First-Hand Dissection and Insight on New Audio Music Releases

The month of October is well-known for Autumn leaves and Halloween parties. As some contemplate what costume to wear, or to simply prepare for trick-or-treaters outside their homes, the diversion of a new DaveCromwellWrites music review is now present. Familiar electronic artists who work in the synthetic realm are featured here alongside similarly situated creators. While some are equally focused on thoughtful lyrics and their vocal presentation, others opt for sprawling ambiance of epic proportions. The universal line connecting them all is the ability to make inspired tangible recordings.

It's been a year or two since new Lunar Twin music has entered our universe. The enigmatic west coast duo are now back with “Beyond The Sun,” the first single release from their upcoming album “Aurora.” Bryce Boudreau (vocalist/songwriter) and Christopher Murphy (multi-instrumentalist/producer) continue to expand on their sonic vision with this new material. A full nine track album will be released on the first of December. Until then we have this wonderful new track which receives a close listen and complete review below.

Regimented electronic synth-bass pulses kick the track off with Kraftwerkian aplomb. Modulating through a distinct progression, subtle explosive hiss leads in to the opening lines. “I watch you fly away” is delivered in that now familiar Lannegan-eque sandpaper rasp. “Shadows stay the same” continues the vocals, cycling the intro line once more before capping this time with “our love with never fade.” A mixture of electronic and traditional sounding drums enter the mix, expanding sonic parameters. Vocals become more expressive through elongated diction, phrasing and apparent sharp-edge layering. All of that creates a psychedelic sensation to the floating/flowing voices and instruments of synths and percussion. A plateau break of sorts emerges midway, pared down to only drums and voice, with those vocals extolling the virtues of “sun” and “sleep.” Trippy-somnolent voices continue on, and bass-heavy synth throbbing returns the full sonic palette. There's a Nine Inch Nails feel to it all, who have also been known to rely heavily on bassy synth-lines and obscured, whispered vocals.

Listen here:

The album is currently up for pre-order and you can get this new track now.

Previous Lunar Twin reviews on this site can be found HERE, HERE and HERE.

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Multi-disciplinary artist and singer-songwriter Ora Cogan is no stranger to the DCW review world. Having previously covered her psychedelic folk and ambient dream pop album “Crickets” a few years back, discovering a new EP "Dyed" has now arrived serves as welcome news. This latest music expands on her previously established hypnotic opulence and reflective elegance. These soundscapes touch on neoclassical themes, weaving together Gaelic folk, mantras and chant into unique art-rock compositions.

Commencing immediately in full falsetto-voiced motion (bypassing even a hint of slow-build instrumental intro), title track “Dyed” lyrically feels more autobiographical than fictionalized storytelling. “I woke up by the field, with a bee hitting the glass. You rolled your sequined eyes at me, as you pulled up your pants.” There's a floating sensation to the guitar and background voice elements, creating a dreamlike feel. A descending progression serves as foundation for the distinct chorus that goes “I am a fool in love and I’ve got nothing to prove.” Longer-held dive down notes and soft percussive flicks contribute further movement within this section. A brief twangy guitar interlude leads into the next verse. When the subsequent chorus section emerges, lyrics become more poetic, making comparisons to “love” as “an island forever losing its shore.”

A pleasantly surprising choice for the EP's middle track is a personalized reworking of PJ Harvey's 1995 song “To Bring You My Love.” While the original had only sparse instruments of guitar and organ, focusing predominantly on Polly's deeper vocal register, Ora adds percussion and a lively bass guitar to her higher pitched voice. Although the lyrical story is true to it's original - “I was born in the desert - I been down for years - Jesus, come closer - I think my time is near” - Ms. Cogan bathes it all in her familiar softly psychedelic sheen. Long instrumental passages between verse and chorus amplify the more musical qualities to this piece. Slight lyric changes appear in places, using “fell out” in place of “cast out” in both instances on the second verse. Ora speeds up the pace of the original somewhat as well, moving it away from Harvey's dirge-like progression to something lighter. Different too are the vocal ranges, with PJ's leaning more towards Patti Smith, and Ora falling closer to Joni Mitchell.

Final entry “Driver” is a lengthy 6 minute ambient meditation that stretches out time and thought processes for maximum introspective effect. Voices are flow in ethereal clusters, at first unintelligible like Gregorian Chants. A steady guitar churn creates a semblance of pace, as fragments of lyrical voicings emerge. “Black marble steps shining in the sun - And if anyone gave any reason,” can be made out through the undulating disquiet. “You’re growing out of your shadow. Every morning you hear It - So clear” the celestial story continues. An impactful rising guitar drone emerges near the midway point, providing a gritter element to the floating atmosphere. Layers of chanting are reestablished, infusing an avant-garde formation reminiscent of Lisa Gerrard's work with Dead Can Dance. Chiming guitar figures present snippets of melodies against a wind-rush field, enhancing the full sonic expression.

