Showing posts with label ZapTown. Show all posts
Showing posts with label ZapTown. Show all posts

Sunday, March 28, 2010

Ken Camden - Lethargy & Repercussion


Ken Camden
Lethargy & Repercussion
(Kranky)
Rating: 3.7 of 5


Chicago experimentalist Ken Camden has been assigned roles with the Implodes Sound Quartet and Pittsburgh’s Mike Tamburo; the latter, acting as guitar contributor to the supertemporal Universal Orchestra of Pituitary Knowledge album Ghosts of Marumbey. Now acting as bellwether to his own flagship for modern classical and experimental ambient music, he recorded and re-recorded several one-take pieces and carefully selected the top qualifiers for the new Kranky release Lethargy & Repercussion.

This is not music for study. This is an engaging exploration, yet you will want to remain recumbent to digest it. The six tracks unfurl as follows.

In naïve jubilation, the fluttering arpeggios spray about on the opening tessellation “Birthday”. Every trill permeating deep within the eardrums, Lethargy is a headphone enjoyment through and through. The second exercise, “Raagani Robot”, begins down a passageway to the otherworldly featuring swells in modulation from left to right in static delay. As the track culminates, the hypnotic dance shifts the playfulness of the intro to something more convoluted before petering out. Think DOPO without vocals. The trend goes: everything is to play out before seven or eight minutes expire.

The metallic cicada-song of “In Your Ears” bounces channels with just enough basal communication to resonate an uncannily warm feeling of microcosmic isolation before invoking the Eastern spirits of “Raga”. The adaptive bourdon of the tanpura (used in several of these compositions) bolsters the midrange of the equalization in these mixes. More pedal-work through guitar mutterings persist as “New Space” opens up and ultimately sublimates.

Final vision “Jupiter” (the only inclusion to benefit from overdubbing) drones and wavers in illuminating epiphany. The sound of blinding light, God, paranoia, space travel, the afterlife; whatever the intent—Camden’s expressions are limitless. The melodic modes are still seventy-five hundred miles east, but the intended destination is extraterrestrial.

In Your Ears - Ken Camden

The review posted on ZapTown
ZapTown home page

Friday, March 19, 2010

Strand of Oaks - Leave Ruin


Strand of Oaks
Leave Ruin
(La Société Expéditionnaire)
Rating: 4.4 of 5


La Société Expéditionnaire just continues to take great chances, and as a result, we’ve all been rewarded with some beautiful, contemplative avant folk records. The label, established in 2006 by Lewis & Clarke’s Lou Rogai, offers a few more titles each and every year—including this bonny debut from Timothy Showalter aka Strand of Oaks.

Salvaging what he could from a fire that took his house and all his possessions; Showalter borrowed a guitar and traipsed the city streets of Wilkes-Barre, Pennsylvania, writing plaintive songs of self-vindication and mourning from hotel rooms and park benches. A failed relationship behind him, along with everything else, Showalter composed himself and released the Pyrrhic victory Leave Ruin. What we have here are the doleful expressions and candid retellings of a man who enduringly suffered; having lost so many things in his world, both tangible and intangible.

Heart-stricken and carnal confessions, such as “New Paris” or “Sister Evangeline”, capture the sense of torment Showalter has undergone, punctuated by vulnerable guitars and subtle piano touches. “Two Kids” is a short revealing tale of humble petition—performed on a lone guitar apposed by banjo. A gentle Hammond organ keeps “Mourning Worker” nice and calm amid twangy electric guitar phrasings. “End In Flames” and the record-titled last selection, two of the tenderer ballads volunteered for the album, stand tall as bookends on both sides.

Intimately effusive at times, but all the while serving to convey the palpable emotion, Leave Ruin remains irrefutably genuine—a stirring exorcism from the deepest chambers of the heart.

End In Flames - Strand of Oaks

The review posted on ZapTown
ZapTown home page

Tuesday, March 16, 2010

Luther Russell - Motorbike EP



Luther Russell
Motorbike
(Wool Recordings/Ungawa)
Rating: 2.4 of 5


Singer-songwriter and multi-instrumentalist Luther Russell has been running it up the flagpole for over a decade; coughing up convincing renditions of funk-rock, Americana, and acoustic folk-blues on an array of sporadic releases. You may have heard him shifting between the vocal stylings of Elvis Costello on last year’s single “Good Music” and Chris Bell, at times, heard on 2007’s Repair. Russell’s genre-twitching woolgathering continues on this precursor to the forthcoming LP, released by Wool Recordings.

