over in a mantra-like manner, all the instruments come together for a lift-off into the sky.
Previous features of Cielo Oceano on this site can be found Here and Here.
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Back in February of 2021, this site did a deep dive track-by-track review of The Crushing Violets album “A Dream Without Color.” That enjoyable experience is now revived with the news of a brand new single from the band “Superflower.” Conceived by songwriters Antanina (vocals) and BP Brooks (guitars, vocals), the track was recorded at Lantern Sound Recording Rig, Manorville, NY. Engineered and Mixed by Mick Hargreaves (who also played bass on it), co-production is shared between the band and Mick. The big surprise is getting legendary drummer (and local Long Islander) Corky Laing to feature his noteworthy skills on it. Nothing less than a thorough investigation is required.
The band wastes no time getting their special guest star involved with the tracks opening sounds involving tom-tom strokes. The guitars chime in and the percussion shifts to high-hat and snare-drum rim clack. It's an easy chord progression groove that sets the pace before Antanina comes in with her vocals. “Superflower magic finds the sun” she sings, with vibrato emphasis on the end word (“suuu-uuuun.”) The hint of rasp and Patti Smith-stylings in vocal tone provide central focus as this lyrical story unfolds. Visions of “oceans,” “timeless waves,” “the dawn” and “emotions” that show how “we are one” emphasize a metaphysical theme. With Corky high in the mix and delivering an emphatic lead-in, a big vocal passage of continuous “ahhhhh's” in rising progression elevates things further.
A second verse continues the odyssey as “constellations” and an “endless mental journey” can't help you “find salvation,” because “nothing in the world can turn back time.” A crisp snare-drum roll leads into the lyrical existential nature of the superflower's “magic” that “blooms” from a “garden of dreams where we sleep.” Mr. Laing's sensitivity and professional approach to this section is quite noticeable, with focused emphasis on high-hat work, leading the track out to it's coda. This is where guitarist BP Brooks is given room to shine with his tasteful, dominating blues licks.
Check out this soulful track (including how to acquire it here:
A previous feature of The Crushing Violets on this site can be found Here.
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Having written about the boundlessly energetic Tarra Thiessen's previous musical projects over the last few years, it only makes sense now to delve into her latest incarnation – Tea Eater. The debut single “Double” was recently released and is available everywhere via @adiamondheartproduction / Amethyst Trax (@symphonicdistro) in collaboration with @lafamrecordings & @jasnoswarez. With Tarra writing, singing, playing guitars, keyboards and even some percussion, the previously reviewed above Vanessa Silberman added her engineering and production skills to the vocals. This release also comes with a complimentary video directed by @tinehill that emphasizes amusing madcap imagery.
With the video having been shot in the rural settings of Lake Placid, NY, Tarra's mostly-white rock and roll outfit (complete with guitar) and single amp in the road stand out in stark contrast. The sound of crickets chirping are the first thing heard, before the clatter of sawing guitar chords commence. A variety of characters slowly emerge, such as mysterious individuals in hazmat suits – before the protagonist suddenly runs off to a cabin. There we encounter a “double” figure (also played by Tarra) in black, singing the lyrics. Meanwhile white-suited Tarra is quick-cut in to help the vocals along. Not content with just two looks – a third emerges in the form of a yellow rain slicker complete with mosquito-net covered hat and fishing pole. The instrumentation relies on a heavy fuzz-bass (played by main squeeze VramShabouh) and psychotic synthesizers. An individual dressed as a wine box adds one more level of absurdity, before the hazmat clad crew scoop up yellow-slicker attired Tarra and haul her off. The closing line “what is going on!?” perfectly sums up the farcical nature of this production.
Extensive deep-dive analysis of full-length albums are the primary review focus for the month of June here at DaveCromwellWrites. A long-time legend returns with their much-anticipated brand new studio album, delighting fans old and new along the way. Additionally, another frequently reviewed, trusted music label presents a storied collective in their own right. All of this excellent new music is now run through a close-listen analysis, checking for audio clues to the secrets of life.
