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While Donovan handles guitar, the band is filled out by singing guitarist Tolan Harber, singing bassist Samantha Pollington, and Jamie Rogers on the drums. The band’s sound is fast-paced and in-your-face, raw indie rock buzzing through the album’s 10 songs.
Harber’s lower range and Pollington’s crystal clear high vocals each have their own characteristics, but build on each other for a curiously satisfying sound, trading each other for the lead parts and often diving into complex duets. The roiling, driven style is immediately apparent on album opener ‘Parties Unknown Until Now’, an energetic jam that switches deftly between strummy indie and punk-tinged rock.
As expected with a guitar community figurehead in the band, the musicianship of the Magpies’ album is top-notch. Guitar tones perfectly track the dynamic intensity of the vocals, and match well with Rogers’ pointed and powerful drumming. Musicianship is notable throughout the record, a loose but confident flavor of rock as engaging as it is diverse. The band moves swiftly through sonically diverse tracks, keeping the energy level high without sounding repetitive, as displayed on ‘Alkali Flats’ and ‘Barn Burner’
Growly, moody songs like ‘The Quiet Roar’ and ‘Suspension Bridge Over Disbelief’ contrast deeply from the warmer tides of ‘Jealous Amounts’ and eight minute closer ‘Buttercup Revisited’, the clear standout for album favorite. Delicate picking and singing give way to waves of overdrive and feedback, a journey as much as it is a song. Definitely give Magpies a shot if you’re looking for something raw, edgy, and locally grown!
]]>In regards to waiting this long to listen to them, mistakes were made.
From the instrumental first track “Here I Stand” to the mammoth pair of closers, this Tacoma quintet has created an exceptional new offering due January 2015. 11 gigantic tracks form Northern Shore, a collection of post-rock wonders that demand attention.
One of the most notable characteristics of Northern Shore is its length. No song is much shorter than four minutes, and while most clock in at the four and five minute range, the last two tracks weigh in past the six-minute mark.
The quiet pluckings that open “Here I Stand” serve as an appetizer for the rest of the record, unexpectedly bursting into a fuzzy roar indicative of the weight of what’s to come.
“You Can’t Take It With You” follows, a tidy rock cut that balances pensive lyrics and huge arrangements, a melee that remains expertly reined in while threatening to erupt into all-out chaos. Lead vocalist/guitarist Adam Wolbert keeps tight control over his voice, and receives all-star support from singing guitarists Caleb Baker and Tor Caspersen, singing bassist Ahren Lanfor, and drummer Will Chi.
The record barrels on to “Of The Earth”, a shapeshifting grunger that transforms into a face-melting post rock dream. The second major instrumental “We’re Not Making Pianos, We’re Building Machines” keeps the momentum up without a hitch. There are no dull moments on this compilation, as even the quiet moments showcase delicate arrangements rivaling those of Moving Mountains.
The record is in constant motion, sliding between the tender strummings of “Twenty Three”, the organic instrumental echoes of “Ephemeris”, and the gripping heat of “Caught In The Shallows: Part Two”. Wolbert, Lanfor, and guitarists Baker and Caspersen deftly deliver heavy, self-reflective lyrics with vivid nature scenes and vast soundscapes.
Ninth track “Do Androids Dream Of Electric Sheep?” is one of the more distinct instrumentals of the collection. The Philip K. Dick reference sees the blending of curious lead tones with a swirling tide launching into the muscular penultimate piece “At The End Of All Things”. Weighty blooms of delay serve as the backdrop to remarkably haunted lyrics before giving way to the album’s final words.
Album closer “There Is Life In Death” is a final instrumental both more intense and more lengthy than the others. Warm, diverse, and vastly moving, this towering landmark record closes out without a word. This is a 2015 release not to miss.
]]>The first and most notable aspect of this project was the Kickstarter campaign. Raising well over 300% of the initial campaign goal, the overwhelming fan response was for this cornerstone local band to hit the studio again. Though they have been quieter for the last few years, frontman Matt MacDonald and wife Kristie have been hard at work in the meantime with side project Vocal Few, the delightfully charming acoustic duo undoubtedly growing MacDonald’s acoustic studio chops.
Regardless, The Classic Crime is in great form with What Was Done: Volume 1. Boasting 12 tracks and two bonus songs pulled from the band’s handful of full-lengths and EPs, MacDonald, guitarist Robbie Negrin, drummer Skip Erickson, and bassist Alan Clark have showcased a whole new side of TCC. Eschewing the massive rock sound that the band has come to be known for, WWDV1 is a delicate set of songs led by MacDonald’s confident and refined voice.