You can’t help but notice the overwhelming kinship in sound to Either/Or-era Elliott Smith on the title track, “Motorbike”. Owing thanks to the wonderful quality of analog tape, it is from the hook-laden affect of this opener that the record is layed out.

The collage continues to unfold with an endearing ode to John Fahey (even in name) on the excerpt, “Dead Sun Blues”. “Et Al”, the other ditty here, is a tad more intriguing. It starts off with a haunting piano line, but then strums sweetly with some added on-melody murmuring.

The secondmost-realized composition on Motorbike is the poppy “Tomorrow’s Papers” with its chiming Teenage Fanclub drive. The shakedown blues of “A World Unknown” features a simple marriage of drums and slide guitar. While it is a fun little get-up, the song slouches and drags in its continuance. Actually, many of the tracks here reach a plateau in design. Album closer “Somehow or Another”, for example, has Russell exercising a completely different vocalization. His ruminations, however, pan out annoyingly—suffering from the usual lack of anything going on, lyrically.

In short, Russell could have done more to fortify the eponymic first selection on this EP. He has surely hoisted another colorful banner, but the salutes may not come his way.

Motorbike - Luther Russell

The review posted on ZapTown
ZapTown home page

Monday, March 15, 2010

The Ides of March: News of What's to Come

photo of Jon Ragel of Boy Eats Drum Machine (above)


Oh my, we've been keeping really busy here!

Working with Andrew at ZapTown, yours truly here at PSoV chatted a bit with Ollie Knights of Turin Brakes on Friday afternoon. More on the interview to come. Also, Merge Records' Radar Bros. have been in correspondence lately. Lots of chit-chat to put up on print. We've also heard from Distile Records, specifically in regards to a really interesting new band, Untied States.

Check out Untied States on YouTube here!

...and a track off their debut album, Ineffable, By Design

I'll Prove You Wrong (Again) - Untied States

We here at PSoV thank Finn Riggins for answering a few questions and wish them all the best with their current tour! They'll be stopping as close as Harrisburg, if you have the opportunity to check them out--do so. They've been playing multiple dates with another fascinating band I've had the privilege of enjoying, Portland, Oregon's Boy Eats Drum Machine.

Here's the first track off of their latest album of the same name:

Hoop + Wire - Boy Eats Drum Machine

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Many more good things to come; including reviews and commentary on new releases--the likes of Joanna Newsom, Black Francis, Strand of Oaks, A Weather, Luther Russell, and much more!

Stay tuned, ya'll.

Monday, March 8, 2010

The Pacific Northwest--from Boise to Portland: An Interview with Finn Riggins' Eric Gilbert


Last Wednesday, psov posted
a review of Vs. Wilderness--the delightful new LP from Idaho's very own Finn Riggins (featuring keyboardist/vocalist Eric Gilbert, drummer Cameron Bouiss, and guitarist/vocalist Lisa Simpson). They are currently promoting the record on an extensive tour of the States (including a stop in Austin for the SXSW Festival).

Amid their journey down the Californian coast to play a show at the Soda Bar in San Diego tonight, Eric took a moment to answer a few questions for us regarding the new album, the music scene in Boise, and life on the road.



Vs. Wilderness is such an invigorating and gratifying listen. Unfortunately, I had to stumble upon it rather than it being delivered to my doorstep. How can we get the word out on the streets about Finn Riggins?

Thanks! Certainly can use all the help we can get. I'd say this is a good start. Appreciate you taking the time. Glad you stumbled upon us. I see [ZapTown is] in Indianapolis. We're playing at Vollrath Tavern on May 5th toward the end of this tour. Hopefully, by then Indy will know we're coming.

It’s evident in the sound of the album that the band was having a blast during the recording sessions. Describe the process of translating the written material to studio tracks?

It's true, we had a blast. We really enjoy the music we play and I'm glad it shows. Most of this record was written and refined during a very busy touring schedule in 2008 and in the spring of 2009, and really is a pretty honest snapshot of our live sound and where the band was at that time. We tracked Vs Wilderness, mostly, live over a three day stretch in between shows last May at the Visual Arts Collective in Garden City, ID. It's a big open room and we were able to get good isolation for the drums and really play these songs like we were used to ripping them at shows. We honed some of the arrangements down for the recordings, but made most of those adjustments on the fly. We did do a decent amount of layering some parts over the top in the mixing process at AudioLab to help capture the energy of our live show. We had our hands in all aspects of the recording process, and although it was a whirlwind three weeks, we most definitely had a blast recording this album.