It was a mere 4 months ago when Sophie Ellis Bextor announced the coming release of her 7th full-length album “Hana.” Promising a record of all new original material, the advance single “Breaking The Circle” was dropped at that time, receiving critical acclaim (as well as a detailed review of it here). Now the complete album has arrived, and with it a rising tide of positive feedback and prominent chart placement. Having reviewed all of Sophie's studio recordings since this sites inception 15 years ago (as well as on fan sites 7 years prior to that) DaveCromwellWrites sets its laser focus on this new album.
Once again collaborating with writing partner Ed Harcourt in a similar manner as on her sixth (“Familia”) and fifth (“Wanderlust”) studio albums, the creative chemistry between the two is undeniable. A celebrated solo artist, Harcourt also Produced, as well as providing piano, synths, samples, organ and backing vocals. Additional production came by way of The Feeling founding member (and Sophie’s husband) Richard Jones, who played all the bass guitar, chipping in with additional synths and backing vocals. Filling out the studio musicians (most of whom are also in Sophie's current live band) are guitarists Pablo Tato, Seton Daunt, violinist Gita Langley and Jackson Ellis-Leach on drums.
The album begins with arpeggiated synthetic pulses laying a steady undercurrent for an emotive “A Thousand Orchids.” Choosing a flower titled lead-off track for the Japanese influenced album overall (with “Hana” translating to “Flower” in that language) points to an intentional pathway on this journey together (between artist and listener). Carefully placed piano chords are the only other initial accompaniment to Sophie's up-close-in-your-ear vocal lines that lead you away from “witches” and “ghosts.” She'd rather you “look for the beacons that show the way.” Gentle synths and electric pianos slowly work their way into the mix by the time she reaches that title line. Stating universal truths we all need to remind ourselves of - “it's so very human to to live as if nothing will end. Though no one's immortal, our secrets will let us pretend.” At the songs midpoint a more driving synth pattern begins, with ethereal vocals floating above. More defined keyboards mark out the chord progression as reverberated snare-drum shots enhance Sophie's final dramatic chorus.
As stated above, follow-up track (and first single) “Breaking The Circle” takes late night existential musings and fashions them into a danceable pop song. Full review of that here. What we didn't have *at that time* - but do now – is a gorgeous video to go with that song.
The deceptively upbeat “Until The Wheels Fall Off” was revealed to be Sophie's “most personal song on the album” in a recent live chat. Extolling the virtues of living-life-to-the-fullest every day you're blessed with, the lyrics were inspired by a letter from her late step-dad. Essentially piano-driven, the tracks enthusiastic groove is powered along by a nimble drum pattern. “Let's taste all the best we find under the sun – till it's done” is the overriding sentiment. Because living your best life IS to “laugh and love until the wheels fall off.”
Moving into the desirous fantasy realm, “Everything Is Sweet” tells a tale about obsession and “endless longing.” Deep buzzing low-end synths and forceful punch drumming comprise the instrumental bulk behind Sophie's vocals. Establishing a contrast between dark and light, “shadow,” ”shrouded” and “clouds” has the imagination turning them into an “enchanted,” “heavenly fortress.” The bridge between verse and chorus tugs sweetly at the heart with it's romantic chord progression and “wait so patiently” lyric. Repeated listening reveal enjoyable audio easter eggs, like the energetic bass guitar and drum interplay, lifting off into space synth rises and piano chords on the fadeout.
Second official single release “Lost In The Sunshine” comes complete with a gorgeous video that dazzles the senses. Playing to her obvious visual strengths, Sophie returns to the scene of previous videos (and other significant events) in Italy and Rome. The very first shot has Sophie standing in front of the nearly two thousand year old Roman structures, wearing (as she revealed) a dress she wore over 20 years ago in one of her first videos. All the footage here for more than the first half of it is presented in black and white. The multiple outfits are quick cut for maximum introductory effect, and her overall style morphs between Audrey Hepburn's Breakfast At Tiffany's and Sophia Lauren Italian glamour. The song itself is a gentle float-away dream of a perfect day with the one you love. A joyous summertime anthem that touches on the nostalgia of a hot, hazy day, described as looking “clementine.” Gradually, sepia toned images are introduced as Sophie rides a train (stunning in ultra-glam close-ups) singing about how “the ice is melting” and “sun overhead.” The footage playfully rolls out more elegant dresses as it hops around locales. The final third introduces full color imagery with the alluring one riding commuter cars, sitting in restaurants, drinking beer and eating ice cream and pasta. Only Sophie could make this sort of consuming look bewitching. Her little blue dog toy also makes an appearance.
