Derek Smith and the Cosmic Vultures engage a grand celestial vision with ‘Opus’
Prolific Boston rock band unveils an ambitious and brazen new album that doubles as a greatest hits compilation on Friday, November 1
NOW PLAYING: Listen to ‘Opus’ on Spotify
‘Opus’ features recent singles ‘Songbird’ and ‘Tomorrow Morning’
BOSTON, Mass. [November 1, 2024] – A while back, Derek Smith decided he was tired of making albums. So the prolific Boston songwriter went and created a greatest hits record instead.
And that’s not just hyperbole; on Friday, November 1, Derek Smith and the Cosmic Vultures are set to release new album Opus, a majestic 10-track swandive through the voluminous corridors of where rock and roll and pop music intersect, taking the New England mainstays’ lush and harmonious songwriting and filtering it through a timeless lens of cool urgency.
Emerging as a record that defies simple genre convention, barreling through a course of alternative, pop-rock, indie-folk, psych, Yacht Rock, AM ‘70s gold, funk, and anything else that applies one moment and not the next, the orchestrally organic tracks that compose Opus have been with Smith for a long while, in some capacity, with some even dating back more than 20 years. But each has been brought firmly into the right here, right now, marking an important evolution for a band that is on the cusp of something special.
As such, Opus is more than a record; it’s an invitation into Smith’s personal world.
“This album is a noteworthy moment in my life,” Smith admits. “It’s a collection of art that I am putting on display in my own personal art studio. Each chapter brings a new feeling. A cosmic play of dark and light. It’s the sky I always wanted to paint. It’s a shrouded, cynical page from the vault in my mind. A tiresome reflection of life and death. When you put these colors together, you get Opus.”
And what the listener receives holds even greater value. Though Smith and the Cosmic Vultures have been routinely releasing new music every couple of months for the past few years, either from the full band or Smith’s more stripped-down solo output, the time was now to make a broader, more grandiose statement.
Opus yearns and aches with sprawling lyrical themes of accepting death, finding yourself, letting go, our current understanding of religion, feelings of isolation, surreal dream sequences, and the love letters we pen, both literally and figuratively, to the ones we love. But it’s also a creative declaration of cohesion and vision, one that extends far beyond our collectively short and increasingly dwindling attention spans and acts to reward the listener who once demanded more but now feels defeated by the modern music landscape.
“Honestly, I was getting a little tired of just releasing a single every three months. For me, it was time to record and release an album,” Smith adds, alluding to a personal back catalog of nearly 50 compositions nearing the light of day. “I chose these 10 songs because they felt like a complete package to me. I have always felt like a storyteller through music. I like people to take a journey through an album. Sometimes it doesn’t even have to be linear from a lyrical standpoint, but I do like the way music can flow one after another.”
So far, listeners have been treated to two tracks from the record, both released this year: July’s enchanting spark plug single “Tomorrow Morning,” with its stirring cocktail of glam, psych, and soft rock and ready-made ambition that allowed it to hit Number 4 on the global Radio Indie Alliance charts and caught the attention of WBUR, Boston’s NPR, which previewed Opus in its 2024 Fall Album Guide as a record not to be missed; and September’s “Songbird,” a melodically lush and sonically dense composition (peaking at Number 16 on RIA) that suggested Derek Smith and the Cosmic Vultures were leaning into a more expansive musical alchemy. Remarkably, a trio of singles — the majestic “White Spade Symphony”; the celestial alt-rock hypnosis of “Waiting”; and the gritty and anthemic “Black Angel” — did not make the Opus cut.
The tracks that are included on Opus draw the band into new and exciting territory, both aurally and lyrically. The star-gazing “Masterpiece” finds the Earth being swallowed by a black hole as friends celebrate their final moments; the raucous and rollicking “No Cigarettes” has an almost Vaudeville vibe as Smith takes a cheeky and comical look at his admittedly boring life of no drinking or smoking; and epic album closer “Goodbye” dives through an ocean-like depth of sound and centers on our reluctant ability to let go.
The Opus blueprint is as much looking forward as it is looking back, and Smith hopes the listener can feel it in every hook, melody, and harmony.
“I think the musical statement for me has always been the same: Passion,” Smith admits. “I hope people can hear that in my music. I believe I am one of the top songwriters in the scene in Boston. Call it ego, call it whatever you will, but I call it confidence. When someone is selling something in a store… they are confident and stand behind their product. So am I.”