There is a lovely stop-animation video that was shot for the infectious track, “Wake (Keep This Town Alive)”. What does this song mean to you?

This song was the first song we wrote upon moving to Boise in January [of] 2009 and [it] was during the bottom of this current recession. There were all these questions hovering about how much harder things were gonna get. This song, to me, is about doing what you love regardless of how poor you may be in the midst of it all. It's about being rewarded with the joys of community and the common causes that bind us together through hard times. It's about valuing the little things in life. It's about local underground music and art and the spiritual backbone it provides to small and big towns all over. It's about dancing with your friends.

Built To Spill is the only other band that I can think of from Idaho. What was it like growing up and playing music in what is, historically, such a musically-devoid scene?

Idaho has never really felt musically-devoid to me. We all met going to school in Moscow, ID, up in the panhandle (northern Idaho), and it was and still is a very vibrant college town with free-form college radio and all kinds of touring and local musicians playing in town several days a week. Granted, a lot of our friends from the scene, when we were there, have moved to Portland, OR and elsewhere to further pursue music careers. But, there definitely wasn't a lack of creative music being made around us. Idaho does lack much representation in the music industry though, and that can be problematic trying to work in to the national scene. A lot of musicians tend to move to bigger markets because of it, but we've been able to cover some ground in the industry thanks to our relentless touring schedule and playing those larger markets on a regular basis. We're also thankful to have stumbled upon an amazing relationship with Tender Loving Empire--our Portland, OR based label--as they've helped us be fairly well-tied into the vibrant Portland scene and we often get mistaken for a Portland band. Rightfully so, though, as we definitely feel like we're part of that scene as well, despite not storing our household goods there.

With so many performances under your belt, you’ve played with a plethora of up-and-coming bands. Tell us about some of those bands and the experiences you’ve had while sharing the stage with them.

Wow. Where to start? Definitely one of the biggest rewards with playing so many shows all over the country the last several years has been playing with and seeing so many other great bands in different scenes and following them as they develop as well. We get asked about our influences all the time, and although there might not be any direct aural similarities, we all certainly feel that we're mostly influenced by our peers at this point in our history--on many levels. We love touring with other bands when we get that chance, seeing them night after night and comparing notes along the way. More the merrier tends to hold true in most cases. Some of our favorites: Tartufi, Low Red Land, Jared Mees & The Grown Children, Orem The Sink, The Globes, Boy Eats Drum Machine, Woven, Hosannas, Sister Suvi, Tune-Yards, Nat Baldwin, We Vs The Shark, Man/Miracle, The Dont's, World's Greatest Ghosts, Le Fleur, Built To Spill, Mike Watt & The Missingmen, Disco Doom, Wildlife Refugees, Ponchos, Appomattox, Yeah Great Fine, Talkdemonic, And And And, The Mutineers, Hello Shark, Love That Dress, Council of Lions, Rooftops, Test Audiences, Asher In The Rye, America Owns The Moon, and many many many more.

You have this small cabin up in the mountains. I’m sure it’s beautiful up there—a pleasant escape from the weariness on the road. What does the band do when they’re not playing or recording music? Any avid hobbies or pasttimes?

We've technically moved out of the small cabin in the mountains and down in to the "big city" of Boise. It was nice coming home to the solitude of the small mountain town, but it's been nice coming home to a more vibrant music and art scene now. I like to play basketball when I get the chance. When we were up in the mountains, I enjoyed hiking and fishing when I got some free time. Cam's an avid skier and definitely does that as much as he can. On the road, we travel with a bocce ball set and try [to] play whenever possible. Frisbee too. Lisa's the crafty one of the bunch and does a lot of sewing.

Finn Riggins seems like fun-loving people. I’m sure you get around to making conversation with some of the fans that attend the performances. What was the most supportive thing someone said to you after a show? Any good tour stories?