Experience “La Dolche Vita” here:
Open note, finger-plucked guitar chords begin the introspective, Pink Floyd influenced sixth track “Tokyo.” Echoing a similar feel to the aforementioned psychedelic bands “Hey You” (from The Wall). Sophie's vocals are strong yet measured, delivering lines that fall somewhere between that city's reality and an imagined impression of what it might be like. Reaching the signature line “I'm with you and you're in Tokyo again” on the second pass through, has more instruments joining in. The mood shifts into dreamy, floating directions that feature ambient synths and active drum fills. An elevated section with lyrics “there's beauty here besides machines” lifts everything upward.
A peak mid-80's synth-pop feel permeates the celestial wanderlust (now there's an easter egg call back) of seventh song and second side album starter “Beyond The Universe.” Harkening back to that first synth-wave era that gave us A-ha's “Take On Me,” Sophie takes a sparser approach at first. Wafting synths are all you hear initially supporting a tale of weightlessness and stars. Soon bass guitar and drums enter in with the tracks insistent beat, as otherworldly keyboard lines offer counter-melodies. The “climb a little cloud, scale a little breeze” bridge provides a perfect segue to that magnificent full-bop chorus.
Uniquely textured synths and a “Be-My-Baby” Spector-esque drum beat lay down the sonic core of power ballad “He's A Dreamer.” Majestic piano chords support underneath a soaring chorus that speaks about trying “to see the world he knows.” A fascinating instrumental section feels almost improvised on the spot, with multi-toned synths playfully dancing back and forth between drum fills and bass guitar riffs.
A solid 4-on-the-floor beat, synth, piano and bouncy bass guitar establish musical parameters for the looking-glass scrutiny of “Reflections.” As much of a look-back as a gaze on the here-and-now, lyrics “through the lens the shadows refract until it's a memory” suggestively confirm this. An unexpected quicker-paced near spoken word section adds a sense of urgency to the lyrical content being delivered. Orchestral strings appear within the final minute, expanding the sound with an additional level of grandeur.
Rapid-paced tinkling toy piano introduces the synesthesia themed “Hearing In Colour.” That sensation where hearing sound induces visualization, can produce “joy” as well as “a feverish dream.” Applying major chords on the verse while using minor keys for initial choruses emphasize how overwhelming this level of sensitivity could be – especially when applied to a new romance. Tying the two parts together is a perfect bridge section that states “a million shades in the spectrum since you came.” The song resolves with a celebratory coda “calling my name” for an ultimate uplifting experience.
A deeper toned, slower version of that tinkly child's piano returns on subtle hip-hop grooved “Broken Toy.” The parallel between relationship breakup and “tossed aside” inanimate play thing runs against spacious ambience and yet-one-more keyboard texture of curious origins. Bass guitar stands out as the primary melodic counterpoint to Sophie's vocals on the chorus. However, it is her double-step delivery on each verse line (with the second one going) “but under the surface the heart has a purpose” that delivers the most endearing quality.
Final track “We've Been Watching You” has Sophie putting her own spin on the classic science-fiction narrative of outer-space Aliens. Having visited our planet, these “conscience of another kind” have chosen to save some of us to “start again elsewhere.” All good intentions aside, a repeated vocal refrain casts some doubt on the validity of this undertaking. Sophie presents it both ways: “you haven't quite lost your mind” she reassures. Then follows with “Or have you quite lost your mind?” Food for thought, indeed. With that, HANA comes to a playful conclusion, as Earth's fortunate survivors head out into the great unknown.
Previous Feature Review of Sophie on this site (including links to all other features) Here.
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One thing this site can count on is an
enticing pitch from frequently reviewed Burbank, California label
Big Stir Records. The currently much celebrated and promised summer
long roll-out of new recordings from fellow So-Cal pop-legends SPARKLE*JETS U.K hits all the marks for excited anticipation. Emerging with their first full-length album release in over 20 years, an expected multi-year plan of covers and originals is professed to unfold going forward. This initial step in the overall plan is something quite unique as it presents a 21 track double LP filled with covers of underground classics originally released by their friends and associates from the early aught Southern California power pop scene. Calling the record “Best Of Friends” underscores how they pay homage to a vital LA music scene that redefined the very essence of Power Pop at that time.