Info on how to acquire this EP and Listen can be found here:

Ora now embarks on month long tour of Ireland, England, Scotland and France, with all of her dates listed on her Bandcamp and other sites as well.

A previous feature on Ora Cogan can be found on this site here.

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Returning here for another review is the work of Baltimore-based recording artist Andres Alfonso, who makes solo music as Los Dientes Hundidos en la Garganta. While that phrase loosely translates to “the sunken teeth in the throat,” Andres composes his ambient works with guitars, bass and heavy looping. What comes out of that are wonderfully dreamy experimental ambient electronic soundscapes. The second single “Configurations” from upcoming album “Infinite Past” on Jak Jonson Tapes has recently dropped, and get's a full review below.

A dreamy ambience starts immediately in full flight, as gentle rising waves envelop a wide sonic spectrum. Powerful staring-into-the-void atmospherics create a sensation of awe, as if experiencing something otherworldly. With this initial glacially strong soundscape making a large impression, subtle movements ebb and flow inside of it. Higher pitched tones can be detected, elevating above the mass to create an almost-reverential quality. There's a depth to this audio composition that entices our mind to go on a vision quest. One in which hallucinations and/or dreams would have you flying over vast mountain ranges and deep unexplored oceans. A sensory experience that slows down time, affecting both the auditory and neural systems of mind and body. While comparisons to Harold Budd's “The White Arcades,” Brian Eno's “Apollo” and their collaboration on “The Pearl” all come to mind, a more obscure album by Vidna Obmana - “The Contemporary Nocturne” serves as a like-minded work as well.

Listen and be mesmerized:

This digital track can be acquired now on their bandcamp, as well as the artists entire discography.

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Primal Inquiry into Provocative New Music Releases

Alternative, electronic, dreamgaze, power pop and progressive jazz all share space here for this month of September. The artists chosen for review are not random, but selected via thoughtful consideration. Familiarity with the quality of their work and a willingness to take interest is what is being written about them is weighted heavier than other factors (like mass popularity or aggressively financed PR campaigns). Chances are taken on new stuff as well, but are ultimately held to the previously stated criteria.

Turning attention to one of Shoredive Records recent releases finds this site focusing on the recording project Xeresa. Simply titled “IV” (as in album number 4), the fully named Nicolas Pierre Wardell (previously only known as Label boss Nico Beatastic) serves as the bands primary catalyst. Painstakingly recorded between 2019 and 2022, each song features guest vocalists, some who have full releases on the parent label. Each track was built in the more common now than ever way of sending instrumental basic tracks to each respective artist for their creative additions (predominantly vocals).

Opening cut “Wish” pairs Wardell's basic track composition with first collaborator Daydream Deathray on vocals and guitars. Emerging out of synth tones and light percussive pulsing, classic-gaze pitch-bended guitars propel a fragmented time-signature chord progression forward. As the ticking percussion gets busier, melodic guitar figures enter the mix as an alternate foil against the initial tone. Ghostly voices commence over top as ticking, pulsing movements churn underneath. Dramatic breaks emphasize quick-burst-clatter stops, against those dual guitar melodies. This cycle morphs and evolves with dream-like qualities with a reverential nod towards the vague beauty of MBV's “Loveless.”

Deep buzzing bass-synth notes introduce “Untouched,” a co-write collab with vocalist Dorothea Tachler. “They say – don't touch – don't touch each other” are the first lines from this bewitching female voice ascending over synthetic hiss-clacks and open note guitar figures. As the rhythm continues to develop and fill out, further exhortations of “don't shake my hand – don't hug me” play against an increasingly busier backdrop. Additional developments present vocal lines delivered with quicker urgency, cleverly built on top of that initial basic synth-pulse intro. Guitars, higher-register synths and electronic drumming all share sonic space with this lovely harmonized voice that ultimately shifts the narrative to (post-pandemic) human contact again. Dorothea also delivers a cool guitar solo and optimistic vocal end-out over a rising synth backdrop.

Abrasive guitar textures usher in “Bye Bye,” a pairing with vocalist Hiacynta Szulc. A loping drum pattern lays out central movement against those modulating guitars, while yet-another appealing female singer straddles the edges of Liz Fraser/Cocteau charm with her delivery. The title-line chorus pivots away from harsher tones, emphasizing romantic overture, and contrasts well against the rougher guitar undercurrent on verses. A lengthy final minute coda merges vocal mantra (“I'm not as strong”) with hybrid melodic and drone guitar textures.

Rising swells and bird-like warbles (reminiscent of Yes's “Close To The Edge” intro) usher in the Omega Vague partnership “Burn.” The swirling void gets stretched out further, now moving deeper into The Orb's “A Huge Ever Growing Pulsating Brain” point of reference. Voices ultimately emerge, with understandable lyrics “soon it all it ends the same – through it all we can't refrain – setting fires to the flames – just let it go to pieces.” What started out as a potential ambient music soundscape, ultimately evolves into lyric-heavy storytelling. “All you ever need is someone to be on your side.”