Definitely get a lot of time to hang with friends and [make] new friends at shows--certainly one of the joys of this endeavor. Really fun to meet like-minded folks all over this country and hear their take on their community and music, and always interesting to watch and hear how they react to what we're doing. People say a lot of kind things to us... most supportive thing though? A lot of them are too embarrassing to say. Someone that saw us recently emailed us afterward and said that we'd renewed his faith in modern music and that he was going to start DJing at his community radio station again because of it. Little nuggets like that never fail to inspire us forward. Lots of good tour stories, unfortunately, I'm not at liberty to share the juicy ones. We played in a yurt once. Coziest dance party ever. It was amazing. We're playing a party on a boat next Tuesday in Austin, we're really excited about that one.

Indie rock concert-goers will always have their stereotypes and presumptions. What was the most indeliberately insulting thing said to you after a show?

"Idaho's that state right above Kentucky, right?" Nah, not easily insulted in general. Even if someone makes an association with a band that I don't like that much, I'm usually excited they found a way to connect to our music. And, I just think it's hilarious that so many people don't know that Idaho is in the [northwest]; that it has lots of mountains, and that it's a beautiful place to live.

You’re currently on a massive U.S. tour this spring; almost seventy dates, if I counted correctly. What are your plans after things finish up in late-May? Might you be ready to head to the studio to lay down some new material?

The plan is to spend the summer and fall writing and working on a new album, while remaining open to regional opportunities and any support tours that might be offered to us. We're really excited to get to work on new material--lots of ideas being thrown around. We'll have a new practice space in Boise when we get back and all kinds of inspiration built up over the course of this three month tour. There's been talk of trying to whip up something new while on this tour with the acoustic instruments we brought with us... maybe have it ready to play by our May 5th Indianapolis show? We'll see...

Wednesday, February 24, 2010

Wakey! Wakey! - Almost Everything I Wish I'd Said The Last Time I Saw You...



Wakey! Wakey!
Everything I Wish I'd Said The Last Time I Saw You...
(Family Records)
Rating: 2.3 of 5


The halls of ivy are chock-full of college dudes and chicks, walking around campus with their Apple In-Ear Headphones on, listening to fresh brand-names of pop/rock. They watch their reality shows and coming-of-age television dramas. It's the accessibility provided through these mediums to allow talented young songsters, like Michael Grubbs of Wakey! Wakey!, to bleed onto the scene--one familiar soundtrack tune at a time.

The barely twenty-somethings who recognize him as 'Grubbs' (the bartender) on the young adult targeted, popular CW network program, One Tree Hill, will be the ones to seek out Almost Everything I Wish I'd Said The Last Time I Saw You....


From the upstart indie music scene of Brooklyn, Grubbs puts another foot forward into the limelight having polished off a healthy batch of piano-driven pop for Family Records. The anticipated debut from Grubbs' outfit, Wakey! Wakey!, is teeming with the charm and intellect that attracts the heed of the some of the youngest of Generation Y.


The brooding, brown study of songs like "War Sweater" (featured in a season finale episode of One Tree Hill) and the uplifting buoy of the title track represent the prominent parts of AEIWISTLTISY. Catchy, repetitive monosyllabic refrains on "The Oh Song" and "22" make for easy singalongs. But, to note, Grubbs' vocally-fit laments on hope and dignity lack the profundity needed to weightily impact the listener's affection. More so, it presents itself like affectation.


Channeling his best Adam Levine, hooky jams like "Feral Love" recall Maroon 5 in flavor and spunk. Tasting of a little Regina Spektor influence, "Take It Like A Man" throbs with Balkan-inflected anti-folk before reconciling to its chorus of Snow Patrol-sounding climax. Faint traces of James Blunt and David Gray can also be heard, at times, during the long-play of the record.


Grubbs, with his fingers on the ivories, plays to the gallery with his own shimmering variety of compassionate melodies. Occasionally, he prevails. The rest, however, is a cereal bowl full of theater pop.

Saturday, February 20, 2010

Shellshag - Rumors In Disguise



Shellshag
Rumors In Disguise
(Don Giovanni)
Rating: 3.6 of 5


I had the opportunity to see this band open for The Slits at the Andy Warhol Museum in Pittsburgh the spring before last. Touring with the material off of Destroy Me I’m Yours, the Brooklyn-based duo tore proper through their set of hooky pop-punk dressed with lurching feedback and kitschy deadbeat swagger. Shellshag, no doubt, is a gripping live act. The head-bobbing dance party that ensued brought old-heads, acolytes of post-punk and younger revivalists together with each repeated two-and-a-half minute sing-along.