Smith continues: “When a restaurant promotes that they have the best burgers in town, why does no one mention their ego? I am selling the best songs in town, in my opinion. I believe in my work. So much so that I keep releasing music consistently. I don’t understand why anyone would keep releasing music if they didn’t think they were any good at it.”
It’s that confident focus that keeps the Derek Smith and the Cosmic Vultures train from falling off the tracks no matter what speed it reaches en route to its destination. Crafting Opus and delivering it to fruition damn near destroyed the band; because realizing a vision like this could never be easy. And while we’re years away from the Some Kind of Monster-like documentary that peeks behind the curtain to confront the madness that flows away from public view, the beauty that emerges from the speakers as Opus fully blooms is something to truly behold.
“Music is my religion,” Smith notes. “It is a language within itself with therapeutic and emotional elements. It’s the ultimate mood regulator. It connects people, it brings about nostalgia and powerful memories; it heals; it helps you to cope; it inspires you; it can positively distract you and ultimately bring you eternal peace. Music can be the perfect medicine and one of the few things I feel is ok to be addicted to in a world where we are trying to find absolute balance. And for some people, including myself, it is life.”
That holds true for the Cosmic Vultures as well, especially as it continues its rise through the New England music scene through an electric live show and a Spotify page that continuously racks up tens of thousands of organic plays with each release.
And it’s particularly the case for the band’s core of longtime confidants that round out the project alongside Smith the vocalist and rhythm guitarist: Lead and rhythm guitarist Michael Strakus, bassist Steve Constantino, and drummer Dalton DeLima. Recent recruit Justin Lopes fills out the sound on piano, keyboards and organ.
Smith is effusive with his praise for his bandmates, especially his longtime partner-in-crime Strakus: “Michael’s intricate guitar work weaves melodic threads that elevate each track, showcasing his ability to blend technical prowess with emotional depth. And he’s quick to note the rhythm section: Steve’s rhythmic bass lines provide a solid foundation, enriching the band’s sound with groove and harmony, while Dalton’s dynamic drumming drives the energy of the music, creating an infectious pulse that resonates with listeners.”
Opus was mixed by Erik von Geldern, Don Schweihofer, and Monty Dale; mastered by von Geldern, Schweihofer, and David Locke; and engineered by a cast that includes von Geldern, Schweihofer, Dale, David Minehan, and Jonathan Chesbro. “The countless hours that were put in by Erik von Geldern and Don Schweihofer at Berlin Audio Productions cannot be understated,” Smith notes. “These guys did such an amazing job. This record wouldn’t be off the ground without them.”
Together, they helped shape Opus, and bring Smith’s songwriting to the finish line. And Smith, as usual, knows what is at stake.
“Albums are the ultimate musical art form,” he concludes. “It’s like compiling your year’s work onto one record. It’s sort of like taking a trip somewhere and then coming home and seeing all the pictures you took. The photo album is your memories from that trip. That’s what music albums are for me. Here is what I have been doing all compiled into one record. There’s definitely a smaller population of people who can sit through full-length albums nowadays, but those are my people.”
Call it an album, call it a greatest hit composition, call it whatever it deserves to be called. In short, it’s simply Opus.
Derek Smith and the Cosmic Vultures are:
Derek Smith: Lead and backing vocals and rhythm guitar
Michael Strakus: Lead and rhythm guitar
Steve Constantino: Bass
Dalton DeLima: Drums
Justin Lopes: Piano, keyboards, and organ
‘Opus’ album artwork:
‘Opus’ credits:
All songs written by Derek Smith
Music performed by Derek Smith and the Cosmic Vultures
Mixed by Erik von Geldern, Don Schweihofer and Monty Dale
Mastered by Erik von Geldern, Don Schweihofer and David Locke
Engineers: Erik von Geldern, Don Schweihofer, David Minehan, Monty Dale and Jonathan
Chesbro
Album artwork created by Derek Smith
Derek Smith and the Cosmic Vultures short bio:
Based out of Boston and born out of the North Shore of Massachusetts, Derek Smith and the Cosmic Vultures epitomize a nuanced blend of alternative, psychedelic, funk and indie rock vibes, encapsulated within an introspective musical narrative.
The band is composed of frontman and rhythm guitarist Derek Smith, bassist Steve Constantino, rhythm and lead guitarist Michael Strakus, and drummer Dalton DeLima.
