Assembled New Music, Video and Entertainment Reviews

 With Spring now in full bloom (the backyard here at DaveCromwellWrites estates a veritable nature preserve), bursting flowers, birds, lizards, bees and many other forms of flying and crawling things abound. Against that backdrop, four new recently recorded works (and an additional entertainment recommendation) are given this sites conscientious brand of literary analysis. While the great (frozen in time shooting star) Dale Bozzio once asked “what are words for – when no one listens anymore?” - a strong commitment to the arrangement of sentences in a coherent manner continues on here at DCW.

Sometimes the name of a band can provide a level of confusion that often undeservingly puts them on the backburner. Take Tashaki Miyaki for example (pronounced Tah-Shock-ee Mee-Yock-ee). Sounding like a singular Japanese solo artist, the images of a willowy red haired woman as their out-front focal point and dreamy sounding vocal music never quite seemed to match up. The periodic promotional reminders (mostly via email) over the years – with the latest coming this past month – finally put an end to all of this procrastinating. Simply put, attention to this band that makes the most wonderfully dreamy, melancholy music is long overdue.

Along with her fellow musicians, the band concept derives from the singularly consistent vison of frontwoman Paige Stark. While initially mistaking Ms Stark for simply the voice and image of this “Japanese band,” further investigation shows her to be the sole visionary for clearly defined image (she directs all the videos) sound, lyrics and mood. Credit must be given to guitarist Luke Paquin – who's dreampop style is integral to the bands sound. Current bassist Sandi Denton (there appear to have been at least a few over time) is more than competent, also providing backing vocals and dark haired attractiveness as well.

In advance of their upcoming sophomore album “Castaway” out on July 2, they've released a video for one of the track's “I Feel Fine.” Much like the album cover itself, the video for this song emphasizes the more muted colors of living. While the record cover shows a cloudy sky Los Angeles (where the band is based) with Paige tiny and dwarfed next to a large structure from decades ago, the video goes even darker. Described as an homage to her favorite vampire films, it's actually the first time the band has appeared in one of their videos. Opening with a simple drumbeat (Paige is the band's drummer – which in general goes against the grain of what a “frontperson” usually is) two women (Paige and Sandi) are sleeping on a couch in a candlelit room (all black and white imagery) with a snare drum by Paige's head (an amusingly clever touch).

As the impeccably disheveled stylish women slowly rise to the sound of twangy guitar wash, they both appear to be enjoying a wake-up popsicle as wall photos reveal images of Tom Waits, Patti Smith and Marilyn Monroe (among others). “Sitting all alone in my bedroom, wishing that I had more headroom” is how the opening lyrics go – processed with a uniquely appealing sheen. As the women put on their sunglasses at night – and looking so vintage in their clothes – they head out onto a night streetscape of subdued tone and occupancy. Paige revealed she imagined the vampires died in the 1950s and they’re still wearing the clothes of their time. The additional element of a romantic couple out on a date is added, providing the “prey” in this cinematic noir depiction.

When the romantic couple's female reveals herself to be a vampire as well, the neck gnawing commences with Paige and Sandi rolling up on the scene just in time to join it. It's both sensual and vicious at the same time, while little details like the kid on the bike from previous scenes appearing in background as an out-of-focus apparition. Before things get too grisly, they all appear back at the homebase together (with an adorable dog slinking through), satiated, asleep (again) with blood stained mouths.

With emphasis on the visual aspects of this production fully explored, the actual song should not be overlooked. It moves at a relaxed, measured pace – all country-western twang and drawl – initially popularized (to this listener) by Margo Timmins and her Canadian siblings band Cowboy Junkies with the breakthrough late '80's hit cover of Lou Reed's “Sweet Jane” - along with some Mazzy Star vibe as well. The lyrics (and vocal delivery) resonate on a thoroughly relatable emotional level. “I can't keep up with all the bad news, it's hard for me to just be me with you, anything I say or do is never right.” With the eventual question: “Is there anything left about us that you like?” “I love you but I can't stand you – after all the shit we've been through. Nothing for me left to do – but try.” “I think I am fine.” Of course that title and sentiment means anything but “fine.” But it's what you say when you are dissatisfied, but still willing to “try” and push through – to try and fix it.

Check out "I Feel Fine" here:

Connect with Takashi Miyaki:

FACEBOOK // INSTAGRAM // YOUTUBE // BANDCAMP

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Raising a child from birth to young adult has a profound influence on you in so many ways. One that took to all things anime (and art in general) from an early age provides a daily audio and visual reference point that otherwise may have been overlooked. Listening to the radio together in the car while shuffling back and forth to more serious tasks (like, say going to work) can provide mutually realized moments. Hearing a song by British indie pop band Kero Kero Bonito had both of us instantly captivated, declaring to each other “that sounds like anime show music.” While said offspring continued on their merry way back to (at present) “Steven Universe” (among many others) this writer needed to delve further into the sources behind the sound.