Fresh off their recent consummation with Don Giovanni Records, Shellshag is ready to put their second album, Rumors In Disguise, out on new release shelves across the states. After exhausting themselves on sixteen straight dates last summer with burgeoning scenesters and labelmates, the Screaming Females, Johnny Shell and Jen Shag entered the studio to scribble down fifteen songs of mid-tempo minimalist punk.

The feel of the album is a little dragging, but turn up the volume and you get the fuzz-drone snottiness and DIY brandish in full effect. Johnny’s riffing comes straight out of Ramones academia with a good taste of late-80s American Underground to go with it. Jen plays the kit standing up with about as much tit for tat as needed to propel the songs onward. The two forces come together in such exemplary moments as the vocal interplay on “Means That Much” and the mucky goofiness of “Get Right”.

‘Can’t fix it with just one pill’, Jen proclaims over a J Mascis-sounding rhythm guitar on “1984”. With the exception of the poppy uplift of “Resilient Bastard”, the cuts that Jen carries steal the allure behind the record. Frenzied and maniacal titles like “Wake Up” and “Dirty Looks” stick to the basics and deliver with raw innovation. It surely helps to make up for a few of Johnny’s more lackluster contributions.

Rumors In Disguise is, both, the latest benchmark for progress in communicative punk rock and the blueprint for things to come from this brazen two-piece. Keep one ear to the ground.

Friday, February 19, 2010

Lawrence Arabia - Chant Darling



Lawrence Arabia
Chant Darling
(Bella Union)
Rating: 3.4 of 5


Using Lawrence Arabia as his allonym, James Milne’s rhapsodic lost-at-sea approach to his second full-length brings forth a break in the clouds for this winter season. Like a call of spring in the air, he is fleeting bristly brushstrokes of fervent orchestration with his trusty Technicolor palette. A tip-of-the-cap to Pet Sounds-era baroque pop, a gleeful arms-over-shoulders chantey, a galloping synthesis of bright instrumentation and somber inflection, Chant Darling is all of these things.

His falsetto gleaming on the first forty-five seconds of “Look Like a Fool”, with its dripping tenor, sounds marvelous. “The Undesirables”, with its refrain of cascading semitones, carries from the sour ending of the opening cut over into the bubbling single “Apple Pie Bed”. Its unrelentingly charming chorus matches blow-for-blow with the sprightly “The Beautiful Young Crew” and the understated “Eye A”. “Auckland CBD Part 2” is a tiny buried treasure here, not to be forgotten, with its beachy worldbeat feel.

The concept of the wayfaring stranger is backdropped by the brilliant eclecticism. The juxtaposition of Milne’s lyrical torment and the sunshiny production pleases à la The Format's Dog Problems. The dissimilarity is the presentation; the cover of Chant Darling has Milne looking desolate and weathered.

The focus unravels a bit with flounderings like “The Crew of the Commodore” and “Fine Old Friends”, but the pick-up intro of “I’ve Smoked Too Much” puts Milne back at the helm of the steering wheel. Highlighted by soaring harmonies, the painstaking elegy of “Dream Teacher” drops the anchor on this offering. To note, Milne’s voice here is somewhat reminiscent of former tourmate Will Sheff’s of Okkervil River.

A South Pacific fog seems to envelop the production at times, but the convivial humor and sweet sentiment wondrously collude in gluttonous delight.

Sometimes recounting the same brand of 60s guitar-pop idolatry as Olivia Tremor Control, other times Jonathan Richman; Lawrence Arabia is still striving to map out its course. The New Zealander is steadying his sights for shore this time. The journey is certainly an enjoyable one.

Apple Pie Bed - Lawrence Arabia


The review posted on ZapTown
ZapTown home page

Thursday, February 18, 2010

New review at ZapTown

It's been a busy couple of days so far, but everything is finalized and we're all systems go here at psov.

A new music review of The Unbearable Being of Likeness, the latest offering from Mike Coykendall, is completed and up for viewing at ZapTown--an online publication based out of Indianapolis. It has been my pleasure establishing a working relationship with editor Andrew Duncan and more music reviews are to come.

I'm leery to 'cross-post' the review here, so as not to offend my newfound colleagues over in Indiana. But, here is the link to check it out.

