Extensive deep-dive analysis is always the primary focus here at DaveCromwellWrites, and this month of March review continues that practice. Storied legends returns with their much-anticipated brand new studio album, delighting fans old and new along the way. Additionally, a frequently reviewed, trusted music label presents yet-another dazzling new find. Rounding things out is a side project from more recent new friends of this site, all helping to unlock the secrets of this universe.
It would be difficult to name a band more influential on the life of this site’s writer and extended family than The Jesus And Mary Chain. Their now 40 year recording career has served as the soundtrack for nearly every significant passage experienced in this matrix called life. Throughout their inception in the late 1980’s and prolific “first run” albums of the 1990’s made permanent marks on all of our most significant life events. The “second phase” JAMC revival commencing in 2007 brought numerous live show opportunities shared among those of us who understand how this all matters. Many a feature on those shows have been covered and detailed here on this site. When the band finally put out a new studio album after 18 years, it too received deep focus attention. Now the Reid Brothers are back with a brand new album “Glasgow Eyes” comprising of twelve original songs. As is only right, a close listen commences with detailed analysis of it all right here.
The album opens with electronic pulses and motorik drive that confirms early promo statements of “Suicide” and “Kraftwerk” influences on the first track “Venal Joy.” An instantly catchy hook “I’m on fire – piss on fire – don’t piss on fire,” leads into the first big power chords segment. A second female harmony voice joins Jim on subsequent lines “venal heartbeat filled with hate” touches on the bribery themed song title. Rising synth twiddles share space with the bands oh-so-recognizable lyrical style. “No I won’t give up and die” is a rallying cry for us all (especially those of their own generation).
“I’m alright – I’m OK” becomes the final message as the pace slows down to conclusion.
A tinkling keyboard nursery rhyme feel, plinking guitar strokes and vocal “ah ah ah’s” opens second cut “American Born.” The initial lyrics of doing things “with Americans” is inter-cut by chunking guitar bits and over-modulated keyboard stabs. Appearing to be a looser offspring of the more realized composition “Los Felix (Blues and Greens)” from their previous album, one would hope William is still being sincere with this homage to his on-going “new home” (that being ‘Merica), if one can still call California that. “Mediterranean X Film” continues the odd beep and boop sounds, while mixing in more prominent forward-plunking guitar. A female voice is first heard, reading off a list of items, before William himself sings the words “Churchill and De Gaulle – Berlin and the wall.” Here the instrumental backing is looser than previous rigid beats, with the drumming in particular displaying a touch of that “jazz” referenced in press releases. A minute in has the band shifting to a quicker tempo enhanced by twangy guitar. Williams continued vocal recitation echoes the playful, “less disciplined” style of his later stage demos.
Reaching the fourth (and “focus track”) “jamcod” once again draws on an electronic “Kraftwerkian” motif at the start. This time a more traditional JAMC style descending rhythm soon emerges. Jim’s vocals are front and center when he sings “the monkey’s organ grinder isn’t grinding anymore.” It’s classic Jim self-critique about having “seen this dream before” and “tears are what you want – tears are what you’ve got.” That all sets the stage for a momentary blast of HUGE powerchords and then back to that familiar downward-driving bassline. “Breaking up and then falling down and my heart beats much too slow” Jim continues, followed by the clever “notify the other brother there’s no place to go.” Another pass through the bridge and power chord (chorus), leading to a bridge of “vegetable, mineral, animal – I don’t know, what you want – what you need.” It all ends on a buzzy synth wig-out while the song tile is spelled out repeatedly.
Check the video out for it right here:
Fifth entry “Discotheques” continues the conclusion of those oddball synth space noises, sprinkled around the primary descending guitar lines. William returns with his wispy vocals “everywhere around the world, every type of boy and girl, body heat and beat and sex, welcome to the discotheque.” Additional descriptions of William’s real (or imagined?) music venue with their “decks, drinks, pills and [fr]rills” are backed by this quaint, demo-level instrumentation. Points for the plunking guitar leads woven in and through the end-out. The album’s mid-point serves up the more serious, slow grinding “Pure Poor.” William vocals once again, “I wasted my time – this planet is mine – baby I was pure,” comes the late night foggy-trip delivery. The guitars are fuller, with some distortion mixed in alongside sludge n’ chime. A bright tambourine rattle provides midrange focus for the multi-layered noodling swirling around it all.
“For millions of years – and oceans of tears – baby I was – pure,” William implores. The final poetic riddle comes in the form of going to “the store” and discovering to be “poor.”