Began by multi-instrumentalists/producers Gus Lobban and Jamie Bulled in London now a decade ago, the band is fronted by a near perfect for the sound (and image) vocalist Sarah Midori Perry – who affectionately goes by her stage name Sarah Bonito. Alternately singing in both her English accent and the Japanese language (both of her ethnic heritages) encapsulates a consummate approach to today's target audience encompassing alt pop, computer music, electro-pop with a touch of hip-hop and j-pop thrown in for good measure. Perhaps the guys should have gone “full Ramones” and used the Bonito tag as well. Either way, the band now has a sizeable collected works of recordings and a dedicated, adoring fanbase. Their latest EP “Civilisation II” was recently released with two of the three tracks already receiving a full video roll-out.

The EP's second track (and current release) is simply titled with a date from a year ago “21/04/20.” That track (like much of their music) is driven by an upbeat groove, while lyrically recounting a day-in-the-life, as it were. There's an almost “Our House” talking vibe to the tale as Sarah sings in her appealing childlike voice “Out of bed just after one” (nice – and here I thought sleeping to 11 was being “lazy”) “Down in time to catch the sun. All the bugs are at their business now the flowers are in bloom” (“bugs at their business” - how quaint) “We take a note of their perfume. Underneath the pale spectre of the moon.” An nice vintage sounding synth-sax riffs blows a few hooky notes (we know it's vintage since they literally tell us in the descriptive notes that the tracks are “all completely devised using vintage hardware” - so – take that modern computer equipment!)

As for the groove itself, it's bass-synth driven with those charming ticketty casio-drum sounds so popular in the late 80's (included on every beginner keyboard of that time period). The storytelling and rhythmic vocal cadence continues to mirror “Our House” somewhat – but far more pleasant periodic minor-key interludes than the aforementioned heavy-handed track – one which has not worn all that well over time (with it's constant repetition and frankly beaten-to-death airplay). “Last night's pasta in a tub, Out the fridge for lunch and breakfast, But as I sit down to eat I hear a song riding the breeze - "Happy birthday to Eloise" - Then mum and dad both let out a cheer, They're gonna throw a party another year.” That last line gives the first clue this is actually a dealing-with-the-pandemic-lockdown song.

The video is a wonderful animation that flows horizontally at a relaxed pace, with one panel showing musical notation in ¾ time as Sarah drops a 70's soul vocal phrasing on the line “then mum and dad both let out a cheer” - which is sweet on a number of levels. More hooky keyboard riffs ensue, adding pop lightness to this overall bittersweet melancholy vibe. The story goes on “As I head up the road, A private ambulance zooms off into the distance. In silence, All the shops are closed. With rainbows painted on the glass. Covering notes - That they hope to see us soon. But right now, There's not much they can do.” Hopefully these pandemic blues are coming to an end (there are certainly current rumblings to that effect). Simultaneous with those just quoted lyrics are a myriad of synchronized vocal cadence and instrumental accents, sharp turns and precise rhythmic pauses. That is to say there is A LOT of movement within this 3 minute “pop song.” (It's in quotes because clearly this is far more sophisticated music than so much of the mind-numbing simpleton pap one is forced to endure under the “pop” banner).

“Back at home I play the game, Rewatch repeats, And set a call up with a friend - A means towards an end, 'Til we can meet again. "Hey so how are you doing?" "I'm ok you know the usual kinda weird." It's all so poignant in the most casual conversational way. Speaking to the world and the crisis we all share(d) in our everyday lives. The story concludes, “I can't stifle my yawns - I make my bed up after I floss” - with one new audio element emerging as a percolating sound - “And tuck in tightly” (dramatic pause held here) - “For a new day.” The overall melancholy-to-hopeful sentiment is inspiring.

Check out this wonderful song and video here:

Connect with Kero Kero Bonito via their socials here, here and here.

To learn more about the band in a little over 4 minutes (and who doesn't have that small slice of time to spare) check out this humorous video recap that has the nerve to call itself the “Accurate History of Kero Kero Bonito.”

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Another trusted source consistently presenting exciting new artists is the Gothic/Industrial publicity agency New Dark Ages PR. More than a few from their roster have been featured here over the last couple of years, with the depth of their talent pool impressive and diverse. The latest now comes out of Chicago as "one-woman industrial army" I YA TOYAH enters the realm via her just released EP, Out Of Order and video for the single, "Pray."

That song and accompanying video is a technical tour-de-force combining pummeling industrial percussion, razor shred guitars, passionate vocals and quick-cut imagery that is equal parts glamorous and foreboding. Like much of new material coming out these days, it was written during the pandemic lockdown, combining desperation with hope for a revitalized future. Opening with a whispered plea “pray for me,” an array of buzzing synths, thundering percussion and slashing guitars introduce goth-glam images of the artist in a succession of visual appearances.