Mike Coykendall review
ZapTown

Wednesday, February 17, 2010

Mike Coykendall - The Unbearable Being of Likeness



Mike Coykendall
The Unbearable Being of Likeness
(Field Hymns)
Rating: 3 of 5


The last five years proving he has kept quite busy in the recording studio with fellow Portlanders M. Ward, Richmond Fontaine, and Blitzen Trapper, Mike Coykendall is ready to do his own thing his own way again. Regarding a follow-up solo release (Hello Hello Hello that came out in 2005), he had not found the time until presently. Now hitting with The Unbearable Being of Likeness, he has squeezed out 33 minutes of collected songs and miscellany into a rousing, slightly psyched-out affair. But with repeated listens, it seems to come off a little more like egoism and borrowed semblance. Even the everted wordplay of the album title filches from Paul Westerberg-like jadedness.

The space-trip takes flight with the steam-gathering “Good One” and the subsequent nod to Spoon, the kaleidoscopic “Luna Mama Less Dip”. There is an appreciated attention paid to the order of the tracklisting here, with each different style interlocking like a dovetail joint. The paranoia of “It’s Raining Inside” is put to rest by the easy-going laziness of “Spacebaker Blues”. The mishmash of tracks like “Disco Next Door w/ Clicker” (complete with an Ebow-ed electric guitar quote of the ‘rum-pum-pum-pum’ bridge of “Little Drummer Boy) and the jovial moxie of “Flatlands” sets up for his more heartfelt offerings. These are the pinnacle moments, such as the tender and winsome “First Shot, Best Shot” or how the reverberated drones of “Something To Chew On” seem to lead befittingly into the beautiful and melancholy “Wonderland”—the album’s highlight and closer.


Songs like “Sold Your Closet Paintings” and “Bye-Bye-Baby-O” serve as enjoyable and carefree laugh-offs. It goes to show that sometimes all you need are a few sparse piano notes to complement the material. But no one is going to stop Coykendall from fiddling behind the control board this time.



Monday, February 15, 2010

Word of the Day

Waiting over an hour to catch the bus home from work in 20-30mph winds blowing wisps of snow is not fun. My roomie was kind enough to put on a pot of coffee back at the apartment for when I would come home. And, I eventually did, some time later. Curry was not happy to be held by me with my fleece jacket wet with snow. The wind chill out there is brutal. But, the Dunkin Donuts coffee is delicious. I've been thawing out ever since.

It's another Monday night in Pittsburgh. Winter storm watch all over Allegheny County. The Hop House will still be there, open and silent. It's free pool night again, folks. I'll be stepping out later for a little nineball. But first, there have been some recent developments in the world of picturestreetsofvienna.

I've recently been contacted by the guys over at ZapTown for a little networking opportunity. More on that as it comes off the wire. I've also twittered a bit with a groovy, up-and-coming band from Portland, Oregon--The Salesmen. Their release Cubicle Rock is in line for a little review coming soon here to psov.

Some concern in the blogger world has risen with the recent fall of great music sites like 'Pop Tarts Suck Toasted', 'I Rock Cleveland', and 'It's A Rap'. I've taken precaution and uploaded a 'sister' psov site at wordpress.com. I'll continue to post here on blogger and upload to wordpress periodically. You can never be too careful...

* * *


The word of the day is 'support'! And, I'm going to throw some of it out there to a few buds I know playing shows in the 'Burgh.

Local four-piece Horse or Cycle has been hitting a few venues locally with some fresh new material that they have been saving up for a promising future full-length release. No word on any date set, but recording sessions have lasted, intermittently, since the beginning of last winter.

They settle nicely in the niche of the new indie folk-rock sound that has been quietly smoldering in Pittsburgh over the last five years. Playing alongside fellow scenesters The Meeting of Important People, Donora, Lohio, Mariage Blanc, and Boca Chica; they've been playing with a little more vim and vigor. There has definitely been a sudden boost in gain on the amplifiers. In sessions, they've incorporated mandolin and acoustic guitars for a little bluegrass infusion with their oft under four-minute compositions. Live, they plug in and sing full on the mic.

I have an old demo given to me by Chris, who handles lead guitar, keyboards, and shares vocal duties with frontman Liam. The songs here are steeped in oldfangled storytelling. Liam's languid baritone recounts tales of disasters and critical moments with a blasé shrug. The organs sound like mating cicadas in the summer, the moog effects channel the sound of wind currents. Each track seems to wrap up without the drag.

Here are two off the demo, check 'em out!