Plunky open note guitar chords and buzzing synths serve as introductory basis for “Fall Into Unknown” featuring Phil Wilson (aka The Raft) on vocals. “All I can do is wait for you,” Phil coos - “wait to lose control” over a bed of quick-pulse electronic percussion. Subtle changes oscillate through those beats, generating forward motion under Phil's soothing vocal style. A dramatic halting just past the midpoint emphasizes synthetic strings approximating full orchestra. Vocals resume with climbing stair-step cadence and gentle passionate payoff, ultimately fading out with a final :15 seconds of tubular bells-like tones.

It's not too long before shearing guitar distortion returns, this time providing the fade-in on “Ghost In Your Mind” (Ft Ural Mountains). Rat-a-tat drumming soon joins the fray as the fuzzy wall of sound pushes forward. It all suddenly drops back as the surprising romantic vocal style of the mysteriously named Ural Mountains commences. A pleasant mix of clean guitar chords and mixed-bag percussion provide undercurrent for a vocal style similar to the band Crowded House. When the wall-of-fuzz guitars return, both vocal cadence and rhythmic propulsion become more active. A quieter plateau is eventually reached, featuring spacious guitar chords, rumbling undertow, synth strings and further vocal recitations.

Gentle chiming guitar chords open "Where Could It Have Been" (Ft Aura Zorba). A syncopated electronic drum pattern soon joins the mix providing counter-rhythm. With ethereal vocals commencing, a pliant guitar figure bounces between those lines. Deeper bass synth enters in after the initial cycle, conjuring a rising step melody. Along with the title line, other fragmentary thoughts emerge like “what's on your mind?” The final minute presents a descending coda of instruments, “ooooh's” and spoken word.

The albums only solo-penned cut “Slavic Stars” is a tour-de-force of low buzzing synths, gentle guitar strums, electronic percussion and higher-register synth-melodies. With clearly defined chord changes and structured segments, this is no rambling instrumental soundscape. Vocals appear a third of the way in, adding to an overall wistful feeling. Bright clarion guitar notes are carefully slotted in open spaces for one more level of audio delight. “Where the sun you gaze at meets the water” becomes a thematic mantra in subtle changing forms (“where the sun meets the land meets the water”) of psychedelia.

A 1-2-3 time signature establishes the basic cycle for “Could Have Done Better Than That,” Ft Jackie Kasbohm on vocals. Alternating lyrical segments place emphasis on contrasting singing styles and associated rhythm cadences. Jackie's repeated title line follows that primary descending thirds pattern, while the second voice moves in contrast to it. A quieter centerpiece lays down one more counterpoint, before the circuit begins again with blended voices going forward.

Odd timbre spiky synths herald in the album's final offering “Retrospection,” which features the artist Glassmanet on vocals, strings, extra guitars, keyboards and programming. Bright drumming and a clearly defined melody soon joins the mix, setting the stage for the gossamer vocals that follow. The voices are soon amplified with layered harmonies, enhancing the listening experience. That primary melody line is meted out via a deep-hued synthetic horn texture. There's a violin quality to segments of the synthetic instrumentals along with open air wind-instrument tones supporting downy vocals. It all floats to a glorious conclusion of Cocteau-level beauty and wonder.

Listen to this glorious music here:

Investigate the entire ShoreDive Records Catalog here.

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UK Power Pop Rockers It's Karma It's Cool recently released the first of what is to be 6 singles over the next few months. Initial track “A Gentle Reminder” comes accompanied by an in-studio style video performance, providing visual imagery of the band performing. Along with James Styring on vocals, Martyn Bewick (Guitars / Recording / Production / Mixing), Danny Krash (Drums) and Mikey Barraclough (Bass) is the inclusion of noteworthy multi-instrumentalist Peter Holsapple (of The dB's, R.E.M., Hootie and the Blowfish fame) on keyboards.

The song opens with a gently reverberated acappella reading of introductory lyrics “We outgrow the ghost, and get gone - With our slogans and cold ones - Turn the stereo pop on.” The band then kicks in full throttle with thematic title lines “Here's a gentle - Here's a general Reminder for you. Don't you look up with vertigo, if so, the sky comes fallin.' Along with the basic guitar, bass and drums plugging away, you can clearly hear the Peter Holsapple keyboard additions adding a richness in those open spaces between. As the band bounces along with crisp precision, there are elements of Feargal Sharkey's well-known vibrato in Jim's vocal style. A cleverly turned reference to XTC also pops up in the lines “Drive into the city and the radio was makin' plans for Nigel.”