The chord progression is sophisticated and unpredictable, while ample room is left for ambient interludes of quieter intensity. As the vocals begin with lines “Somebody stop the world from shrinking,” another visual storyline is introduced, showing the artist “on the road” in a hotel room. An attractive audio element is how words are pronounced. Originally from Poland, the vocalist applies a stylized diction to words like “realm” (which become “ree-alll-ummm”). What's decidedly more clear is the depiction of someone wrestling with mental distress paired to lyrics “lost in the white noise of insanity.”

The chorus is big and hooky, with vocals carefully layered in just the right amount of harmonies and echoed lines. “All I’ve ever known - Is dying within. All that I’ve wanted - I watch disappear. “Dreams turning against me” (with a delightful rising notes emphasis on the words “against me”). “One by one. So pray to your gods for me - Cause I got none.” It's dark and bleak with the sense of being forsaken, yet the audio aspects are somehow uplifting. Going deeper into the void on the following verse, the “need (for) more than just to survive” (only) leads to “confusion, toxicity” (and the specter of chemical crutches). As the mind is blinded, it hardly makes a difference if it “wonders” (or wanders) as either one can lead to it all falling apart.

The sparsely adorned bass pulse of The Knife's “Silent Shout” (currently in the midst of a 20th anniversary celebration) is referenced briefly. While the sheer power of her operatic singing prowess brings to mind those similar qualities in Amy Lee's Evanescense and the groundbreaking song “Bring Me To Life."  Check out I Ya Toyah's wonderful song and video for "Pray" here:

Special kudos to the costume design team (which most-likely is her alone) for reviving Brian Eno's Roxy Music look from their early 1970's “For Your Pleasure” period.

Also be sure to check out This Great Introductory video with the artist, which reveals her eminently likeable qualities as an unassuming, sweet and sincere person.

Connect with and follow I Ya Toyah on all her socials:

FACEBOOK // INSTAGRAM // BANDCAMP

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In contrast to the slowly unfolding, floating quality on previously reviewed UN.REAL track “Lovely one/Islands,” current release “Sun Like Star” comes on as an uptempo affair. Anchored by songwriter/musicians Hector Caolo (bass), Eden Cruz (drums) and Gardy Perez-Ruiz (guitars), lyricist and vocalist Bernice Cruz completes this dreampop quartet. The track bursts out from the first note in full bloom, with slashing gaze guitars in lavish expanse across the sonic field. The bass and drums are thoroughly audible in the mix (as they should be) pointing to impressive production values and recording techniques. Capping it all off are Bernice's deep and resonant vocals, with opening lines “this is exactly how I feel right now” drawing the listener in. Her voice is pitched deeper this go round, moving away from Liz Frazer stylings and closer to Siouxsie Sioux (and in particular, the song “Shadowtime”).

The chorus goes down in a dreamier manner, with shaded voices supporting the title line (and sentiment) “you are – sun like star.” An immediate second verse leads into the all enveloping chorus once again, followed by a brilliant ambient interlude. At approximately 1:45 (of this 4:14 length song) the percussion drops out completely, leaving room for an emotive bass guitar note statement. The buzzing atmosphere deconstructs even further, washing out all structure (creating the sensation of gazing up into a night sky full of stars). This momentary drift into bliss is ultimately awoken once more with the band returning for a repeated run through the chorus hook. A final minute of pure instrumental and vocal euphoria lifts this gorgeous track to it's ultimate conclusion.

Find out how to acquire this remarkable track here.

There is also a campaign now where the full 10 song ISLANDS album can be ordered on a limited run color vinyl edition. Check all that out here.

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One of the great advantages provided by our current “streaming” culture is the ability to go back and rewatch an entire catalog of shows from decades gone by. Whether watching for the first time (like millennials are now doing) or re-living what you loved about it the first time you saw it, everything is now at your fingertips and a click of a button. This writer, (also a film and quality tv series fan) is now deeply ensconced in (and thoroughly enjoying) the incredible 2006-2013, 8 season, 96 episodes (12 per season) run (once again) of Dexter. To say this show doesn't get nearly the credit and accolades it deserves is an understatement.

It has everything you could ever want. An “anti-hero” you completely root for even though he is doing “bad things.” The brilliance of this show is listening along with Dexter's mind (impeccably delivered by lead Michael C. Hall). His thoughts-only “replies” to people and situations are hilarious. There aren't that many “cop dramas” that consistently make you laugh out loud, but Dexter provides multiples in every episode. You want strong, good-looking, independent, but totally vulnerable and loveable female characters? This series is loaded with them. It's no secret that long-time crush Jennifer Carpenter as Dexter's sister Deb (that's Officer Morgan to you) holds a coveted place on the Mount Everest of crushes.

She's adorably foul-mouthed and hits all the marks of attractive “normal girl” (as opposed to her anything but “normal” brother Dexter) even if she does suffer from “overlooked child” syndrome. Actually, that only ADDS to her appeal. Then there is their father (played in memory clips only by the criminally underrated James Remar) who's “Harry's Code” informs every one of Dexter's moves. Anyone who hasn't seen the show or would simply like to enjoy it all over again is encouraged to do so. The fact that they are finally coming back with a brand new 10 episode 9th season this year is almost too good to be true.