Without knowing hardly anything at all about the original artists recordings of these songs, a deep-dive review follows on what is heard in the here and now on THIS record. The album kicks off amusingly with someone sneezing, before launching into the 3 minute jangle-guitar driven “Hold On Tight.” Sweet vocal harmonies and precision placed drums+bass nestle securely alongside twangy guitar punctuation. It's Beatles-y in that way they would blend their pop with a tinge of country music. First single “He's Coming Out” is a joyous rave-up cover of late '90's/early 2000's LA pop heroes The Masticators. Intro'd by a singular chiming guitar, the band quickly thunders in with jingly tambourine and forceful rhythm section. Laying out a tale of “walking 'round the city” and “the people going mad,” additional points are given for the amusing lyric “he'll be puttin' on a different shoe – and he's got an electric guitar too!”
Check it out:
Next track “No One Rides for Free” builds off of an angular progression that shares space with heavier power chords. Interestingly with a similar key word in the title, this vocal rendition evokes John Lennon's on “Ticket To Ride.” “One Summer Sunday” switches gear to a more gentle “McCartney-esque” approach. There's pleasing minor chord change segments that also bring to mind elements of the band Chicago's huge pop hit “Beginnings.”
“Are We There Yet?” emphasizes female lead vocals to expand on that universal long-car-ride expression, applying it this time to an interpersonal relationship. Keyboards and strings add lushness to the production behind these impassioned vocals. Choral “la la's” provide a nice touch, bridging to male vocal response which includes more Beatles references via lyric “when you get to the bottom you go back to the top of the slide.”
There's a cheerful son-of-Beatles-Eric Carmen-in-Raspberries vibe on “Ludlow 6:18” Strong piano chord work provides solid underpinnings for the bright guitar, flam-drumming and vocal harmonies seamlessly woven together. “Battle Song” relies on rising step vocals that create a harmonious romantic feel, running against what it's title initially suggests. Once again, an early McCartney-through-followers like Badfinger feel is present throughout.
“I Want a Pony” bring back female lead vocals for this tongue-in-cheek bratty teenage wish list. Demands made via a chunky rock and roll chugger - “pony up” indeed! Bass guitar steps forward on the euphonious “Till We Meet Again.” Punchy rhythmic changes handled by those essential rock fundamentals of guitar, bass and drums drive everything towards exuberant high vocal harmonies.
Clocking in at 5 minutes in length is the album's longest track “Come Down Now.” A piano ballad featuring female and male vocals in a call-and-response duet, a sense of reverence is felt with the repeated vocal-hook “a Church Song.” Additional lyrics “come down now – remove your bandage – so I can see your damage” is as much about revelation than any sort of salvation.
There are many more wonderful songs included in the 21 here on this double LP. Among them are two other "focus tracks" that really stand out.
“Another Myself” emerges out of an angular pizzicato plucking on guitar strings before more chunky (and funky) chords join in. It bears similarities in both vocal tone and song structure to that twisted-prog-funk King Crimson did with Adrian Belew singing. Other elements surface in the guise of wacky Zappa-like “la la la” background vocals and seemingly melody lifts from “Paperback Writer” (or is that Paul's “Jet?”) There's even a touch of George Harrison's slide guitar sound on a madcap instrumental foray.
“Mahnsanto” takes everything in another direction, with it's mechanized structure and motorik undercurrent. A trip to the Carnival feel pervades while managing to straddle a modern times glitch-pop vocal arrangement on the verse. The chorus hook is another thing entirely, with the title word repeated like a siren call, followed by a plea to “come back to me,” promising “I'll wait there.” Churning rhythms and chugging guitars lay a bed for tasty lead lines to float over. Everything comes to a momentary halt (with brief bubbling synth interlude) – before lurching once more into the battering, beautifully harmonized chorus.
The full album is out on Vinyl, CD and all streaming services on June 30.