Smith’s songwriting process stems from an immersion into particular moods, channeling these emotions into evocative musical pieces. He eschews conventional song structures, opting instead to tell intricate stories through song fragments, ultimately creating a cohesive tapestry that fills the gaps of his intricate mental landscape.
With two back to back nominations at the New England Music Awards for “Artist of the Year” and “Rock Act of the Year” in 2022 and 2023 respectfully, Derek Smith and the Cosmic Vultures remain a mainstay in the New England music scene with their dynamic and eclectic music and energetic live shows.
In late 2023, Derek Smith merged his acclaimed solo efforts (two self-released albums and recent single “Black Angel”) with the band’s extensive catalog, marking a new era for both entities. A new single, titled “Waiting” and produced by Dave Minehan at Waltham’s Wooly Mammoth Sound, arrived in January, with singles like “White Spade Symphony” and “Tomorrow Morning” highlighting 2024. A new Derek Smith and the Cosmic Vultures album, Opus, led by September single “Songbird”, arrives in November. Come along for the ride.
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Media praise for Derek Smith and the Cosmic Vultures:
“The prolific Boston songwriter Derek Smith has made a string of impressive indie-folk and psych recordings both under his name and with his band the Cosmic Vultures. Now the two entities have combined into one. ‘Tomorrow Morning,’ the lead-off track from their upcoming album Opus is an undeniably catchy glam-pop combustion that would have ruled the radio if it had been released 50 years ago. Listen at your own risk, because this song will stay stuck in your head all week.” – WBUR, Boston’s NPR
“Stirringly soulful. Sparklingly pop melodic. Americana-like emotive. If you mix those three elements, and you add heart-whole vocals, you get this titillating tune that’ll play around in your head all day long.” – Turn Up The Volume
“Derek Smith and the Cosmic Vultures are an absolute mainstay of the fantastic New England music scene.” _Podduck
“Derek Smith and the Cosmic Vultures awaken rock with ‘White Spade Symphony’.” – Pure M Zine
“Derek Smith and the Cosmic Vultures clearly operate on a different wavelength than the rest of us… and for that we are eternally grateful.” – The Whole Kameese
“‘White Spade Symphony’ is an absolute epic. It combines alt-rock with psychedelia and Americana in a huge sounding song just waiting to be played at the biggest stages around. …around the halfway mark the song just takes off with a blistering guitar solo that elevates the song to epic territory. This is the level of artists like Band of Horses or Kings of Leon’s first two albums.” – If It’s Too Loud
Step back in time with Derek Smith… If someone had told me [‘Tomorrow Morning’] was a long lost single from the 1970s I would have believed it. There’s some ‘Goat Head Soup’ style, so Mick Taylor influenced, song, some Fleetwood Mac, some Jefferson Starship, as in Craig Chaquico styled, smooth guitar playing and the vocal style of a host of singers from the era who were not afraid of showing off their vocal range. Derek Smith and band all recreate this with a very nice song of their own. Tomorrow Morning is a rich song, with a lush arrangement. It shows the aspirations of the band. With a sound like this you do not want to play in the local pub or community centre. Derek Smith and the Cosmic Vultures seem ready to go way beyond.” _WoNoBlog
“Derek Smith has a style that is a chilled out mix of soul and R&B but still feels like it falls under the indie umbrella. It feels simple and classic as everything for the most part happens over just two chords with slick 70's jazzy guitar licks. It's really refreshing to hear artists that understand what ‘Less is More’ means and how to implement that into their overall sound. There is no bridge, not really a chorus, the only key change is at the end under the guitar solo but this song works as something I could definitely listen to over and over again.” – Blood Makes Noise
“Alternative and Grunge come to mind immediately when listening through ‘Waiting’ with airs of Jerry Cantrell’s solo work rather than Alice in Chains as a lush and still catchy ass chorus at its’ gooey, creamy center is surrounded by some truly meaty melodies for an entree that embodies sonic succulence. Wailing guitars from Jonathan Chesbro, Michael Strakus, and Smith come out of the ‘Waiting’ gate swinging offering complex textures amongst its’ sanguine sounds with Smith’s powerful vocal performance seemingly effortlessly poking through the punchy layers as Steve Constantino’s bass and Dalton DeLima’s drumming rhythmically rumble in contrast.” – Rock And Roll Fables
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