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Consolidated Reviews on New Music, Video and Pop Culture

Wading through the constant barrage of entertainment options (and information in general) can be a daunting task. The choices made are driven by everything you know up to this point, along with where you'd like to direct your experiences going forward. Included along with the impressive new music reviewed here in this month of April are references to “pop culture” influences that have also captured the imagination. Three separate recorded works receive this sites distinguished individual track analysis alongside noteworthy (and insightful) divertissement.

Finding their way into the DaveCromwellWrites universe is the Burbank, California music label Big Stir Records. Fielding contact messages from multiple social media directions (IM's, emails), recognition of their worthy output was a near immediate experience. Based out on the West Coast USA, the label features artists from all over the US, UK, Sweden and Germany.

Initial motivation comes by way of label runners own band The Armoires and their full-length album (18 tracks!), which was initially delivered in a series of mysterious single releases culminating in the collection aptly titled “Incognito.”

Leading off this fully pulled together collection is a cover of John Cale's 1973 album title track “Paris 1919.” Where Cale's original relies heavily on orchestral instrumentation (string quartet, French horns) along with his customary piano chords, the Armoires quicken the pace and lean on guitars, drums and a more driving violin for a punchier sound. Additionally, Cale's densely layered lyrics are now delivered via the bands signature dual harmonies of lead vocalists Christina Bulbenko and Rex Broome. That tandem vocal quality is instantly appealing, providing a unique thread throughout all of the tracks.

A quick-strum acoustic guitar in three-quarter “waltz time” kicks off follow-up cut “(Just Can't See) The Attraction.” With Rex out front on the opening lyrics, Christina harmonies fall in quickly on this quirky tale of “he and she” relationship. That strong violin helps drive things along once again, provided here and throughout the album by Christina's daughter Larysa (decidedly more “country” than “classical.”) “It's a recipe for disaster, but that recipe tasted too sweet” is how the lyrical hook goes, underscoring an overall theme of an unlikely pairings ultimate success.

The humorous and biting commentary on present-day social media issues is duly noted on the proggy “I Say We Take Off And Nuke The Site From Orbit.” Ticking off the now often repeated acts of “unsubscribe, un-trend, unlike, un-care,” evolves into “anti social media – anti social structure – I need to tag and tag again.” Eventually posing the ultimate question - “if I go viral, do I win?” As the track progresses, swirling vocal layers create the sensation of “lifting off” from the planet, while clever use of the lyrics “listen to the wind blow, watch the sun rise” (the opening lines from Fleetwood Mac's “The Chain”) are dropped in for good measure.

Additional covers of note include the 1970 hit am radio single “Yellow River” by British band Christie. Moving a decade ahead, the Armoires do an interesting take on 80's “new wave” progressive pop hit “Senses Working Overtime” by English rock band XTC. On that particular update, the band replace Andy Partridge's initial acoustic guitar with Christina's piano, as well as fleshing out the originals reedy solo vocal via signature dual harmonies. This being one of those universally popular “number count” songs, Partridge credits the 1964 Manfred Mann hit song “5-4-3-2-1” as inspiration.

Another stand-out track (that comes with an official video release) is the song “Great Distances.” Built around Christina's piano chords, thundering tom-tom percussion, dual layer acoustic and chiming Rickenbacker guitars, a tale comparing physical travel with life's internal journey unfolds. The lyrics are sharp and witty, with a memorable line “we didn't wrap our heads around the truth because heads don't bend like that.” Instrumental passages are further enhanced by Larysa's emotive violin and a driving bass guitar that create counter-melodies of their own. The limiting of people's mobility over the last year makes lines like “we could have traveled great distances together – if we had only known” even more poignant. Repeated phrase “but you were beautiful then, and you'll be beautiful now” is ultimately inverted to “and you were beautiful now and you'll be beautiful then” for the songs final sentiment.

Find out more about The Armoires and their label Big Stir at their Official Site, Facebook and Instagram.

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Certain things can tickle the mind, fascinating on both a humorous and investigative level. Having an interest in history, legendary lore and pop culture films (along with having to endure an advanced math class or two over the last few years) made discovery of the “juicedratic equation” appealing on a number of levels. For those as of yet uninformed, the reason Starburst candy's are so juicy is due to a secret equation that is kept inside a safe, inside a vault, inside a volcano.

Why are there three nested containers for the juicedratic equation? One must look at the previously established quadratic equation: “a” times “x” squared plus “b” times “x” plus “c” is equal to zero. Three terms. And “a” cannot be zero. You end up getting a parabola if you graph a quadratic equation. In Physics, we see a parabola in the path that a projectile takes (one launched, thrown, or fired, but not self-propelled), assuming no friction loss. (Think: Angry Birds without the boosters.) Another example is Einstein’s famous equation of “E” equal to “mc” squared, just with terms moved around. The quadratic equation can be useful, and not just a frustrating equation to be solved in an Algebra class.