Bigger production values are present on the deceptively titled “The Eagles and The Beatles.” Deceptive in that one of those two bands are never mentioned, yet we get a litany of other legendary faves. Most notably, the center chorus hook goes: “I’ve been Rolling with the Stones, Mick n’ Keith and Brian Jones – Bill and Charlie have gone home.” Other than the early squealing synth noises in the beginning, it’s a more tight progression based around clean piano chords. The list of influences mentioned include “Dylan, Beatles (mentioned only once), Sex Pistols, Crystals, Beach Boys, Faces, Andrew Oldham (The Stones manager). Notoriously missing are The Ramones and The Velvet Underground - though a full song “Hey Lou Reid" – yeah – spelled like their own last name – closes out the album. Solid guitar chords and quality use of “Sgt Peppers”-style horns over a tight hand-clap percussion all contribute to it’s precise pop presentation.
Photo by Mel Butler
Clean, higher-production electronica provides the musical base for the lyrically amusing “Silver Strings.” “You got nuffin’ but a deep fake lake of tears. You got one billion – shiny – fings (things) - I got six dirty silver strings.” Synths are used more traditionally as ambient string sections. Plunking guitar lines and paired bass comes properly synced to the drums. There’s also the curious secondary theme lyric “you get in the way – in the way – in the waaaaaay.” Reaching one of the album’s official single releases, the much-needed Jim vocals on “Chemical Animal” is highlight material. Everything that has ever been great about a JAMC song is rolled into this composition. Brooding, dark, tension, honesty, self-reflection and the things that troubles you inside. They lyrics are brilliant and perfectly match the musical mood. “Simplify – to get by – to nullify. There is something you should know. There is something I don’t show. I fill myself with chemicals. To hide the dark shit I don’t show.” William provides the necessary plunking tonal guitar lines between Jim’s cool, emotive vocals. “Please illuminate – please don’t hesitate. I’m not pleased to meet you. I don’t need to meet you. I don’t want to meet you. You don’t want to meet me too.”
Tenth track “Second Of June” is the more upbeat version of Jim and also a welcome treat. Clearly a love remembrance of the brothers dearly departed (and Sainted) Mother. Interesting to see this song of positivity and hope immediately following the bleakness displayed in the one just prior. Reciting their own band name, lyrics follow “there’s a storm behind my shoulder, there’s a blood moon on the rise.” Those final six words are repeated over as the overall instrumentation and vocals becomes elevated to a classic MaryChain conclusion. Reaching the penultimate album track (which also comes with an official video) is the love tome to Jim’s longtime relationship “Girl 71.” It’s a sprightly undertaking in both sonic and visual form, with Jim seated and strumming a guitar. There’s frequent Japanese writing flashed quickly as the guitar crunch powers everything along. With a “Wully Bully” style chopping organ rhythm running alongside the more dominant guitars, some have noted the progressions similarity to Judas Priest’s “Living After Midnight.” Duly noted, first impressions here thought it pointed more towards Lou Reed’s “Vicious.” Lyrically straightforward, it goes “girl, you got me – you got nuthin.’” The first run through its marvelously classic JimAMC chorus delivers the hook most needed. The video imagery often looks like multiple camera film panels next to each other. The “Girl 71” eventually shows up (it’s Jim’s actual partner) and becomes a duet of sorts. “Hey – we got sumpthin’ – I got you – we’ve got sumpthin’ – you got me – we got love.” As previously stated, the chorus is great: “And that’s gonna last a day – another day – another day. We’re gonna take the time – I cant get by without you – we got what we need. Hey – Hey – We got what we need."
Check out this upbeat track here:
Speaking of the VU icon, final cut “Hey Lou Reid” (spelling duly noted) is a bass heavy ramble from William of unintelligible garble and his trusty twisty synthesizer. That’s for the first two minutes, anyway. Clocking in at the longest song on the album, it morphs into a softer musing about “girls,” their “eyes” and “cold Alaska nights.” It plunks and twangs along for these back-end four minutes, before floating away in twinkles.
Glasgow Eyes is out now on Fuzz Club Records. Order it here.
Additional Jesus And Mary Chain features on this site can be found here:
The wonderful gazey, post-rock label Shoredive Records has an uncanny knack for finding the best music out there. Many features on this site have covered previously unheard gems introduced from their catalog. This time it’s an impressive dreamgaze unit from Florence, Italy – We Melt Chocolate - delivering the goods once again. The band's latest album "Holy Gaze" is now featured in the Shoredive catalog, bringing further attention to it.