Reaching the high-point peak catchy chorus that goes “We all find our feet, when we run - And our shoes have come undone - Spark-out the circuit breaker,” finds the Holsapple touch churning organ tones and rhythms to delightful effect. The chorus continues with those opening acappella lines now fully embedded where they clearly belong. Multiple camera angles keep the video fresh and unpredictable, with shots of tapping feet and some really amusing “rawk” faces from drummer Danny. Also kudos to bassist Mikey for best overall hide-in-my-long-hair moves. Two minutes in drops everything out to a single guitar figure before launching into a full-on ride with rolling keyboards, distant-effect vocals and more distinct rising guitar melodies.

Check out this perfect slice of powerful pop music right here:

The song is available from all the usual digital platforms and direct from the IKIC Bandcamp.

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It's a rare occurrence when an instrumental jazz album inspired by the Sumerian mythology of ancient Mesopotamia turns up here for review. However, that is exactly what you get with pianist & composer Connie Han's latest release “Secrets of Inanna.”  Drawing inspiration from the 1900-1600 BC poem The Descent of Inanna, Han crafts 12 sophisticated piano driven compositions based on this detailed metaphor of femininity, grace, and poise.  To that point she's also mastered the art of stunningly gorgeous imagery.  Being young, pretty and physically sculpted is a great starting point for all that.  What follows here is a detailed track-by-track review of the entire album.

Opening track “Prima Materia” instantly establishes the modern jazz trio concept with graceful affluence. Lightly reverberated electric piano serves as initial melodic source, accompanied by an expected high level of bass and drums. A flute tone provides additional melody, with quick-burst piano lines woven inbetween. As a point of sonic reference, the overall sound design is akin to Angela (Theme From 'Taxi') by Bob James. The extended piano flights on this over 5 minute piece are next-level sophistication, however.

“Ereshkigal of the Underworld” comes on quicker with an angular time-signature, driving deeper into the finesse of jazz trio interplay. The drums and bass are allowed to expand their repertoire under the free flowing piano improvisation. “Gilgamesh and the Celestial Bull” continues with a similar tonal quality, while incorporating that “hammering” technique inside the piano melody. An impressive left-hand lower-note rhythm creates counterpoint for the high-flying right-hand forays across the keys. A sense of similarity with the master Chick Corea comes to mind.

“Morning Star” employs brushes on drums and a sensual saxophone melody, leaving the bandleader to support with block chords at first. Midway in the sax drops out for an extended piano solo, before returning to close it out. “Vesica Piscis” continues with the tenor sax as slower moving melody over active piano figures. The mood is melancholy and subdued, going without bass and drums that place emphasis on melodic instruments only. “Young Moon” returns to the Fender Rhodes electric as primary keyboard tool, with Ms. Han exploring melodic possibilities against attentive and accent-laden drumming. A bass guitar driven interlude provides space for that essential instrument.

“Ninshubur’s Lament” is a half-minute tone poem on drums, with toms receiving up-front focus before closing out with a perfect snare press-roll. That leads into the buoyant seven minute piano and sax driven “Wind Rose Goddess.” With a sense of joy embedded in it's rhythms and overall vibe, ample room is given for extended piano improvisation, with equal emphasis on saxophone phrasing. “The Gallû Pursuit” revisits Corea's Return To Forever hyperdrive style, with fluid piano lines driving both melody and rhythm. The bass and drums hustle to keep up with a frantic pace that encourages the listener to hang on to this wild ride.

Check out this wonderful composition here:

“Dumuzi of Uruk” doubles down on the Wayne Shorter-style saxophone, with shifting rhythms underneath. Momentary space highlights piano movements, before lurching back in to the full band drive. A walking bassline sets a pillar in which flowing piano lines can improv off of. A quieter presence initiates the nearly eight minute (and album's longest track) “Desert Air.” Brushes are once again employed on the drums and the extended time allows for a number of sub-movements within the overall framework. Space is once again provided for stand-up bass improv against that soft brush drumming. What remains consistent however, is the tinkling of keys on multiple flights of fancy that frequently pay homage to the inspirational influence of Kenny Kirkland. Final track “Enki’s Gift” is a relatively quick study with emphasis on flutes, bass, rim-clack drumming and (as one might suspect) quick-fingered piano.

Connect with this gifted and glamorous virtuoso musician here.

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Comprehensive Exploration of Recent Audio and Video Releases

The welcome return of respected recording artists provide the lion's share of review material for this August 2022 Cromwell Writes music extravaganza. While the endless quest for one more perfect beach day or concert in the park under a night sky beckons, new music releases provide alternate motivation for a focused listening (and viewing) experience. Accompanied videos add a visual component to the storytelling, further expanding artistic vision. One brand new to this site artist also makes the cut, completing a four-play deep-dive analysis.

As longtime friends of this site The Stargazer Lilies prepare their 5th studio album release “Cosmic Tidal Wave” on October 14 via Floravinyl Records, a video for first single “Bending The Lines” is now available for us to enjoy. Having recorded the album tracks over the last few years in a number of places (PA, TX and FLA) the promise of classic psych and gaze also incorporating elements of bossa nova, trip hop and experimental orchestral sounds fuels anticipation for the full release.