We know why the juicedratic equation can never be proven. It’s locked inside a safe, inside a vault, inside a volcano. And who is going to the volcano to retrieve it? First, which volcano? Who has enough free time to check all the volcanoes out, and what of those under the sea?

When viewing the clip below, one can relate to the sense of satisfaction the worker (on break here – but you can tell he's a hard worker) has with his stated recognition of both wonder and relief: “Ahh – juicedratics.” OF COURSE!

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Reading the promotional material for a band calling themselves The Forty Nineteens and their album “New Roaring Twenties” peaked a level of curiosity that continued incrementally, wading through it all. Having worked in law firms for many years, the revelation that two criminal defense attorneys front the band created additional motivation to check them out. Forming the band while working in the San Diego courts, they landed on a name that is something said by every judge in every courtroom in the state of California. That term is "Forty Nineteen," and a 4019 credit is time off the sentence of a detainee who behaves in jail.

That clever notation aside, what does their music sound like? It's definitely rock music, but we all know there are many sub-genre's of that illustrious hybrid sound (the 1950's collision of Country with Rhythm and Blues). Opening cut “It's For Fun (That's All We're Living For)” taps into that favorite bar band feel, sounding like Southside Johnny and The Asbury Jukes (or even Springsteen) in their early club playing days. Follow-up cut “Tell Me” takes the “I Want Candy” drum beat and turns it on it's head. The chorus is catchy and there's even some cool slide guitar enhancements in-between repeated vocal hooks.

“Late Night Radio” has a chugging downward chord progression similar to the 1967 hit “Bend Me Shape Me.” However coincidentally (or perhaps not so) this recording features contributions from The Standells legendary guitarist Tony Valentino, who's own mid-60's hit “Dirty Water” is as popular in some circles today as it was back then.

“We're Going To Las Vegas” successfully blends the spirit of Jerry Lee Lewis, Gene Vincent and Elvis Presley is a good time just over two minute rocker. “Go Little GTO” doubles down on the above while shaving six seconds off the previous tracks total time. “Time Marches On” serves up a stomping rhythm under a tale about growing older through the prism of “old friends.” “You've Got Stardust Eyes” packs a number of rhythmic hooks and changes (including it's catchy chorus) within a tidy two and three quarter minutes.

Somewhat surprisingly, the tracks actually get stronger as the album progresses. “I'm Always Questioning Days” embraces a Tom Petty energy, with insightful lyrics about how misleading so much of this life is. “Some have the answers, or so they say – but they don't give all the secrets away. They don't tell me – what I need to know.” For sure “they” don't. We have to do the hard work and figure it out for ourselves. The following cut “It's The Worst Thing I Could Do” is a hard charging rocker that showcases the best of slashing power chords, tambourine rattle, harmonious vocal interplay and good-timey piano.

“You're The Kind Of Girl” rolls all of the previously mentioned influences above into a pop song that bridges the decades between 50's and 80's rock and roll radio. Eddie Cochran's “Summertime Blues” (marvelously covered by The Who, especially on Live at Leeds) right up through The Romantics.

Final track “We Can't Change” makes quality use of the tremolo guitar effect on this chugging mid-tempo rocker. “I don't want it, you don't want it, we don't want it” becomes the primary sing-along vocal refrain.

The full album is out on April 24 and can be found here.

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It's rare that too much time passes before another Shoredive Records release turns up in a DaveCromwellWrites review. This time a Russian collective calling themselves Secrets Of The Third Planet (which we all know from Jimi Hendrix's “Third Stone From The Sun” - is Earth) has recently reissued a 10th Anniversary Edition of their EP “Lost In Reverie.” Originally recorded and released in 2011, the new-to-this-writer tracks encompass that timeless sound of all the great “gazey” bands.

This now makes the second Shoredive Records reissue of Russian gaze covered here, with the wonderful COSme getting detailed feature writing a year ago, and ultimately included in the annual Best Of collection. This particular group (who also refer to themselves via the abbreviation “S3P”) started out as a solo project of Eugene Frankevich, eventually evolving into the fuller band represented here.

The near seven minute opening cut “Still” emerges out of singular droning hum before cymbal-and-snare-shot heavy percussion, steady bass and a driving guitar line set the proper melody in motion. The combined guitar and bass emphasize each of the progressions chords, quickly establishing a classic dreampop romanticism. As rising guitar layers are added, sensations of what The Cure at their dreamiest has done comes to mind. The track plateau's a minute and a half in, where all drops out, leaving a singular keyboard pad. Arpeggiated electronic keyboards then begin, pushing the composition into a motorik direction, while additional keyboard and guitar melody lines provide slower moving counterpoint. Layers continue to build as drums let loose in a jammy-in-the-studio way, while gazey guitar rhythms push to the fore, creating an ambient swirl of pure blissed-out cacophony.