Featured track “Holy Ramen” comes with an inventive video putting the viewer in front of a bowl of that title-referenced soupy noodle mixture. Swirling gaze sounds commence and the image switches to a table view hosting that meal. Clarion bell guitar tones begin to strike as the face-down-view of ramen bowl also swirls. Much like JAMC’s “Girl 71,” Japanese language letters float into view and a screen behind the meal table projects clouds blowing by. As the dominant progression commences, well-placed snare drum percussion and hard-edged bass guitar drives a sophisticated undercurrent along. Dreamy female vocals begin with associated pale-faced, full-lipped, doe-eyed, properly-fringed hair representation. Two women appear opposite each other at the table set, engaging in conversation. The chorus hits hard with the full emotional power the best dream-gazer bands can deliver. It’s romantic, emotional, lyrically-vague, guitar-driven and uplifting.
While guitars supply a steady flow of hooky melodies, the bass rumbles along like Simon Raymonde of The Cocteau Twins. The two women (who may be the same one in split screen, one with sunglasses the other without) continue their meal and “conversation” (singing the song). The adorning chorus comes around again, bathed in an ambient wash of epic proportions and female harmonies. Drums stay powerful and focused, like Colm Ó Cíosóig in MBV or perhaps Daniel from Ringo Deathstarr. Three minutes in, a plateau is reached where sparser guitar notes and rumbling bass mark out a holding pattern. That leads to an explosive burst of sound and quicker-cut imagery. One more glorious chorus run encapsulating everything you love about this style music. The sonic headrush-to-heaven, angel-faced (and voiced) “dream-gaze” girl, and beautiful, heart-tugging melodies. The men even make a brief appearance dining at the table, enjoying that ramen delight across from each other.
Check out this gorgeous gazer song here:
Follow We Melt Chocolate on their Social Media - Facebook - Bandcamp
Connect with Shoredive Records via their extensive LinkTree
Towards the end of 2022 this site did a detailed review of UK Power Pop Rockers It’s Karma It’s Cool’s single release at that time “A Gentle Reminder.” Lead vocalist Jim Styring is now back with a side project Solitary Bee and their debut single “Love Wakes Up.” Along with the track comes an accompanying official video. The DCW audio-videoscope digs down into this new output, in search of it’s essential atmosphere.
Melodic, finger-picked guitar notes float over syncopated drums and bass as the song commences. Jim’s vocal start soon after, stating “I caught the breeze of summer, time for our luck to change – the sunshine brought those memories, those long day feelings that remain.” The video comes in black and white imagery with gray overtones, depicting an impressionistic style of the human eye. Vocals continue “she said she’ll do much better, now that the sun’s her greatest friend – and all those colours blooming, will take her home again.” On to an uplifting chorus that goes “when the love wakes up - I’ll be right beside applauding." Now the video begins to add more images of families coming together on holidays as vocals continue “won’t ever let you go.” The images of mother and child in soft focus, holding hands and running in front of the ocean is paired with lyrics “maybe a little rain has fallen – but we needed it to grow.” String synthesizers become more prominent in the audio mix, adding tenderness to those sentiments.
Crunchy guitars begin to make their presence felt as seagulls fly over the oceans in sepia tone views. Voices continue “how green the grass plays restless, announcing winters gone – and all young couples courting, to build new lives upon and on.” Opening lyrics evolve on second pass through as “the warmest breath of summer, time for our luck to change – the sunshine brought those memories, to come flooding back again.” Once again to the lovely chorus, with it’s sophisticated bass guitar counter rhythm and lush keyboards. The video now depicts holding hands at candlelit cafe tables, mothers teaching children at the family keyboard and oscilloscope screens. Other images of vintage era outdoor gymnastics and similarly classic car rides. Lyrics continue “and petals are confetti, the ceiling’s not the sky – like a heart shot into orbit, exploding satellite. And the birds came back to visit, from a million miles away – but the weather was so perfect, they decided all to stay.” One more glorious chorus with staccato-stab guitars powering it along. A momentary pause, then back into a fully backed, gentle synth melody driven chorus. Coda lines “I caught the breeze of summer, time for our luck to change” is pleasantly followed by the softer echo “Love Wakes Up” vocal fadeout.
Check out this light hearted, inspiring video and song here:
'Love Wakes Up' is taken from the EP Bloom. Available from all good digital stores.
As the early part of this new year 2024 rolls on, four must review artists bloom here in the ever-expanding DaveCromwellWrites universe. The act of writing is a rewarding (if solitary) pursuit that requires inspiration to make it work. The artists covered here have provided ample amounts of that, allowing sentences to spark and flow from a productive listening experience. With that, we dive into the February DCW reviews.