As the springtime month of May continues it's journey towards a much-anticipated summer of adventure, DaveCromwellWrites quest for conscientious literary analysis also forges on. Renowned legends with deep discographies (still going strong) share space here alongside trusted labels, emerging artists and debut entries as well. The benefits of heightened listening inspire lucid thoughts on these new sound and visual creations.
Shoredive Records is one of those labels you can always count on to deliver new (or previously unheard) artists of the highest quality. They hit the mark once again with the Australian musical project Hey Calamity. Setting up a studio in a remote location on the South Australian coastline of Millicent (halfway between Melbourne and Adelaide), singer/guitarist and sole songwriter Dave Thomas has released “Lulu,” a full album of exquisite new material. A full track-by-track analysis commences now.
The album opens mysteriously with first track “Underwater” rising up from a submerged world. Dreamgaze stylings are instantly recognizable through shimmering guitars and romanticized vocals. “The Scream” follows with a swirling ambient wash behind busier guitar-bass+drums propulsion. It's a driving rocker that remains fully embedded in the gazier side of things. Lead single “Misfits” bursts out with an instantly-likeable anthemic guitar melody that blends seamlessly with just the right amount of percussive rhythm. Telling the tale of “being young with dreams of days gone by,” spells out a universally relatable story youth on the move. Ear-catching bass-lines and a gorgeous guitar-melody end out cap off this 4 minute beauty.
Check out this dreamy, future-looking video here:
“Everest” benefits from a heavily reverbed drum pattern and guest bass-guitar contribution from Maud Platiau-Bourret. The dominating force of distinctive guitar hook, passionate vocals and melodic progression stand out against more ambient open spaces. Shimmering keyboards highlight the romantic progression of “Lines Are Drawn.” Double-voice effected vocals add a swooning touch, as do well-placed power chords and distinctive lead-guitar melody lines. “Making Time” begins the first two tracks that feature lead vocals by guest singer Emily T. Her voice is quite lovely and perfectly captures the lightness of this pop beauty. The chorus is truly magnificent with its perfect chord progression and lyrical sentiment “start making time for yourself.” Additional sinuey guitar work adds one more satisfying element to it all.
The second Emily T contribution “Soft
Illusion” builds around piano chords and synthesizer textures.
With a descending effects-laden vocal progression, echoes of The
Cranberries can be felt here. Guitars are masterfully employed on
melodies and leads for maximum results. Ambient wind rushes and
cathedral keyboards join the fray for Dave T's lead-vocal return on
“The Crunch.” A more straight-forward driving rocker, the
downward guitar-riff chorus emphasizes punch over pop. “Tightrope”
features a swirling carnival keyboard sound, bright percussion and as
always those melodic guitar lines. Vocals come on a bit different
this time, unburied and clearer throughout. “It Doesn't Matter To
Me” rises up from distant horizons, initially driven by
bass-guitar, ambient textures and smooth vocals. Solid drumming
eventually works it way into the mix of this fully-formed, melody
driven track. Final entry “Saving Grace” layers distinctive
orchestrated guitar sections in syncopated, parallel segments.
Reversing a well-known phrase into “caught between a hard place and
a rock” drives home that feeling we've all experienced at one point
or another.
Check out this album, including how to acquire it here:
Four years ago DaveCromwellWrites headed down to The Knitting Factory in Brooklyn to check out the live show from pioneering psychedelic rockers The Telescopes. In the midst of their “Exploding Head Tour” (named after their at-that-time-current album “Exploding Head Syndrome”) founder and frontman Stephen Lawrie delivered a wave of swelling sonic drone where the structure of fully complete songs would emerge inside of. The Telescopes are now back with their 15th album release, the fifth for Tapete Records titled “Of Tomorrow.” Created entirely by Lawrie in his studio, the record marks an evolution of the artists overall sound. A track-by-track review follows below.
Opening track “Butterfly” comes complete with a stylish video by Jean De Oliveira & Matilda Reid that features creative manipulation of Matilda Reid's image in an overall cohesive fashion. The track itself is a doom-laden descending-progression that emphasizes a slow burning deep-bass groove. “Oh baby – Oh lover – we'll ride again” Stephen sings, against the pulsating, psychedelic backdrop. A higher-pitched keyboard textures run through the sonic middle, creating an ominous level of tension throughout. Rhyming lyrics “we'll fly again – we'll get high again – we'll thrive again – come alive again” concluding with “we'll hit the sky” drive home the poetic simplicity of songcraft.