The video opens with images of the ocean behind band frontwoman Kim Field, shot through a prism in windswept reverie. Fragmentary audible tones rise up, sounding like the language of majestic sea creatures. Drums kick in via the bands latest beat-keeper Cari Gi and keyboards flash on the screen for a moment, indicating the source of this next wave of sound. As those keys mark out a descending progression, rubbery-funk bass and complimentary wah-wah guitar established a deeper rhythmic pulse underneath. As Kim begins her ethereal dreamy-gaze vocals, the imagery continues to focus on her cool-shades and red lips, combined with mesmerizing ocean views.

Studio footage is further woven in, with visual emphasis on the bass, drums and Kim's vocals – all the while this dream-funk r+b groove floats along under icy keyboard textures above. Those initial eccentric “dolphin language” sounds never really disappear, creating one more motion in a mix that deftly blends elements of romantic-soul funk with an uplifting title-line chorus. As the camera moves around the studio more, we get more lively shots of drumming, fingers stabbling keys and John taking off into the stratosphere with an abrasive guitar solo that features long-held extended notes. Played out against that funk wah-wah background strikes the perfect balance between structure and reckless abandon.

Special mention goes to the live-in-the-studio drumming, which emphasizes high-hat work both in the expected disco-funk realm (or perhaps the promised “bossa nova” groove) as well as looser application on all the drums when called for. Additional props to Kim (and John) for finding a visual clone (at least in style) to compliment Kim's established look and attitude.

Check out this wonderful song and video here:

The Stargazer Lilies now begin a tour and prepare more pre-releases before the full album drops.

Connect with info on all of that here.

Previous Features on The Stargazer Lilies can be found on this site HERE - HERE and HERE.

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The steady output from Philadelphia's Patetico Recordings assures ample opportunity for reviews here on this site. The latest is a new release “From the ashes” by Stellarscope, which features the single “All the lies.” The album title is significant, as a storm destroyed the bands studio and recording equipment as the record was being made. Fortunately a recovered hard drive survived the destruction, and with it the tracks that make up this album. The band consists of Tom Lugo on vocals and guitar, Bob Forman on drums and Rob DeFlaviis on bass. They have been making music for the better part of the last two decades.

Soft guitar strumming introduces the single “All the lies” with one clean pass through the chords, before vocals and full instrumentation kicks in. “Keep saying -we’re doing so well – Pretending - that this isn't hell” is how the initial lyrics go. Behind that are waves of powerful ambient sonics, marching beat percussion and chiming guitar chords. More space is provided on the next lyrical pass, with the drums pulling back some on the lines “All the things you swore you’d do, remain undone, now look at you - A waste, slowly fading away.”

The chorus jumps out with intensity as layered voices bring home it's overall theme “Telling lies how can you live with yourself. Your always blaming somebody else - for everything that you have done wrong.” A subtle bass-line emerges under the assiduous mix, providing additional lower tone movement going forward. This is most apparent on the lyrical segment that goes “Keep saying - that it wasn’t you – Pretending - like nobody knew.” At the 2:20 mark of this three and a half minute song a wiry electric guitar solo commences for a tasty 15 seconds or so, before returning back to the chorus.

Check out this track right here:

Pick up this digital album here.

Where you can also peruse and obtain the full Patetico Recordings back catalog.

A prior feature on Stellarscope can be found on this site Here.

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Influential bands of the 90's continue to re-emerge with new material, which is welcome news to audiences who have missed them. Consider the Portland trio – No 2 – back with their third album, but first in a number of years. Fronted by Neil Gust who originally shared songwriting duties in Heatmiser (along with Elliott Smith), No 2 rose out of that bands ashes in the late 90's. Teaming up with singer/bassist Gilly Ann Hanner (Calamity Jane) and drummer Paul Pulvirenti (Eyelids), the band released two albums and were featured on noteworthy tours before moving on to other projects in the early 2000's. Reuniting in 2019, a new album “First Love” is set for a September 9 release on on Jealous Butcher Records. Advance single and video releases have garnered positive feedback and are now reviewed here, below.

Crunchy guitar chords open the song and video in classic chunky-rock manner and quickly pivot to cool overhead shots of the drums, specifically some solid tom-tom thumping. The reverse view Remo drum head becomes a visual focal point, as it blends with images of our own glorious moon in hypnotic slow rotation. “Come out tonight” starts the vocals - “put my plan in motion,” is delivered in that Dave Grohl/Foo Fighters way you hear during the softer (non-screaming) segments. “Lit up by the possibilities” it continues, while hazy images of movement along a highway are paired against those compellingly shot sepia-toned captures of the band playing.