Follow-up track Дыши (and it IS fun to cut and paste these mysterious, unreadable titles) combines angels-on-clouds ambience, ticking high-hat percussion and the first vocal performance from Eugene. While the voices serve only as another “instrument” (unable to decipher what is actually being said), lovely dreamlike passages exemplify the universally timeless appeal of dreamgaze music.  Third cut Диафильм(Feat.WEO) introduces a female component with vocals and lyrics by Daria X. With it's introductory thumping heartbeat percussion and single-note ambient wash, Daria's vocal achievement commences with ardent motivation. More traditional pop-rock figures are put forward, giving the song an appealing balance between haze and harmony. Emphasis is firmly placed on the mysterious (to this listener) vocals, however the passion conveyed transcends any language barrier. Explosive moments of full-sonic-field fireworks are pitched against quieter moments, culminating in a gazey liftoff to the heavens.

Drone, buzz and distant angelic voices are joined by more motorik percussion on fourth track “Tonight.” Pulsing keyboards create counter-melodies to Eugene's static, chanted and heavily echoed vocals, giving the song a Jesus and Mary Chain “Barbed Wire Kisses” feel. “Autumn Song” leans on bass guitar for rhythmic structure, allowing keyboards to delineate melodies that morph between major and minor key. Peter Hook era New Order would approve. Final cut “E-A(Lost in reverie) Feat.WEO,” brings back vocalist/lyricist Daria X to add her magic to this EP title track. With the two vocalist delivering their parts separately, flutey keyboard lines juxtapose against shimmering guitars.

Check out this wonderful EP here:

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Returning to the axis where music, pop culture and inventive creativity converge, one of the flat-out best shows going today – The Boys – has given us all an anthem for the ages. Of course I'm referring to the gorgeous (and current crush) Erin Moriarty in her role as super hero “Starlight”. Watch and listen below as her incredible musical tribute to a fallen comrade tugs at ALL of our heart-strings. Because – “No – YOU guys are the real heroes!”

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Immersive Reviews of New Music and Video Productivity

The evolution of how we use Social Media to connect with others over the last decade has been a curious one. For those of us who are musically driven, the early aughts gave us MySpace as a place to interact. That morphed over to YouTube, Facebook (still hanging in there as far as topic specific groups go) and ultimately over to Instagram. Although aware now of other emerging platforms, for this writer - FB and IG for the most part remain more than sufficient. Not particularly interested in perfecting “dance moves” or being a product-hawking “influencer,” most of the new “take silly videos of yourself” outlets are of little interest. What does that have to do with this sites current crop of music reviews? Quite simply, you never know who you will eventually run into again a decade later. With that cryptic aside, we now commence with the March 2021 DCW Feature.

It's easy to see the appeal of Queens, NY-based edgy power-pop duo Yo Kinky. Having only established themselves a year ago, the duo of Laura Wight and Tom Unish have created an enticing five song EP that is accompanied by a number of attractive, cleverly realized videos. While guitars, keyboards and drum machines provide the musical foundation for each excellent song, it is the confident intelligence, charm and determined energy of front-woman Laura that sets them apart from many other male/female duos.

However the recorded music is more than just an individuals stylistic image, as EP opening track “Wire” attests to. With a minimal percussive beat setting things in motion, an angular, descending guitar progression takes over with rich tonal quality. Laura immediately establishes a distinct personality with soft-to-forceful vocal phrasings (often within one line) while busier bass-guitar patterns emerge underneath (“anyone can tell I'm in love with you.”) Bubbling keyboard effects soon join in adding one more sonic element. Repeating the same lines throughout a song can become static if the vocalist lacks expression. Fortunately that is not the case with Laura who finds multiple ways to recite them (“the last thing I wanna do is fight with you,”) capping it all off with the universal “Ooh, Ooh, Oooh!”  A brand new video for this song has just emerged and can be viewed via this link.

First single and video “Someone I used to know” shows the band putting their best foot forward in every way. Kicking off with long-view nighttime city lights, buzzing synth-bass and drums have a near-techno-house feel. Quick cuts to a glamorous face, form-fitting gloves and jacket (with punk-rock skull and crossbones pattern) has the voluminously coiffed Laura delivering come-hither lines while strutting seductively-fun down the street. With each line carefully delivered “I know you, and I are gonna have a rad time - Full of bad taste, of neat humor - We'll kick the rat race, enjoy the rumors”- credit goes to the performer and director for this perfect synchronicity. As deep tom-tom drums lead into the title-line chorus, an amusing (to me, anyway) overlay of Tom's head provides a “gazey” background vocal face while Laura continues the flirtatious pull with lines “all there's left is you” (pointing her blue-leathered glove right at you).

