Yoni Gordon – “Country for the Timid"
Yoni Gordon is known around these parts as an energetic and charismatic character; the sort of guy who is exceedingly adept at communicating and transferring his energy to just about anyone. Gordon’s zeal is his strong suit, so “Country for the Timid” is a step out in a whole new direction for the Yones; and the new question is can Gordon leave his emotional wheelhouse and still remain effective?
“Country for the Timid” is Gordon’s “No Country for Old Men,” a moody and dusty trek into a different area of creative geography for an artist more known for effervescence than gloominess. Gordon takes a page from the Milo Jones playbook with this somewhat morose (by his standards) track that would sound more at home in an old west jail cell than a coffeehouse or small club.
In the end “Country...” is an exciting new direction for Gordon; an artist who is willing to let the listener actually witness him come of age and stretch out to new dynamic areas of emotional range, creaks and dust and all.
Archelon – “In Time and Space”
“In Time and Space” serves as an interesting juxtaposition of extreme control and extreme lack thereof. The verse showcases a carefully measured and meted out musical sensibility, if not math rock then certainly some form of equation-based rock.
Somewhere between the verse and the chorus, the constructivist equation of carefully synched up bass, guitar and drum readily give way to a free-fall of what sounds like almost pure frustrated anguish, insisting that “You don’t have to go right now,” before returning to the calm, recitation-style verse.
The ups and downs of “In Time and Space” show a band that is well capable of expressing itself in different dynamics. Neither verse nor chorus sound like a mad rush to get to the next section. Archelon paints a picture of musical and emotional balance, all the while displaying what might be interpreted as emotional maladjustment. In the case of any maladjustment, it remains entertaining for basically everybody else.
Casey Desmond – “Loose Ends” (streaming, below)
Casey Desmond must have been one of those children whose toychest was stuffed with not only toys, but a myriad of costumes. One can only imagine young Casey rumpusing around the playroom with wearing a princess tiara and eye patch with a tennis racket in one hand and some sort of stuffed animal in the other.
Fast forward to 2009 and the chameleon-like diva has rediscovered herself yet again with “Loose Ends,” a driving pop number that channels Madonna, Republica, Bananarama and a bunch of other artists with names ending in the letter “A.” This track, merely a demo, boasts high production value in terms of a quality mix and sound. The terms “flawless” and “spotless” are usually the musical synonym of “heartless,” but Desmond’s “Loose Ends” is anything but, injected with a spunky chorus and the now-trademark Casey Desmond vocal performance that all but demands repeat listening.
Throughout her extensive-yet-still-young musical career, Desmond has shown flairs for everything from slick and polished top-40 pop to dirty, jangly coffeehouse introspection and all points in between. “Loose Ends” leans more towards the latter, yet remains wildly accessible to anyone with two ears and a brain connected to a soul.
Where the Land Meets the Sea – “Tiny Maps”
There is something to be said for hitting the grown running, and we join Where the Land Meets the Sea in the fast-developing story of “Tiny Maps” at the very outset of the song. It’s an oddly pleasant feeling – like getting to a party and finding it already raging for your convenience. You wonder if perhaps you missed something, but quickly realize that the party’s so good that you don’t quite give a damn.
The controlled chaos of “Tiny Maps” is pushed to the limits by almost every aspect of its instrumentation. If a leader is to be found, it’s the fast moving bass line which directs the song and the explosive drums that power it towards some ultimate sky-bound destination.
Vocalist Nicole Dessingue provides the final prestige for “Tiny Maps,” with vocals that sound strongly powerful yet never forced. The “gender identity of music” left to something other than this mere song review; Dessingue provides a strong female presence to a song that might have otherwise burned itself out with clichéd male fist-pumping vocals.
Aloud – “Hard Up In the 2000s” (streaming, below)
If Neil Young had Mother Nature on the run in the 1970s, Jen de la Osa and Henry Beguiristain of Aloud provide an update of maybe not her status but their own in “Hard Up In The 2000s.” The drums and the chord progression plod ahead like a heart monitor as Doctor de la Osa gives her own prognosis on life in the current century. The once-per-measure piano chords sound out a dirge akin to John Lennon's “Mother,” minus Lennon's atonal primal screaming but plus singer de la Osa's powerful vocal delivery.
The vocals champion this particular track, carrying the movement from the meter of the verse into the ringing chorus that for all its anxiety sounds more like a prechorus to an unsung refrain. Singer de la Osa packs enough punch in her vocals to possibly take down any pesky walls in the area; it sounds like she moves enough air to at least rattle the structure if not take it down totally.
Whereas Aloud is more than well known for kicking and delivering the rock, it should be noted that once per album or so they come up with a more down-tempo gem such as this track. It's hard to tell if there's any hope in this track or if it is here to celebrate its own morose character – the universe must remain balanced after all. Thanks, Aloud.
The Last Front – “The Science of Silence”
This song has an oddly enjoyable beginning - the music stutters on itself for a few run-throughs, like a car trying to start itself on a cold morning. Once the engine starts running, The Last Front takes the listener for a spin through their own fast-moving and slightly-canted world; where multi-dude vocals lead the way and quickly strummed guitars serve as an outboard motor, pushing "The Science of Silence" through the void and, ultimately, into the ears.
The sound is odd; the guitars alternately ring out in open chords and then seize up in fits of musical epilepsy. The vocals have something that is sometimes lacking in local music - character. While the descending character of the chorus has some melodic bite to it, "The Science of Silence" serves as its own overall hook. You won't be able to figure out just what it was that kept you coming back, but you'll realize you're back.
1 comments:
*literary snob alert*
Vivian Darkbloom is a Lolita reference, yes? I once thought "The Enchanted Hunters" would be a great Lolita influenced bandname (It is the hotel where he takes her at the start of their road trip and also the name of the play Clare Quilty wrote). However, it does sound like a prog metal band in a way.
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