It was back in the weird year of 2020 when this site did a deep-dive focus on the music of Jody Porter. A full interview was conducted with Jody along with select cuts reviewed from his album out at that time. The artist is now back with his succinctly titled “EP II” along with the release of it’s first single “Light Up The Sky.” Anyone not-already familiar with Jody as solo artist will certainly know the band Fountains Of Wayne, of which he was an essential member. There have been other accomplishments as well, and links to all of that can be found below. For now, let’s dig into this latest song and find out how his work continues to evolve.
Ethereal ambiance introduces the track, like sonic waves floating in the breeze. Bass and snare drum kicks in along with a chiming descending guitar progression. A second, heavier guitar layers on as deeper bass joins in before it all comes to a brief pause. “Here you come – again. Wish I knew – where you began,” Jody sings with a sense of impending foresight. There’s a shadowing female voice harmonizing along with him as the story continues “there’s no one there – you light the way and light up the sky.” The overall feel is easy vibe groove, like the best of what a band like The Rolling Stones does. There’s a real “live” feel to it all, with guitar chords and drumming in complete sync with each other. That is to say, the complete opposite of the mechanized music we so often hear today.
“You never like to show – how you feel” continues the vocals, now with tasty guitar lines woven in-between. “When it all fades away – like you weren’t there” becomes a pivotal lyric bridged by a muscular guitar figure that returns to the title line chorus. “My way down – I’m on fire” completes that picture, leading into more intense guitar chord transitions. A brief pause once again for dramatic effect, then a gloriously killer guitar solo. Never forget that along with being a singer-songwriter, Jody is a celebrated lead guitarist. However, this is no “stunt guitar” play-a-million-notes-as-fast-as-you-can technician. Instead we get the feel and groove of a Keith Richards, combined with the slowhand skill of Eric Clapton. One more quieter ride through the chorus before launching into a powerful coda alternating between Jody’s restrained voice and the all-out belting from his female counterpart. Slashing, rumbling, pitch-bended guitars take everything out to it’s grand conclusion.
Previous features, including full interview with the artist can be found on this site here and here.
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Last summer a previously unheard artist going by the name I’m The Villain contacted this site for a review of their latest release at that time. Finding merit in the track, it was featured both in the August 2023 review and again in the Annual End-Of-Year “Best Of” Feature. Now they’re back with a new single “Something Is Coming.” Once again recognizing the quality of this recording, it receives a detailed breakdown analysis below.
Against a backdrop of gentle strummed guitar and mechanized percussion, vocals begin right away, stating: “Reading the story, i know what you want me to Say, again.” It’s melancholy, yet somehow uplifting guitar chord on the word “say” (and repeated again on the next line word “today.”) The musical resolution comes with song title reference “But something Is coming, It comes with no warning again.” Second verse brings in bright keyboards, which adds a lushness and counter-melody to the proceedings. Similarly, the next chorus pass through has a longer held synth pad, filling out the sonic space all around. More lyrical clues add deeper understanding with the line “It's something you're waiting for, but you know you will hate it the same.”
At the songs midpoint a clever lyrical insight is revealed that references all the complexities of the various relationships we all have. Saying that there actually is “no pain or mistake” when we’re engaging in “love, wine and laughter with Friends that you hate.” Posing the universal question of how much we might actually “love” our frenemies. Truly one of the great puzzles of the modern age. Additional guitars have now entered the mix, providing glorious cascading arpeggio notes withing a more pronounced synth string backing. There’s more hope in the subsequent lyrics “but someone you love Wants to feel Just like you - and no one will laugh about the things that you lose.” The songs opening lines cycle through once more, this time with a strong extended guitar line running through alongside prominent deep bass guitar and aforementioned synth layers. The lush instrumentation drops back for vocal emphasis, leading the track to it’s gentle conclusion.
It’s always a pleasant discovery when musicians covered previously emerge in a reborn artistic endeavor. So it is with singer-songwriter-guitarist Jeff Moore, his cousin and drummer extraordinaire Jaye collaborating with new musicians on their freshly emerging band Glimmer. A decade ago, this site covered a number of their recorded works and live shows in a variety of locations, both big and small. What always shone through was a dedication to quality songwriting and the ability to deliver it in a live setting. The band has just release a new single called “Buried,” and the CromwellWrites sonic analysis gets to the heart of this track below.
Bursting right out of the box in full motion, distorted extended-note guitars deliver the melody while rumbling center-line bass guitar and hard-charging drums lock down the beat. “I need to go – away,” is how the smoother, more soothing vocals begin. “Delusional – to stay” continues the sentiment, against less abrasive chiming guitar chords. That rips into a savage chorus focused on the title line, submerged behind a wall of fuzz. It’s beautiful and vague – like the best of My Bloody Valentine or The Jesus And Mary Chain. Verse two pivots back to the softer elements previously established. “Unusual – permanently changed” is one audible feeling picked up on (and easily relatable to).