All of the lyrics and vocal line deliveries are most-enticing, coming on with a street-smart lingo and attitude. However, this writer is particularly fond of the line “I'm a glutton for typeface boys and girls.” Two minutes in (on this three-and-a-quarter minute song) Tom gets his “rock star” moment, standing solo in the street with guitar in hand, dropping that heavy hook riff. The final near-rap-like boastful lyric “I've heard the gunshots right below my window panes-I've always spit out: one day I'll make it rain” sound more believable coming from the casually-confident person delivering them. One video commenter said Laura reminded them of Anna Kendrick, and I can see that. Big personality and pretty face in a diminutive frame. We all have our points of reference. Since I'm presently binge-watching every season of “The Americans” (a show I continually planned to see but conflicts always prevented it), I can see similarities with Keri Russell – a much younger version.

Check out this super cool video here:

At under two minutes long, “Lonely Love” gets to the point right away in classic punk-rock fashion. Hard charging distorted electric guitar with pummel thumping drums and bass set the way for Laura's crisp vocals over top. Laying out a story where rhyming couplets “the might is right” are paired with “the dark goes light” soon spins into a double-time prison yarn (didn't see that coming). With mentions of “sing sing,” “rikers” and potential breakouts, images from Escape At Dannemora come flooding back into view.

Another track benefitting from an accompanying video release is the bouncy guitar-driven “Resistance.” Chiming, indie-clean chords are matched against machine-driven trap-drumset approximations and appropriately synched bass (sounding like – well, a complete three piece rock band). The sweetly alluring (and frankly, dazzling) smile of Laura (not to mention those cheekbones) come presented in three distinct visual scenarios. The first has her sat at kitchen table wearing a robe and character defining wig (wavy and pyramid shaped) from decades ago. Next is a more modern style – almost go-go-girl-like with white lacy dress and long straight hair – but she's trapped in a box inside a dirty warehouse. Last shows the time-honored 'damsel-in-distress' – tied to railroad tracks – with 1920's-era fingerwave hairstyle – bringing to mind the look in Miss Fisher's Murder Mysteries.

A subtle buzzing synth joins in behind they lyrics “Everybody's just around the corner now. Everything I need is just a short walk down the street.” A this point the scenarios begin to change, becoming more distressed. We see the 'go-go-girl' is chained at the ankles with water slowly filling the container she's trapped in. Morning coffee and cigarette robe-woman now has flames coming up from underneath – cleverly recreating that popular “this is fine” meme. Damsel on the tracks is already “in distress,” but we get to see more close-ups of that pretty screen-icon face and listen to the sweet vocals. But what is the song actually about? “Sight got back, I feel different, a flicker in the distance. More like you, more like him, more home- sans resistance,” is how the minor-key hook-chorus goes. So - “sans” resistance- that is to say - “no” resistance. As Laura let's loose with impressive vocal range “Oooooh's,” Tom unleashes more aggressive, harsher-toned guitar lines. Clever use of cardboard train coming at the damsel, and all three victims meet their demise (burn, drown and presumably run over by a train) – that is until the coda image of robed breakfast woman lighting up her cigarette from the burning flower on her table.

Watch the whole fun video and listen to the equally great tune here:

Final track “Stretch” kicks off with an angular percussive pattern favoring altered snare and tom-tom tones (oddly bringing to mind Mick Fleetwood's bizarro marching band thumping on the Fmac track “Tusk”). Choppy FX's-free electric guitar and bass engage in a descending progression before Laura commences her extremely-wordy vocal presentation. Morphing between a friendly-sneer street-lingo style and longer held notes, the effect bears similarities to Lene Lovich's delivery on her late 70's/early 80's era alterna-hit “Lucky Number.”

Telling a tale about coming-of-age females growing up in LA, (hitchhiking, etc) – that scene from “One Upon A Time In Hollywood” where Brad Pitt's “Cliff Booth” eventually gives some flirty and forward jailbait a ride to the Spahn Movie Ranch comes to mind. The chorus is one of those “number count” songs where “30 40 50 60 70 80 90” are recited in succession, followed by “Ain’t no way the best year got behind me.” Twisty synth tones join the fray, adding an element of chaos to it all. The second verse acts as one of those “travel log” segments where every notable neighborhood in the area (and eventually other global cites) are mentioned. The songtitle eventually reveals itself with the summation line “You’re gonna bend, you’ll fold, you’ll stretch.”

Find out about everything this band has to offer via their LinkTree here.

On an alternately related note - check out a cool feature on The Raveonettes this site did a few years back.

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A much needed (now more than ever) new organization called Freedom Of Creativity has connected this website with an excellent band out of Austin, Texas – The Dizzy Bangers. Fronted by guitarist and vocalist Jimi Dharma (surely a relative of Blue Oyster Cult's Buck Dharma) the music combines rock and roll with grunge, blues and psychedelica.

One of their recent releases “Under The Sorrow” comes complete with an impressive live-in-the-studio video that is enhanced by animated effects. An initial chugging chord progression is soon joined by bassist and drummer, quickly establishing the off-to-the-races “kick-ass” sound. The visual enhancements are immediate, taking live action players and morphing them in and out of a cartoon-like sheen. Jimi comes into focus, looking somewhat like a bearded Joe Satriani. In between the head-bobbing (and band jumping) hooky signature riff, crystalline vocals lay out an intelligent lyrical storyline. Referencing songtitle in the chorus, Jimi concludes with “I'll be with you at that moment we say – goodbye.”