Check out this trippy video here:
Follow up cut “Everything Belongs” builds around a basic percussive pattern, clean bass and open note guitar figures. Vocals come on slow and measured, with elongated phrasing for dramatic effect. An unusual flickering can be detected in the mix, creating one more element of surprise. “Where Do We Begin” rides along an angular bass-guitar progression as eastern-influenced guitar figures lay out an unsettling pattern. “Where does it end” serves as a complimentary bookend to the questioning songtitle. “Only Lovers Know” slows things down with a twangy western riff, bright shuffling drumming and root-note bass guitar. Vocals are delivered in a drowsy manner that would fit right in a David Lynch film.
“The Other Side” pairs buzzing textures with a pummeling rhythm that saws back and forth with trance-like precision. Soporific vocals complete the album title when Stephen sings “On the other side – of tomorrow.” Bonus points for the psych-out guitar solo just past the midpoint. “Under Starlight” emphasize a time-signature on the 2's as ambient keyboard tones hold firm underneath. Bright percussion shares space with a return of that unusual flickering pattern (similar to the sound a lawn sprinkler makes). The album's final (and longest) track “Down By The Sea” bobs along a dreamy, slow building rhythm, anchored by hard-slap percussion and floating guitar tones. Measured vocals emphasize longer-held voicings, prolonged in a pensive manner. “Dream with me,” Stephen sings – which sums up the entire mood of this album.
Finding their way into the DaveCromwellWrites universe is a new Indie Rock band called Sonic Maven. With a sound built from the raw blues of The Black Keys/White Stripes mode, their just released debut single “Look at Me Now” aims to embolden people in the quest to follow their dreams. A careful listen and detailed review of this track is embarked on below.
An introductory chord progression chugs out in clean simplicity, laying groundwork for the layering that will follow. Those notes commence on the second pass through, with rich, buzzing riffs dropping sinuey melody lines that instantly grab your attention. Vocals, bass and drums come in together just after that, with passionate lyrics stating “the stones may break my bones, but your words cut deeper than they every could.” That ultimately leads to the title line “look at me now,” which morphs from an initial unaffected delivery – followed by a reverberated take – and then one fully FX'd with harmonized guitar line alongside. It's a brilliant use of studio savvy, and one that does bring to mind the aforementioned Black Keys.
The initial guitar melody returns in a more energized state, with the drums and bass driving it all along with an animated tension. Another guitar melody emerges over top of that, continuing to surprise and build as the track progresses. “You said I did not have what it would take” are the fiery vocal lines that follow. The protagonist is having none of that however, forcing those who attempt to discourage and crush one's dreams to take a second look. The vocals become more rough and wild as the song goes on, evolving into a scream of defiance. Carefully crafted spaces – as in the singular reverberated vocal drop “Me Now” - followed by more ferocious guitar work show there isn't a single note wasted across the entire 3:34 of this song.
April is a month of new beginnings with the springtime bloom ushering in a promise of another great summer to come. As all that unfolds, DaveCromwellWrites continues it's quest in uncovering the best of new emerging musical artists. This time friends old and new share space here in this digital realm of sonic evaluation. Deep listening and observant viewing is – as always – the prime directive.
There's been a fair amount of anticipation surrounding the latest album release from inscrutable west-coast duo Lunar Twin. Initially promised earlier on, a selection of choice advance singles would have to do until the full-length arrived. Now that “Aurora” is finally here, the DCW track-by-track deep dive commences in earnest. A recent review of the album's lead track “Beyond The Sun” can be found here. What follows below are similar breakdowns of the remaining nine tracks from the two songwriters, vocalist Bryce Boudreau and instrumentalist Christopher Murphy.