A softer-sung, pre-chorus single-word “buried” propels everything back into that explosive chorus. One which blends voices, guitars and sonic ambiance into a blissfully complete grunge-gaze anthem. Twice through for classic sing-along effect and then on to a bridge change that feature a rising guitar line and thunderous drumming. It all suddenly drops out to just a single guitar and the vocals stripped bare, being “buried – face down.” As the other instruments slowing work their way back into the mix, the anticipation of one more ride on that frenzied chorus does not disappoint.
Check out this brutally gorgeous track right here:
Numerous features on this site covering these artists previous band can be found Here, Here and Here.
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The good folks at Feel It Records have tipped this site to a brand new release from ferocious rockers The Follies. Leading in to the roll-out of their debut album "Permanent Present Tense," the single track “Brick By Brick” is out now for a full listen. Having honed their sound playing in those dingy clubs we’ve all been to more times than memory can recall, a deep-dive listen and analysis commences below.
An aggressively wirey guitar riff kicks the track off, soon met by thumping bass drum and rattle-trap snare shots. As those two instruments throttle along, a buoyant bass guitar gives depth to the slashing chords powering everything along. “Doors swung open – found the time at last” commence the vocals, sung in traditional punk-rock cadence. “Can't read omens” the singer continues, “how’s it all gone by so fast?” A quick-chugging bridge kicks in, enhanced by hyper-drive guitar riffs perfectly placed in those split second places. “Brick by Brick – wall the whole thing shut” goes the chorus, driven along by sharp-turn chord changes with locked in bass and drum accents.
“Put in motion – blurring all the past,” continues the forceful, monotone vocals. Leading once again to that quick-turn bridge stating how “this ain’t how you live” and that Ramones/Sex Pistols-style driving chorus that reveals how the “bricks” force you to “stay in the same old rut.” A guitar solo breaks out at this point, displaying a more advanced levels of chops. There’s almost a rockabilly feel to the playing, as if Brian Setzer was dropped in to guest-solo over a mostly punk rock song. One more cycle through the “this ain’t how you live” bridge, the title-line chorus and a repeat of the songs opening verse.
A new year and new locations provide the backdrop for this month’s DaveCromwellWrites Feature. Introductory singles from new artists on the cusp of releasing their debut full-length share space with returning artists who’ve previously received deep-dive reviews. The collective result are audio journeys encompassing a wide range of fuzzy dream pop, dynamic changes, progressive electronics, improvisational recording, along with a more precisely structured indie pop.
Hearing that fuzzy-gaze dreampop band Phantom Wave are preparing to release a new full-length LP “Bonfire Secrets” in the coming days is exciting news. Having met the band last year at a Ringo Deathstarr show, it comes as no surprise they’ve enlisted that bands sonic guru Elliott Frazier to mix those tracks. Diving right into the advance stream provided for review, some thoughts immediately flow from the mind and fingertips.
First single and featured track “First Light” initially floats out of a mist in the most dreamy way. A tom-tom driven drum pattern and measured bass guitar provides movement underneath soft shimmering guitars and clean delivered vocals. That softness is abruptly shattered by following passages of hard charging drums, bass and a wall of guitars. All the while, passionate vocals implore you to “hold out the first light.” Downward driving accents add punchy power under vocals delivered with urgency.
Listen to this slow burn fuzz right here:
Promised next single and album opener “Chimera” comes on quick and a bit poppy. Is that 80’s era Cure? Clearly not once the big noisy hook is reached, as a wall of sheering guitars run roughshod over everything. The bass guitar is busy, providing melodic movement, while the drums thrash and bash their way throughout. Vocals are soft and conversational. Is it about a grotesque monster having disparate parts? An apparition, dream, illusion or vision? Who knows – it sounds fantastic, though!
The full “Bonfire Secrets” album is currently scheduled for an April 2024 release.
Keep up with Phantom Wave via their Social Media for updates and new release info.
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Back in July of 2021, DCW did a deep-dive review of the San Diego-based research and development collective Corduroy Institute and their musical duo’s full-length album “Eight/Chance/Meetings.” That creative outlet is now back with a new long player “Take the Train to Manchester.” Consisting of 9 new compositions created between December 2019 and August 2023, this intermittent crafting is the longest span of time spent on any of their albums. Once again using their institutional methodology of cut-up lyrics pulled from print media, the music was created through multi-tracked improvisations.