A tale of cruising the streets – looking for adventure – release – maybe even love - “by the morning I'll be on my hands and knees.” Wiry guitar riffs snake through instrumental passages up against power chords, bass guitar and jungle drum rhythm. As the explosive chorus declares “I'm on a mission, come with me,” it pivots into a slinky spy-movie groove propelled by bass guitar, tom-tom drums and open-note guitars. That calm is soon shattered by heavier riffs and descriptive lines about going “from bar to bar.” The biggest hook emphasizes frustration rather than conquest, stating “Want to cry all the way home. Took all night and I'm still alone.”

Check out this cool song and video here:

A follow-up video for the single “Too Much Is Not Enough” was also recently released, exhibiting similar appealing qualities. Chugging guitar chords with complimentary bass kicks things off via colorful VFX imagery. With the drums looking particularly cool in x-ray exposure, a spinning mannequin head is visually woven in-between those instruments. There are subtle Bryan Ferry/Roxy Music inflections on the chorus that contains the title line, along with an extended guitar note behind it all. That note extends into an instrumental break that emphasizes heavier guitar and bass depth, forceful accents on sharp rhythmic turns – before emerging into a “hoo hoo” vocal section. Military-style snare drumming and coordinated rhythm guitar serve as the undercurrent for the final verse, before erupting into a vocal-heavy, harmonious ending chorus.

Dig into this video track here:

The band’s brand new third album was produced by Joanna Bolme (Stephen Malkmus and The Jicks) and mixed by Gary Jarman (The Cribs) and Tony Lash (Heatmiser). Recorded over 3 years in studios and basements across Portland, OR and finished in a boathouse in Connecticut, the album is available for pre-order right now.

Speaking of album producer Joanna Bolme – two features on her live appearances with Stephen Malkmus & The Jicks can be found on this site Here and Here.

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Heavy blues rock has always been a particular favorite here at this site, and nobody does it better than Austin, Texas-based The Dizzy Bangers. Though relatively new here to the DCW orbit, a number of reviews have already made their way into prior features. The band is back with a new video release for their song “Painted Bruises,” earning additional commentary and analysis on it.

As shimmering guitar chords gently introduce the track, the image of a figure rising up in a forest is awash by the rising sun. A quick cut to a bedroom shows a woman lying forward, with emphasis on pensive facial expression. Her male counterpart is then shown sleeping, before images of the band playing their instruments against red clouds and dust, approximating some Southwestern (or even Martian) landscape. As the song's slithering-snake groove advances, we see the woman shutting off her alarm clock and fumbling for prescription pills. Images of the band playing in an amber haze commence the storytelling, about how she's “all so very high,” with visual evidence of pill consumption underway.

The chorus is large, bold and bombastic, emphasizing the lyrical hook “no she'll never pay for anything she's done - yeah she'll get away with everything she's done.” As the video progresses, the couple is now awake with the female meticulously putting on makeup. Cuts of the band playing and that mysterious desert figure reappearing accelerate the storyline. Much of the verses are delivered with a soulful, higher-pitch phrasing, which contrasts effectively against the hard and heavy chorus. Visually, the female protagonist seems pleased with herself as she takes selfies, while her partner looks on with a touch of skepticism.

A clever video editing technique shows the woman responding to her male counterparts casual inquiry with an insincere smile followed quickly by eye-rolling annoyance – before reaching once again for her pills. The chorus is in full-flight at this moment, with the lyrics “no she'll never say that she's the evil one” followed by “woman's will be done.” The instrumental break that follows is a joy to experience, with it's quick rhythmic accents and gnarly guitar figures. Video images of the woman offering pills to her man shows him declining. The camera shot view pivots to a direct shot of the couple on their bed – he looking chill with acoustic guitar, and she less-together with troubled thoughts.

Cut to the forest again and now three figures are in shrouded garb, in front of that blazing sun. The images zero in on a traditional “death” figure holding an armful of those prescription bottles. As the band thunders away through this crucial instrumental section, the vibe gets worse in the couples bedroom, with an increasingly aggravated female arguing with her dude. There's a biblical feel with the three figures in the woods, where an “Adam” is attempting to rescue his “Eve” from “death's” addiction temptation. More pills and alcohol are consumed in the bedroom, juxtaposed against “biblical Eve” tempting her “Adam” with the apple of sin. It all culminates with her painting “bruises” on her face (and soul) while writing accusatory messages in lipstick on the wall – like something out of a horror film. Now the social media pictures are used for this manufactured storyline, ultimate relationship destruction and even criminal repercussions based on a false narrative. It's a chilling, cautionary tale, and only the powerful music makes it palatable.

Check out this wild video here:

Keep up to date with the band via their Social Media at Facebook and Instagram

Previous Features on The Dizzy Bangers on this site can be found Here and Here.