Deep synth rushes introduce “Cars,” then continue panning across the audio field as the familiar Bryce hushed-vocal-rasp commences. “Driving away – driving alone” is stated over a steady 80's feel dance rhythm of bass and percussion. A tasty instrumental-lead lick stands out in enhanced form, midway through and on the outro. The second previous advance track “Android Dreams” (released at the end of last year) emerges out of throbbing bass pulses and swelling synth waves. Keeping instrumentation sparse, percussion manages to move from busy to less so, with great dramatic effect. In this current age of rapid AI development, the thematic vocal musings (“humans seem to think – nothing seems to phase you”) couldn't be more timely.
Check out the video for it here:
“Can't Stop the Rain” begins with long-held keyboard pads in slow moving progression underneath emphatic vocal recitation. Livelier guitar chords and tom-heavy percussion add a more organic feel and motion to the proceedings. Bold, buzzy synths commence at the midway point, adding one more appealing instrumental element. “Traveler” benefits from a cascading ambient texture, creating the sonic equivalent of a vertical downward fall. Percussion is buoyant and clacketty, providing an essential counterpoint to the forward-marching bass guitar progression. Vocal lines “I disappear every time in the dark” and “too far from the light” suggests this references astral rather than physical travel.
Somber, moody synths provide initial backdrop for the hushed vocals on “Night Orchid.” A chillwave, trip-hop level percussion track establishes underlying movement for this cerebral meditation. The more upbeat “Dark, Dark Wave” returns to guitar as the primary instrumental building block. An unusual higher-pitched texture adds fresh audio perspective on this relative to the darker contributions of The Cure and Bauhaus. A reverberated descending guitar pattern marks out the basis for the mysterious “Shadow Language.” Over synth swells and a synthetic beat, lyrics “I can't make sense of it – in this wilderness,” drives home the enigmatic mood.
“Silver Strand” is a two-minute meditation built around an off-kilter melody-texture, start-stop percussion and a dream-like sentiment stating “by the light of the moon – I saw – silver strand.” Buzzing synths and chiming bell patterns flood the sonic waves of final track “A River Cuts Through Stone.” Commencing vocals “shipwrecked on the shore, you got what you came here for” and “you can't turn around, you can't turn away” suggest erosion formations of centuries gone by.
Weekly notifications over the last month has made this site aware of a Pennsylvania based band with the curious name Smooth Retsina Glow. Always needing to know what a word previously unaware of means, an investigation followed. Apparently “retsina” references a Greek wine flavored with resin. That knowledge now secured away in memory, attention turned to this bands musical output. With an album titled “Gemini Reign” due out this summer, two tracks have been released in advance. An analysis of both follow below.
While the band is helmed by singer-songwriter and virtuoso guitarist Colin Wolf (with Brian Derkas on drums and Jacob Wolfe on bass), essential member Sarah Stoll (who also plays rhythm guitar) takes the star turn on first single release “Overcoming.” Enhanced by the visually appealing, accompanying video, Colin's lyrics are delivered in a sweet and alluring manner by the combined wholesome-yet-rock-and-roll looking female vocalist. Thematically, the spirit of the track suggests a return to moral or general well-being. “I'm overcoming by deepest fear - I'm finally whole and intact. I'm overcoming what wasn't clear, and I know I'm never slipping back,” is how the Chorus goes. In addition to Sarah's twinkling presence (highlighted eye accents, jewelry piercing, red lips, large hoop earrings), Colin takes the bridge section vocals inside of a clever staircase visual shot. That's followed by a tasty guitar solo that brings to mind Peter Frampton's sound on his legendary “Comes Alive” album.
Check out this captivating song and video here:
Recently released follow up “Bound By Desire” is a distinctive shift from the prior track, building around a chunky funk groove. The interplay between guitar, bass and the drums is delivered with a feel and precision one would expect from this type of rhythmic endeavor. As video imagery shows a welcoming tavern and the variety of games you can play inside there (video, traditional billiards), Colin takes the lead vocals here. Expanding on the “gaming” theme he sings “I settle bets on a roll of dice” while images of darts find the bullseye on the board. Cool shots of the band playing in a corner of the bar are accentuated by an eye-catching green bass guitar and the game of pool continuing on. The chorus drives home what's at stake, as Colin sings “No time to falter , feel tight or freeze, cause I know I'm surely going to receive.” As hoped for, a blistering guitar solo arrives, displaying Colin's skill and authority on that instrument.
Dig in to this wicked cool song and video here:
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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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