Opening instrumental track “Take the Train to Manchester” emerges slowly from an electronic substation. Train track-like clack percussion gives weight to the theme, before submerging behind ominous synth pulses and forward driving bass guitar. That percussive clack returns and is joined by higher pitched synth textures. It feels a bit like early Kraftwerk and their pre-mechanized “Trans Europe Express.”
First vocal song “[A] Girl Named Philosophy” moves along mysteriously, adding subtle twangy guitar lines over a deep thump bass and percussion. It’s fascinating how a full story can be conjured together with found, cut-up lyrics. Vocals are delivered with a resonant baritone, while closing lines “in a deal with absurdity” suggests more “folly” than actual “philosophy.”
“Say Something Gentle” brings back the clacking, train-like percussion, enhanced by solid bass guitar and filigree brighter-toned six-string figures. Vocals are dispatched now in a higher pitch, closer to a tenor. Horns (or the synth approximation) are an added element, with repeated lyrical line “the true colors of the machine” standing out. The title line eventually appears with the composition reaching it’s conclusion.
An angular bass guitar pattern provides the musical structure for next cut “Uncirculated Knowledge of the Universe.” Dueling vocals appear throughout, adding to it’s overall ethereal feel. Both vocalists present those cut-up lyrics frequently in echo-repeat fashion. “She can do whatever she wants” serves as one focus vocal line. “(An) Intimate (Tension)” bubbles up ominously via violin-like strokes and stressed textures. A slowly descending bass guitar provides the most rudimentary framework for this instrumental only tone poem.
A bright, clicking percussion pattern kicks off next entry “They Don't Even Know.” Long-held keyboard pads lay out a chord structure over distant, driving bass guitar. There’s a soulful, near-funky feel to this one, combining an electric “drums and bass” vibe with a melancholy mood. Completing some kind of thematic arc with the previous cut, “No One Ever Knows” pivots to gentle acoustic guitar for initial instrumentation, while layering on unintelligible tape-recorded voices. A deeper Cello-like texture saws back and forth in a gradually decaying pace that Brian Eno employed on his 1975 masterpiece “three variations on the canon in D major.” This composition is more acoustic guitar-centric, however and the light textures those strings add contrast playfully with those taped found sounds.
“Our Former Places of Worship/Luminous Chaos” combines synth textures, bass guitar, stirring vocals with hiss-crack percussion. Synth chords and bass guitar breaks offer up spaces between vocal line readings. Rising synth textures evoke Eno once again, but this time his early work with Roxy Music. Final entry “You Always Loved Everything…” adds echo to the dual vocal rendering of these particular cut-up lyrics. “I was worried about leaving” followed by the song title. Driving bass guitar, sparse electronic percussion and a smattering of synths all contribute to an overall Joy Division-like feel.
Listen to and find out how to acquire this innovative recording here:
Follow Corduroy Institute on their Social Media: Instagram - Facebook
It’s been a while since new music from Chad Sabo has made it’s way onto this site’s radar. It was July of 2018 when a combined live show and previous release retrospective was covered on his band The Cold Seas at that time. Enjoying a seamless 10 song set comprised of the four singles and one EP released over the previous two years, an appreciation for the talent on display was realized.
Now Chad is back with his debut solo album “joyride,” inspiring a new DCW deep-dive review.
Choosing to open the album with an amusing short “intro” of upbeat electronic rhythms and spoken word, Chad invites the listener to join him “on this sonic joyride.” That leads into the albums title track which advocates the virtues of going for a cruise in your favorite car. The production is impeccable, with soothing higher pitched vocals that bring to mind high-gloss pop bands like 10CC.
Every instrument is precisely placed, with each percussive and stringed note avoiding excess. Voices are intertwined and pitched to varying levels. Follow-up track “Still Mine” relies on strummed guitar for rhythm, adding off-kilter ambient instruments for oddball effect. Lyrics “saw your name pop up on my Instagram – I know that face well” references the way we sometimes carry on relationships via the internet only. “Sunday” doubles down on the warbly strummed guitar, adding a funky bass pattern and soulful background vocals. “I’m no good for love (pronounced LA-ove)” is the essential lyrical refrain. Sweet, sentimental roller-rink style keyboards completes the audio picture. “Catholic” morphs over to dreamy with a Beatles-esque vocal cadence, and well-placed tambourine accents. Dealing with embedded influences, lyrics “I don’t know if I believe in something greater – or at least myself,” questions early religious training.