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Authentic Examination on New Music and Video Releases

Four exciting new releases serve as the comprehensive focus here in the July DaveCromwellWrites Feature. Along with trips to the beach and numerous free live shows in the park (one of the truly great thinks about summertime around these parts), time has been carved out to investigate and ruminate on some of the more thought-provoking new music releases. Old friends and new share space here, with descriptive representations fully accompanied by the music they choose to share with the world.

The good folks over at Big Stir Records have a new full-length album release by LA psych-pop rockers Maple Mars. Titled “Someone's Got To Listen,” it's the band first album in over a decade, and debut for this label. Playing to their strengths honed from years as recording artists and legendary live performers, soaring harmonies, layered guitar interplay, lock-down rhythms and deft songwriting run through all ten of the album's song. What follows here is a track-by-track analysis and commentary on each one.

Punchy power-pop and soaring vocal harmonies feature prominently right from the start on opening track “Useless Information.” “Twisted truth – they just confuse” perfectly encapsulates tracks titles and overall sentiment. Lead single “Gliding” emerges out of piano chords and harmonica before launching into the songs driving thematic melody. A serious Beatles/Badfinger vibe is felt through a harmonic styling that emphasize multi-tiered vocals, blended guitars and urgent percussive undercurrent. Tempo changes create emphasis on verses, while open space guitar figures provide necessary instrumental breaks.

Initial album teaser “Goodbye California” falls into an easy mid-pace groove, with lyrics stating how “everything is bright – everything is shiny -every sin is disguised – hiding in clear moon sunshine.” Even a “warm breeze” won't help you “when California falls to the sea.” A tasty guitar solo leads the track out to it's conclusion. “Anchors Aweigh” jumps to a quicker progression, with double-time snare-drum shots and downward driving guitar line. “I wonder if the winds of change will become a force” and “the salty dog will stay the course” bookend the metaphor of this cuts overall theme. Busy drum fills, rubbery bass and bouncing guitar figures all contribute to an integrated musical accompaniment.

“Someone Take The Wheel” bursts out of a chaotic psych-rock feel, with forceful clattering drums and FX-laden guitars. While vocal harmonies over top attempt to harness a level of control, the “Helter Skelter” instrumental approach underneath threaten to shake everything wide open. Points for the lyrics “can't see the forest for the sleaze.” A syncopated snare, bassdrum and highhat beat kicks off “Teenage Dream” as it drops into a chugging, good-timey groove. Sweet call-and-response harmonies drive the hook that goes “wasting time – try to make the scene – moving through those weekend dramas – chasing the teenage dream.” Melodic guitar riffs ride over top of crowd noises, adding a cinematic effect to it all.

“Sleepwalking” comes on vocal heavy right from the start, with a lyrically dense storytelling prose. Conjuring up imagery of “dark dreams” and “standing in a forest wondering what it all means.” The guitars emphasize harmonics over the now-expected hard charging drumming. Ethereal textures introduce “Silver Craft” exhibiting an initial floating sensation before the main progression commences. Morphing between a more cerebral sonic approach and the energetic power-pop already established previously creates an interesting mix of atmospheres. The space travel references appears to dovetail nicely with the album covers imagery.

The organ, piano and synth driven “Crooked Smile” touches on a softer psychedelic approach. With no percussion, acoustic and electric guitars are carefully woven into the mix, blending seamlessly with the lush vocals.  Album closer “Redemption” benefits from a single guitar and voice intro, before launching into the full band progression. Initially touching on the topic of “deception” and “trust,” hand-claps punctuation is sprinkled in at points for catchy hook benefit. “Is there any justice for the sacrificial lamb?” is juxtaposed against “the corruption of the damned.” While pondering those issues, elevating guitar figures rises to the stratosphere and land on a melody driven turnaround. An unexpected keyboard-synth interlude emerges with a minute to go echoing Beatles “I Am The Walrus” vibes. Even the vocals that follow take on a Lennon-esque feel, leading the track out to it's denouement.

Listen to their song "Gliding" here:

The album is out now as a deluxe vinyl LP and CD at Big Stir Records, as well as streaming worldwide.

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Andres Alfonso Lugo is a Baltimore-based recording artist who's work has been featured here on DCW numerous times. While those previous reviews focused on the bands he belongs to, the current work here being delved into is his solo project Los Dientes Hundidos en la Garganta. With that phrase translating into “the sunken teeth in the throat,” the music created is less ferocious (though still quite powerful) than that expression would suggest. Inspired by Brian Eno, Harold Budd, Robin Guthrie and minimalism, Andres provides guitar, loops, programmed drums, bass and synth, while enlisting contributions from Ferran Pont Verges (Die Noia Futuriszka) with guitars, voice and mixing on "Loops of Energy."

