DreamEternalBliss music takes ’80s new wave influences and wraps them up in a fresh, modern rock style. You’ll hear and feel some classic Euro-pop influences, but DreamEternalBliss doesn’t emulate those bands. This is fresh music with a nod to the past. There are big keyboards and sultry vocals, plus outstanding guitar work that was rarely heard in the synth-heavy classic bands. It’s not every day that a couple of respected progressive rock musicians decide to abandon their love of the long-format concept record and pursue something more commercially appealing, but that’s precisely what happened when Days Before Tomorrow founder, Scott Kahn, got together with DBT bandmate Derek Davodowich to plot the next chapter of their musical journey. If you like any of the following bands, you’ll probably enjoy Dream Eternal Bliss: Chvrches, Duran Duran, Keane, Berlin, Simple Minds, Roxette.
This self-titled EP is very well done for what entices that 80s attitude and approach to music, which can take you way back and even open your ears to modern sounds as well. It kicks off with “This Time,” which also features and you can see if you watch it, that they’re pushing boundaries, rather than resting on style over substance. They are a no frills act that let the music do the talking. The lead off track only tells part of what’s going on there but it’s a good track to get your 80s on with. However, as mentioned it doesn’t dwell there, it rather appeals to that decades left over ears and goes further in attracting modern music lovers. Very well done with a lot of keyboard textures and a great overall sound with searing guitar, almost akin to The Cure.
More complexity takes over on “Home” and it does progress quite a bit. But this goes more into middle rock territory, leaving the dancing ability a little short. But it otherwise proves they’re good musicians, and this does contain a great flamenco guitar solo twist to round it off. Big points for that. This is wildly percussive and very electric at the same time, also featuring a decent electric guitar solo. The keys here tend to remind of bands like Asia. You really get a taste of the varieties within what they’re playing. It’s as good as the opening track either way. Some might find it all over the place but it’s actually well done. And it sets the pace at it goes for these tracks.
“Die And Learn” takes both the mood and the intensity down a little and evens out the mix this far. This falls much more in line with the latter than the former track. They manage a big sound to be heard throughout the disc and this proves it all the more. It lies somewhere between classic rock and new wave, but I would have to say it leans closer to the former. It is not until it’s all over before you can really wrap your head and/or your heart around this EP, and you can be converted if this is not your thing. But that is of little importance unless you get wind of this in the first place, and if classic rock genre is your thing, you will likely never get around to this. You have to be more open to modern music than that, but will find some inflections such as this here.
“Don’t Stop” dabbles in some electronica to get things going but winds up a good effort. If there is anything excessive here it would have to be the repetitiveness, but it’s well back with a killer bassline that cuts through some of it but goes unheard in some areas, oddly enough.
You get the feeling this is all going somewhere but by the time it’s over the tracks tend to stand on their own footing, both separately and together. I put this up against anything on the release.
There are a lot more commercial values to the next track “Unfamiliar Faces” but it also serves to prove what I’m trying to convey about it. This one bounces along nicely but doesn’t pop without the bursting chorus, which evens it out. I’m just not as thrilled with this number as the others. It’s all there but at the same time hit and miss for the overall mark. I am somehow reminded of Rindy Ross here, though. Otherwise it leaves me cold and shaves a point. But the energy comes back ten-fold on the closing track “Leave Me Be.” It starts with a church organ, and then goes into an all-out rock fest before a light piano refrain takes over with the best vocal sound on offer concerning the entire set. These combining elements are what make this band shine between the old and the modern stylings and sound the band bring. And by the time it’s over you will get more than you will not, if this is your speed of music, which it delivers up to at the very least. It comes recommended for all of the above reasons along with critical points which don’t reduce it much to these years.
Worth seeking either way, as it is also finely mixed and produced.