Opening with a wonderful version of ‘All The Memories’ off Tooth & Nail debut album Albatross, the band hits the ground running with rich, full acoustics, and a string-heavy and acrobatic arrangement sure to bring a smile to longtime fans.
A dynamic version of ‘You And Me Both’ follows, presenting a lean acoustic look at the 2012 favorite off The Phoenix. From the soaring strummings of ‘Salt In The Snow (Revisited)’ to the tender look at ‘Who Needs Air (Revisited)’, the band has masterfully created a new album while faithfully preserving the band’s much-lauded songwriting.
A flexible palette of instruments is featured throughout, including strings, brass, and piano parts. Tracks like ‘God And Drugs (Revisited)’ take familiar songs in new directions, while songs like ‘Headlights (Revisited)’ lay bare the strength of the band’s writing by depending wholly on MacDonald’s voice and simple instrumentation.
Perhaps the only shy moment of the album is ‘The Fight (Acoustic Version)’, an acoustic take on the band’s roaring 2005 single that trades some of the original heat and fire for emotion and vocal sincerity. While not the strongest on the album, even the “weaker” offerings on WWDV1 are exceptional in performance and production. It may not be anything totally new, but every track is thought-provoking, nostalgic, and smartly arranged with this Seattle quartet’s growing talent, making this album well worth the dozen dollars it’d cost at your local record shop. Don’t miss this band with Emery on November 21st at El Corazon.
]]>This Seattle quartet has been making waves since their founding, from the star-studded lineup to a handful of fantastic local shows (including a great supporting role for Swedish band The Deer Tracks at the Sunset Tavern a few months back). ‘The Open Sea’ is a skillful first album that sits in familiar British pop and rock territory while hailing from lands much (much!) closer. In writing, arrangement, and execution, notes of Coldplay and Radiohead mix nicely with hints of Aaron Sprinkle and Fair in Verlaine’s nine-track debut.
Frontman, pianist, and guitarist Dan Cole‘s expressive vocals set the tone for the majority of the album, backed by guitarist Kevin Woerner, bassist/keyboardist Jonathan Young, and drummer Jon Wood. With band roots in Forever Changed, twothirtyeight, The Myriad, and Drypoint, respectively, the veteran musicians in Verlaine have put a huge first step forward with ‘The Open Sea’.
First track Painted Lights is a densely packed album opener, easing in on warm keys and pads before an alluring chorus sucks listeners in. The album’s tight mixing is immediately notable, each instrument contributing to the swirling melodies without being washed out or overblown. A slow, dramatic build closes out Painted Lights, a perfect ramp-up into second track See The Best In Me.
Chiming guitars lead the way through to the tension-wrought bridge of See The Best, showcasing the band’s strength in dynamic and engaging writing. Third track Lonely Survive is the first of the pre-released singles, and the frail, beautiful piano introduction is the first time the album mellows out.
As with the previous tracks, Verlaine demonstrates an incredible agility in shifting energy and mood from verse to verse, and uses the momentum to confidently transition into the middle of the record.
Standout songs Negotiations and Motionless are delicate balances between touches of funk, charming guitar riffing, and Cole’s poignant voice. Even with such pleasingly massive drum and bass parts, Verlaine persists as an airy, uncluttered band whose writing is keenly calculated and expressly purposeful.
Album closer This Life We Lead sees the band return to bare necessities, a simple track with complex execution musically and vocally. Warm, beautiful tides of sound allow Cole’s vocals to float comfortably before a cascading rock break sees listeners out with a loving warmth absent from my speakers since Sherwood‘s disbanding in 2012.
Verlaine has written a powerful first album, and as the release show proved, the band is more than capable of pitching ‘The Open Sea’ live. Look forward to their upcoming show at The High Dive with Something In The Trees and The Bend, May 24th!
]]>The band made a big splash last Fall over the gnarly (and I mean gnarly; no faint-of-hearts need apply) video for Reservoir, a powerhouse single that’s all fury and fun and broken bones. Never missing a beat, Pup has been on the road with fiery Montreal duo Solids for much of 2014 so far, both bands valiantly representing Canada while touring stateside.