“Holy Ghost” seems to hold onto the previous theme, while pivoting to other potential sonic influences. The in-your-ear, casual spoken word style employed so effectively by The Strokes is noticeable, as are those choppy guitar rhythms and single run melodic fretwork lines. Clever lyrics provide strength behind the whimsical musings of “Our Love.” Understated guitars and a driving bass offer up the appropriate accompaniment for witty rhymes like “just look at us – making out in our electric chairs – and the coroner said he the saw sparks come flying from our hair.”
“Another Show” laments being “too hung up to go down easy” but will “hang around till I know your leaving,” making this “show” about a failed relationship all too real. Regretting spending time “chasing rainbows in a thunderstorm” furnishes appropriate imagery for time squandered. Bass guitar continues to drive everything throughout the curiously titled “Single Use Plastic.” That title reference becomes clearer with the lyrics “the wind has changed – a thousand ways – a plastic bag caught in the sky.” Points given for the madcap instrumental break at the songs midpoint. In fact, this composition offers up multiple distinct passages, making it one of the more densely constructed offerings here. The album wraps up with a brief "outro" where Chad thanks this listener for "hanging out."
A Feature on this artist previously posted on this site can be found here.
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Near the end of 2021, DCW wrote a detailed review of Adam Lippman’s featured single “Sunblind,” from the later released full-length 'Some Things Cast Long Shadows.' That track later earned placement in the year-end “Best Of” annual wrap-up. Adam is now back with a new single “Wasted” which delves once again into the pop-indie-rock genre. Written and performed by Adam, the track was recorded and produced by James Mauri at Strawberry Hill Studios in Norwalk, Connecticut. Showing off his visual arts skills as well, he also painted the album cover.
A spirited snare shot, high-hat and bass drum beat kicks the song off as melodic six-string and bass guitar quickly joins in. Adam’s reedy vocals soon commence, telling the universal tale of how people meet at “the bar right down your street.” A subtle xylophone is detected underneath the following lyrical theme that references the songs title – how so much time can be “wasted” in these pursuits. “When you gonna come around?” is the repeated questioning expressive inquiry and hook. “You didn’t have to run and hide from me” ultimately leads to “we don’t have to look too far to see that it’s wasted.” At the tracks midway point the rhythm guitars and bass drop back leaving percussion and more open spaces. An ambient descending guitar texture and simple bass lead the way to a pleasing rhythmic interlude, before repeating the primary vocal hook, leading to its overall conclusion.
Listen in and find out how to acquire this track here:
2023 was another stellar year of new music reviews here at DaveCromwellWrites. As we come to the end of it, the annual Best Of is now presented for perusal. Each month's entries are covered, featuring the best of the best artists who put out compelling new recordings. Old favorites stand alongside brand new entries, all deserving of the in-depth analysis they received. What ties every one of these artists together is their own high level of recording acumen and overall creativity. With that said, dig in to the 2023 Best Of DaveCromwellWrites Features.
Trusted recording artists who've established themselves here in the DaveCromwellWrites universe over the last year or two serve as the main focus for this current Music Feature. As one releases an instant-classic full-length follow-up to their previous brilliant album, another dazzles with a single as a bridge between their long-players. All of the above receive the no-stone-unturned deep-dive review this site is known for.
It's been two years since the last DaveCromwellWrites track-by-track review feature on The Suncharms. Back then a thorough and detailed review was given on their magnificent “Distant Lights” album. Now they're back with a brand new full-length recording “Things Lost,” once again released on the fantastic Sunday Records label. The full Cromwell focus is now turned towards the essential sonic pleasures this release has to offer.
The first thing heard as the album begins is a light crackle, as if a vinyl LP is being played. Cymbals quickly enter and then the lush, hooky guitar melody of opening track “3.45” push everything into motion. Lead vocalist Marcus Palmer wastes no time planting his multi-layered, sandpaper vocals down in classic Jim and William JAMC style. A subtle xylophone (or marimba) counter melody emerges as “records start spinning” and “my heart is breaking.” There's a gorgeous, snaking guitar solo weaving it's way through the center of the track, up against that romantic chord progression. A harmonica enters the fray in the latter half as well, on this song that appears to be about a recurring dream. “It always end the same – at 3.45”
The not-nearly-as-dark-as the title might suggest follow-up track “Satanic Rites” has more in common with Merseybeat than any kind of “devil rock.” In fact the title references British horror film “The Satanic Rites of Dracula” which apparently in this long-distance-love-lost song is the “only thing left behind” from their initial relationship. The guitar chords and vocals on this chorus combines power, beauty and melancholy.