Rising out of a distant ambient mist, a singular bass guitar begins to rumble with purpose. Gentle synth waves ebb and flow around this central throbbing texture before the thump of snare, bass-drum and high-hat percussion enters the mix. Two minutes in and a sudden rush of shimmering distortion floods the sonic field, adding an uplifting quality over the already-established rhythms. With the centrally placed bass guitar providing both driving force and melodic changes, glistening guitars and looped atmospherics continue to expand audio horizons. A minute in further introduces voice-as-instrument via celestial choral layers. That is soon met with higher-register guitar notes, continuing the measured pace melody rise.

At five minutes in more lush chorusing fans out across the auditory spectrum, with keyboard synths becoming more prominent in moving the melody forward. What remains ever constant is the steady vibrating bass guitar right down the audio center, complimented by clear elemental percussion. The midway point sees the progression modulate back and forth momentarily, before continuing what feels like an ascension into the clouds. An overlay of incandescence emerges in the seventh minute, serving-up the quick-strum guitar that gaze-music aficionados love. Further on, a descending melody line finds it's way into the mix providing a complementary alternative to what has already come before. After nine and a half minutes, everything drops out except for the bass guitar and percussion, creating a momentary plateau. As the other elements return to the mix, strong guitar figures establish descending melody lines along with one more round of ethereal voices to the tracks final conclusion.

Listen to this sonic exploration here:

The track is available as a free download on bandcamp.

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Receiving news about a new project involving long-time fave David J (of Bauhaus and Love & Rockets fame) is always welcome. Busy as he's been over the last few years with revived live shows, hearing about brand new songs and group collaboration peaked curiosity. The debut album “A Free Society” by newly minted combo Night Crickets also includes Vincent DeLorenzo (from Violent Femmes) and multi-instrumentalist Darwin Meiners. Drawing their name from a conversation about something David Lynch said, the recordings came together via audio files shared between Los Angeles, Milwaukee, London and San Francisco. The band has now released a new music video for the song “The Unreliable Narrator,” which receives a full review below.

Opening the video with a silhouette image of three antenna-headed “night crickets,” those of us familiar with Love and Rockets can't help think of “The Bubblemen” from L+R's early history. A deep voice recites the song's title line as hypnotic drone, cavernous jungle drums and clacking percussion play behind images of three men slowly passing by. That familiar David J bass guitar presence is soon felt as black and white images of the band rise mysteriously upward. Color soon enters the visual mix in form of psychedelic backdrop, as more band figures are shown moving their fingers in slow-motion. Vocals commence in full this time, spelling out how our “unreliable narrator gets his intel second hand, from disreputable sources.” Slow moving pictures of bandmembers alternating between black and white and color combined with billowing clouds of smoke add mystery to the unfolding story of having “an axe to grind and a cache of theories – the conspiratorial kind.”

An engaging instrumental respite emerges at the song's midway point, creating the sensation of a dark ride through mystical lands. An eyeball with flames shooting out the top of it serves as yet-another graphic form in the video. As the song's title is repeated hypnotically, you can feel the music shifting underneath with suble changes in rhythm and melody. Impressive snare drum accents and bass guitar runs are soon followed by more dynamic guitar chords. Putting a close to the whole story with final lines “you can't believe a word he says, so you're foolish if you do,” puts a bow on the whole package, as does actual night cricket chirping attached to the very end.

Check out this curious video and song here:

The Vinyl Release of A Free Society is out on July 29 via Omnivore Recordings

A previous feature on David J can be found on this site here.

Two Dave's share a moment after the show.

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An inquisitive individual who records and plays live music under the moniker 77 Apes has caught the attention of DCW through their steady persistence. It is a solo artist endeavor where lyric-heavy songs are accompanied by acoustic and electric guitars, fleshed-out with background rhythm tracks. Brooklyn born and now Connecticut based, the songwriter sings about desperation, hope, love, sex and life itself. Their recently remastered and released track “Devil Knows Devil,” now garners the full CromwellWrites deep dive analysis.

Steady, chunky percussion and plucky chugged electric guitar introduce the seriously determined “Devil Knows Devil.” Bright strummed chords accompany opening lyrics “I wake up this morning – walk out into the rain. Gotta get to the city – on that downbound train.” A gritty tale of life today from a storytellers point-of-view, structurally sound melodic chord changes enhance lyrics about “souls” in “pain.” A twist comes on the title line reveal of not needing “to tell this to you because – Devil know Devil babe.” This resolution implicates at least one individual, or perhaps a part of us all. A rise in both vocal and audio intensity commences on the next pass through with larger society concerns pairing “old man poor” with “young man's crime.” While we further discover there's “no absolution” or shot at a “second chance,” a piercing, steady guitar solo cuts through the midpoint with appropriately dramatic effect. Pivoting to acoustic guitar for a more intimate reading, literary references to “Bacon's Triptych” and “Poe's purple pain” draw together “the words of the sages.” The final push makes effective use of extended electric guitar notes behind acoustic strumming leading to the closing line “Guess I'll see you coming – there on judgement day.”

Check out this track right here:

Follow all things 77_Apes via their Linktree.

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