Pup’s self-titled is plenty more of the intensity that Reservoir promised, but with a fantastic spectrum of color and variation. The four-piece is more than capable of knuckle busting, but weave in tasteful bits of blues, pop, and indie rock into the melee.
Album opener Guilt Trip is a slightly off-kilter introduction in all the right ways. Frontman and guitarist Stefan Babcock unleashes his surprising range in pitch and timbre over raging raw hooks built by fellow guitarist Steve Sladkowski, bassist Nestor Chumak, and drummer Zack Mykula. This model works well for the band, as favorite single Reservoir immediately picks up where the opener leaves off. Edgy musicianship and a loose, honest live sound are pervasive through the record, keeping true to the band’s unrestrained live performance.
Third track Mabu is the first that lets up on the driving power, channeling a sunny day vibe with sparkling harmonies and all the vocal flair and hookiness that good throwback pop requires. Upbeat songs like Mabu, Dark Days, and accusing closer Factories balance the unbridled power of the heavy hitters, and are fun spots of listening that prevent listener fatigue without being filler.
Key track Yukon bisects the album, a flavorful minor cut showcasing bluesy chops and caps off with a killer, killer solo. As the longest track on the record, Yukon is a perfect example of the band’s ability to add excellent writing to captivating arrangement and impeccable performance. No further proof is needed to demonstrate the talent present, but fortunately, the record has much more to say.
Other notable tracks include the indie-rock blasted Cul-de-Sac and penultimate song Back Against The Wall, both leaning pop punk and entirely enjoyable. Last track Factories builds on the mood, a smartly riffy song that contrasts dark lyrics with the raw upbeat sound that Pup has already mastered. The album ends on a tightly wound rock outro, a no-nonsense way to conclude a towering debut record.
I have no doubt that genre diehards and newcomers alike will take note of this incredible young band. Come 4/8, Pup will be here to stay.
]]>Well, it’s been years now and Moneta is packing a new lineup, a new sound, and a new record… and it’s one for the books. Featuring newish vocalist Jordan Thompson, ‘The Only Constant’ sees the uncommonly sized six-piece tear through 14 tracks of blissfully unadulterated rock. The musicianship is refreshingly technical, and with complex arrangements and generous string sections, Moneta is nothing short of massive.
The album kicks off with the accusatory The Jackal And The Lion, a merciless opener that pairs searing riffs with biting lyrics. Thompson deftly navigates soft, belted, and near-screamed parts with a powerful voice that could be comfortably compared to fellow Seattleite Matt MacDonald of The Classic Crime.
Equally impressive is the musicianship present in this sextet. With guitarist trio Michael Rapson, Kevin Hanaford, and lead player Chris Holbrook, the guitar arrangements are detailed, clever, and entirely engaging. Not to be outdone, drummer Leo Martin and bassist Benjamin Brockman present a razor-sharp rhythm section suited perfectly to the intensity and complexity of every track.
Second song Life In Rewind is the hopeful foil of the opener, a muscular rock cut that deepens the positive similarities with The Classic Crime and offers a chorus that begs to be sung. It’s plainly clear from the outset that Moneta is a group of experienced writers and musicians.
Despite the hefty track list, the album moves smartly and warrants positive comparison to departing heavyweight Anberlin and late Seattle band Acceptance. No song or section seems to drag, and with such diverse and dense arrangements, every piece of every track feels like fresh ground. Three masterfully crafted interludes serve as brief moments of respite, including the short but beautiful Your Own Way that blooms into first single All My Fault.
Reverse-delay drenched Rewrite The World bridges the two business ends of the album, a gorgeous ballad that matches choral gang vocals with towering string parts. This song demands a few plays before ushering listeners into the valiant string/guitar duet opening of The Hardest Thing.
Where a tragic number of rock releases are frontloaded with the goods, ‘The Only Constant’ maintains excellence through and through. Tracks like Something To Fight For and The Devil Inside keep the driving rock present, while songs like Save Me From Myself and Breathe In offer tinges of introspective pop rock flavors. Closer We All Live To Die may not be the strongest in the musical pool, but it is a graceful end to a truly huge full length.
With ‘The Only Constant’, Moneta has further cemented itself as a band to watch in the PNW and beyond. This 14-track record is a hefty effort that should unfold handsomely in Moneta’s career trajectory, and a freshly inked deal with Gibson/Epiphone proves big names are taking notice.