On to album title track “Things Lost” pairs classic jangle guitar with smooth, low-key Reid-style vocals for maximum effect. A rumination on times past, “taking me back to my younger self” evolves into “boxes of light (that) have disappeared.” Wonderful interplay between an undulating bass guitar, light touch drumming and dominant hook guitars all contribute to a perfect listening experience. Special mention for the keyboards added at the end. Fourth entry “Whitby” combines a romantic night in that North Yorkshire, England seaside town with more Dracula references. “Looking out at the abbey from Bram Stoker's room” and “no fresh blood on the scene” would suggest as much. Along with mentions of “an everlasting night” and “no reflection in the mirror” make this simultaneous “northern soul” homage an instant classic.
“Daylight is Here” pivots off a reverberated “Be My Baby” drum into and easy-groove guitar line. With verses delivered in that now familiar Marcus style, the songwriting brilliance of having a guitar melody running simultaneously in-tandem with vocals is always a delight. A song about staying “to hear the bands last song” and missing your train is a truly relatable commuter choice. A lovely twangy guitar solo provides an audio link between night before reverie and this early morning comedown. “Red Wine Kisses” powers along a 4 chord progression that melds bright chiming guitars with snaking bass progression and slap-crash drums. A lovely female vocal harmony pairs with Marcus on the wistful chorus that goes “Red wine kisses – I'm sure gonna miss you – even though it never began.” The appropriately placed guitar solo is once again, exquisite.
“Dark Sails” rides over a bold and buzzy anthemic lead-guitar figure with acoustic guitars strumming underneath. Quaint lyrics about getting “a postcard yesterday – strange in this digital age,” are delivered with classic 90's MaryChain/Chapterhouse aplomb. An angelic female voice returns to harmonically enhance the title-line chorus. Additionally, subtle keyboard elements appear as backing on subsequent verses and again at the songs conclusion. “Demonic Eyes” joins a plaintive guitar-melody hook with tambourine rattle percussion. An introspective look at oneself via train ride through nostalgia that includes actors circa 1964. “Do you explore?” is the essential question. It's answered earlier on, with “people so intimate – I'm eager to explore.”
A shimmering guitar approximates the audio equivalent of what song title “Torrential Rain” might sound like. Straightforward hard charging bass guitar and drums lock down a solid rock rhythm. Lyrically referencing an “overgrown cemetery,” “angels with moss faces” and “broken tombs,” leads to a search for “something to make me feel alive.” The final minute instrumental end-out is truly magnificent and soooo MaryChainy. Final cut “Last Tram” emerges out of distant clangs before laying down a bouncy, merseybeat groove. A rising counterpoint bassline adds an unanticipated additional melody to the progression. Further unexpected elements develops in the form of an intimate spoken word end-out. “I'm always chasing the girl with the Autumn coat,” he states - “and the last tram that never arrives.”
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Back in February of this year, the DCW audio-scope did a thorough listen and breakdown analysis of talented and multi-skilled artist Julian Shah-Tayler's full length album “Elysium.” With both that album and this particular deep-dive review receiving critical raves from the most discerning listeners, the hope for a follow-up combination was anticipated. We have now arrived at that point with a new single from the artist having recently been released. A full investigation into this new song and video for “Fall Apart” follows below.
As the video opens with morphing imagery of stylized boy and girl animation (credited to Kaiber AI), synthetic keyboard tones reminiscent of the classic AHA track “Take On Me” poke out an instantly catchy melody. Briskly paced percussion also conjures up an 80's feel, complete double-clap accents on the turnarounds. “You can watch my life fall apart - in broken hearts - before your very eyes” Julian sings in his familiar Bowie-esque style. A song of heartbreak, there's no bitterness here as the singer instead shows how much they still care, focusing on his lost lover's “beautiful eyes.”
An enticing synth-bassline stands out in the open sonic spaces as a second series of lyrics evoke images of “skin on skin” and “violence suffered all in silence.” The emotional churn continues where an attempt to “show you paradise” deteriorates into “ split our needs in two” ultimately leading to a dramatic audio peak on the final word of “a reality I just can’t face.” Classical strings (via synths) accent the lyrics on subsequent passages, along with fluttering percussion rising up underneath it all. A cascading buzzing drive to conclusion that includes real or synthetic guitars brings everything home.
Check out this amazing track here:
Connect with Julian Shah-Tayler/The Singularity via his Social Media here.
Dave Cromwell has been writing about music since the dawn of the internet age. In addition to the steady flow of features here on this site, he has been a regular contributor to The Deli Magazine (both Print and Web) since 2010. With numerous Print Issue cover features and weekly contributions on the Deli website, scores of artists have received the Cromwell point of view. Along with ongoing contributions to this site and The Deli Magazine, Dave has written for Dingus, My Social List, The Waster and Soma website magazines.