All three musicians are impressive with chops galore, and who doesn't love a 5 string bass. Drums are delivered with that four-way independence and simultaneous synchronicity of a seasoned pro. Very cool angular guitar line serve as interludes and bridges to subsequent sections. Jimi ultimately lets rip with a killer guitar solo at the songs midpoint, putting just the right amount of emphasis on it, without excessive “J Mascis levels” of noodlery (which would have been ok too!). With that penultimate hooky chorus embedding itself firmly in your head by this point, super slo-mo effects are applied onto the developing cartoon-anime bandmembers.

Check it out in all it's glory right here:

Connect with The Dizzy Bangers here.

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Following the success of last years pandemic influenced single “Quarantine Dreams” and subsequent full album release “Masterforce,” the self-described “high gloss rock duo” Turbo Goth have now recently dropped an exciting new track “Crystal Eyes.” Simply speaking the title out loud could easily have you pronouncing it as “Crystallize,” which turns out to be just that after listening in full.

Clocking in at a no-excess only one-minute-and-a-half, the song gets right to the point with Sarah's softly appealing vocals kicking in right away. “If you're waiting for a sign – it ain't that hard to find” she states, as pulsing keyboards and hip-hop percussion create a positive bubbling backbeat. As “it ain't that hard to find” becomes a repeated echo line, alternating imagery of a vinyl record playing is spliced against walking footprints and brief glimpses of the bandmembers.

Delicate vocals continue with the lyrics “within you is Divine – quit wasting your time” as beautiful images of nature (sunsets, sky, sea, birds) are cut together with a protagonist slowly being revealed wearing a spacesuit.

As we get closer looks at the “astronaut” exploring the new landscape they (obviously) have just landed on, the vocal cadence quickens with the lyrics “falling out of control? Getting all mixed up in the fear? Let me take you back to all that's now and here.” Subtle effects and harmonizing are added to each successive line as they emerge. A slight sonic change occurs at this point as darker outer space imagery is joined with (also darker) “inner space” fish-in-tank, with lyrics “hold on to – uninterrupted cosmic – vibration.” A purple color walkway then appears with the lines “you already know: where you will take yourself” - as the backing track momentarily drops out to add emphasis on that last line. “I'm ready to go – if you want to take me too,” continue the lyrics.

Another cadence shift happens with the vocals and lines “and we won't forget what's real – we'll know to turn our sights” (complete with green-hued “office desk” imagery (stapler, paper clips, pencils and computer keyboard) “onto the light.” Vocal overlays commence “with good vibration” now alternating over “onto the light,” and that word “crystallize” making an appearance.

Check out this enchanting song and video here:

Previous Turbo Goth Features can be found on DaveCromwellWrites here, here and here.

Not that long ago, when meeting in person was still a thing.

Find out everything else about Turbo Goth at their Official Website.

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Entering the DCWrites sphere via the most advantageous way (a direct message notify), Rob Clarke and The Wooltones hail from the UK Liverpool suburban village of Woolton. Among other things, the area is noteworthy for John Lennon's childhood home as well as he and Paul McCartney's first meeting place. Rob Clarke incorporates elements of this history into his music, along with a variety of other influences as well. On the bands latest album “Putting The L in Wootones,” a heady mixture of 60's psych, UK/Mersey and American West Coast vibes permeate the album's eclectic tracks.

The album's introductory track “Big Big Bad Bad John,” also comes along with a video treatment presenting numerous famous John's as possible songtitle reference. The descriptive accompanying text states “down in the swamps . . . lived a man they called John . . . Big Big Bad Bad John – but, which John?" Clips of JFK, John Lee Hooker, John Wayne, John Bonham, King John (or maybe that's John The Baptist), Johnny Rotten and the one any only Mr. Lennon himself are all shown in quick succession. The associated instrumental groove is a stomping, bluesy, acid-rock progression, with longer-held psychedelic guitar riffs capped off by a bold guitar-bass+drums accent finish. Coming to a full stop to deliver the lyrics (the way Led Zepplin's “Black Dog” does) the lyrics go “Big bad John, he's been gone too long. Sing 'wah-diddy' with his glasses on. Many things have come and gone – dead and gone but the beat goes on.”

A variety of cool clips from films and live musical performances roll by with a new series of John's including Travolta, Cochran, Voight, Cash, Fogarty, Gielgud, Doe, Southside, Wesley Harding, Elton, Depp, McEnroe, Cleese, Deacon, LBJ and a few assorted English Footballers and Politicians who are unknown to this writer. However, feel free to pick out the one's YOU can spot that were missed here. Meanwhile, the song continues to stomp along like some deep American South jungle-blues with tribal tom-toms, wailing harmonica and chanting vocals.

Check out this clever video and song here:

Dig in to the full album, their entire catalog and all of their social media links here.

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