If you haven’t picked up tickets yet for Moneta’s album release show, the band will celebrate ‘The Only Constant’ at Showbox At The Market with Stillstand, Truth Under Attack, Sell The Rights, and Subject To Downfall on Saturday, 3/22. Tickets are available on the Showbox calendar, or through the band on Facebook or Twitter.
]]>It should be clearly stated that there are no qualms about the band’s faith-saturated lyrical content, but to label anything this band has put out as merely ‘church music’ is a woeful discredit to their musical mastery. All at once rock, indie, jazzy, orchestal, hip hoppy, chamber poppy, regular old poppy, big- and jam-bandy, and everything in between, the colors and textures on tap in Kings Kaleidoscope make their productions a marvel.
Aside from the standard instrumentation, the band employs assorted strings and brass, an accordion, and a second drummer among other instruments. Many (if not all) members are multi-talented, and together weave a richly layered aural paradise in this new EP.
Album opener Felix Culpa is all business from the outset. Guitarist and lead vocalist Chad Gardner conducts the band through a relentless cut built on sweet hip hop beats and an unforgettable guitar lick. Horns, strings, and a gnarly bass part build towering emotion into the bridge and final jam.
Gardner’s soulful expression perched atop dense layers of sound make for a recurring theme, as second song Seek The Kingdom proves. A warm wash of keys segue into roving guitar/bass fuzz duets before relaxing into an orchestral chorus. The song concludes in a huge rock bit bristling with brass and driving bass.
Third track Defender progresses on the powerful rhythmic framework of doubled drum parts, a colorful and flavorful journey that cruises into a triumphant chorus in both arrangement and in lyric. Songs like this make Kings Kaleidoscope particularly hard to classify, but easy to enjoy. It’s worth noting that the band makes use of many of the school’s music department instruments, further enriching the tonal diversity.
Fix My Eyes is the first of the softer songs, an introspective piece led by piano and a handful of strings in a dark gymnasium. Even pared down, the band evokes incredible fervor and heart. Just wait for the delicate pizzicato parts after the first chorus. Breathtaking.
Be Thou My Vision is the only familiar song on the record and a brilliant take on a beloved hymn, while album closer Higher Throne is a reverb-soaked saga clocking in at nearly six minutes.
In ‘Live In Color’, Kings Kaleidoscope has added another gem to an already illustrious discography. This talented group is courageous in arrangement, musical in doctrine, and bold in performance. Not much more need be said.
Except that you need to download the new record on 3/18 (today) for FREE on the Kings Kaleidoscope website through BadChristian Music.
]]>Wacky, satirical, and delightfully demented, the gang has a dozen new songs whose long arms take root in folk-rock but tickle genres of all sorts. There’s apparently not an Andrew Jackson in the band, but frontman Sean Bonnette leads a great crew in bassist Ben Gallaty, keys/guitarist Preston Bryant, drummer Deacon Batchelor, and a medley of guests and instruments.
“Temple Grandin” opens Christmas Island, the jammy intro that feels Front Bottom-y (haha) due to the strum-and-bass groove and Bonnette’s plaintive wailings. The album is sunny coming in, as second track “Children Of God” keeps the fun right up. It’s lighthearted and comfortable until listeners pick up on the lazy skating through lyrics involving blood collectors, cannibals, and flowery rooms of corpses in “Do, Re, And Me.”
The band’s penchant for the comical dark seems to flow all too easily, as the acoustic-driven sound digs into the politely colorful fourth track “Coffin Dance.” Bonnette roves into acoustic Brand New territory, turning down to a mournful quiet contrast against the confident howlings of the earlier tracks. There’s a Ben Folds nonchalance that could place any number of PG-13 moments in mid-album ballads like “Getting Naked, Playing With Guns” or “I Wanna Rock Out In My Dreams.”
Early single “Kokopelli Face Tattoo” and “Best Friend” rebuild mid-album energy, both lo-fi Summer hits that are as easy to listen to as they are hard to swallow lyrically. Second single “Linda Ronstadt” sums up the overall mood of the album: fun drivers with an unabashed examination of humanity, society, and self.
Closer “Angel Of Death” is a brutally honest trio of minutes. Smooth rock organs and a plethora of diverse sonic flavors frame mouthfuls of observative lyrics, a tasteful look at life as Andrew Jackson Jihad. Christmas Island is mature, richly intelligent, and twisted in a funny, likeable way. It’s not easy listening, but you’ll laugh to yourself… and then think hard about life.
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