take a listen.

The Lumineers – Cleopatra

I was sitting at Culver’s with my roommate one night and I told him that I have this habit of hopping on the bandwagon of good music, late. As a result, I kick myself for a moment, thinking, “What have I been missing out on??” I say this, because I am catching onto The Lumineers kind of late… what have I been missing out on??! They’ve been a functioning band for the better part of a decade, using personal tragedy to write affectionate vingiettes that culminate in their debut self-titled album. Though I didn’t get too much into it aside form songs like Slow It Down, I appreciated The Lumineers knack for artful folk music. I heard a lot of buzz about their forthcoming sophomore LP, Cleopatra, so after hearing singles like Ophelia and the title track at my favorite coffee shop in Winona played on repeat, I intentionally sought this one out upon release.

Cleopatra is an effluent indie affair, buoyed by a sort of timeless soul that brings you back to smoky bars and rootsy Americana imagery strapped to leather boots, rumbling piano registers, and Wesley Schultz’ throaty vocals. This is a fun record and its accessibility gives a lot of replay value. I can’t stop nodding my head or wanting to belt out the chorus to Angela, bounce along to the dizzying piano arpeggio in Ophelia, and clap along to the stomp of the title track.12654337_10153292167941332_5061469366406380348_n Other songs like Gale Song, My Eyes, and Long Way From Home express a more musically stoic side to the band, settling for hollowed out lo-fi guitar tones that draw you into an intimate experience. Patience gently closes the record with a piano instrumental that fades into soft keys. I can best describe The Lumineers as an emotional storm in a teacup. Though, their songs have a lot of musical build up and strong lyrical imagery, it never reaches the point of being melodramatic. Overall, I feel this album is more subdued in its presentation than its predecessor and therefore makes it a more convincing and enjoyable listen for me. All of this is bolstered by effective production that captures the heart and soul of a sound that the band is aiming for. The echo chamber sounding vocals, subtle string accompaniments, and organic guitar tones make this record shine.

Though Cleopatra retreads recycled lyrical themes of young love, women, and relationships, the band finds a refreshingly innocent twist to such subject matter. They weave really dark narratives in between them, like on the title track. It’s almost like I’m watching film noir at the Sundance Film Festival.

Bottom line, go listen to this album if you need to feed the softer side to our musical soul. It’s an easy listen that I’m still sinking my teeth into.

 

Invent Animate – Stillworld

Modern, progressive metal is running out of original ideas. I hate saying it, but evidence of this is quantified by the new wave of records released from this subgenre this year. Though many of those albums are enjoyable and I actually like a lot of them, I’ve come to this conclusion that most of it is beginning to live in a shadow cast by its forerunners from the late 2000’s. But, if there is any sort of dying artistic breath from this renegade platoon of metal bands (other than Architects or Shokran), Invent, Animate does not go gentle into that goodnight.

I reviewed their debut album from Tragic Hero Records, Everchanger, last year. I especially liked how that album soldered ambient overtures from the likes of Helios with a Singularity era Northlane vibe and I still enjoy that album a lot. The good news is that their anticipated and well-received sophomore record, Stillworld, expands on a familiar formula from Everchanger that is further honed and perfected.13240590_1291634440857984_1190591693122597874_n Many, if not all of the same elements from Everchanger carry over to Stillworld, making this like a software update with a few tweaks to an already solid platform. Indigo kicks off this record…. absolutely insane! It touts some of the catchiest riffing, flows well between the soft and harsh passages, and in my opinion does the best job of stratifying Invent, Animate’s mission statement. Other tracks like Darkbloom and Soul Sleep showcase this juxtaposition from the insanely heavy to the suddenly calm and atmospheric, and White Wolf has by far the catchiest and most forward chorus/clean singing the band has written yet.

Lyrically, this album muses familiar territory from Everchanger – abstract allegories of faith, doubt, finding purpose, etc, but with that said, they’re written well and have some legitimately awesome lines to scream along to. Furthermore, I think this is a very well produced record and balanced record. The bass rumbles behind chugging guitars, the clean chromatic tapping comfortably coalesces with the rhythm, the drums are crisp, and the vocals are well placed.

I’m still head banging and power stomping my way through breakdowns and sweeping passages on this album and don’t anticipate putting it down any time soon!

 

King’s Kaleidoscope – Beyond Control

In my musical mind, King’s Kaleidoscope fit comfortably into a category of Contemporary Christian that follows in the lineage of Michael & Lisa Gungor, Rivers & Robots, Citizens & Saints, and Dustin Kensrue of Thrice – artists positioning themselves on the fringe of their own genre who craft honest, thoughtful, and transparent music reflective of their trials and triumphs in faith. If you’ve read this blog before, you might understand the stance I have on “Christian” music, but for the purpose of a good album like this, I don’t feel like that commentary is warranted.

Enter Kings Kaleidoscope.

I really didn’t have a lot of knowledge of this band outside of their former affiliation with Mars Hill Church in Seattle and (what I’m going to term as) their “dope-tastic” cover of In Christ Alone, but that was until I was tipped off to their new record, Beyond Control. My shotgun consensus…

Weird, but really good.

Upon first impression, this album feels like a B-side of experimental mastered material tossed into obscure cloud files and then sold as an extended play, but when you pay attention to the subtleties, Beyond Control is decorated with textured layers of soundscapes and shifts in style that still fit within a cohesive musical narrative. This album gives itself a lot of room to take some risks and because it doesn’t take itself too seriously, 13344507_1278219798878738_7414307795631577230_nthe band pulls off every stunt well. Out of the gate, A Resting Place sounds like organized orchestral chaos that I would find on the local classical station, but transitions into Enchanted, which sounds a bit like A Head Full of Dreams era Coldplay coalesced with the eccentric funk of John Mark McMillan’s Borderlands. Other songs like Lost? Strip away layers for a more simplified experience with acoustic guitars and orchestral synthesizers filling out the sound. Dust is a neo-jazz banger with an accompanying choir arrangement behind the chorus that captures the soul of traditional gospel music. In This Ocean Part 1 follows suit but has what I think are the catchiest melodies on this entire record. I think that speaks to the production of Beyond Control, because it is dense but not bloated. Even when this album reaches these bombastic moments in the arrangements, there’s enough variety and creativity in it all to make it justified.

Surprisingly, Friendship, is my highlight on Beyond Control. It’s a near three-minute instrumental interlude that’s led by piano, drums, and a French horn that swing you back and forth in a jazzy daze. Not only is the instrumental awesome, but throughout the track you hear members of the band commenting on cool licks made by the horn player, cracking jokes, laughing, and casually singing along with the melody. It’s playful. It’s a fun break in between what is otherwise a lyrically powerful (albeit vulgar at one point on A Prayer) sojourn through doubt, triumph and even social dejection from social media as discussed on Enchanted.

If you want to look up some wildly creative worship tunes that you can have some fun to, look no further… to quote the band from a moment in Friendship, “Whoah! That was sick!”

 

Explosions In the Sky – The Wilderness

People who know me best understand the love I have for this band and their ability to create moving, emotional oceans of nimble guitars, cathartically executed kettle drums, and crecendos reminiscent of classical movements that take you on a musical journey. If you’ve read this blog, then you’ve probably figured out why a record like The Earth Is Not a Cold Dead Place really needs no introduction. It will forever be a musical triumph that sits on my catalog’s throne. Now, their last full length album before The Wilderness was shockingly disappointing to me and in such a way that made me not even give that album a full listen. Maybe I’m being too hard on it and maybe it has to do with the fact that I place some of their earlier work with such high esteem, but it sounded like they were exhausting ideas and trying to pull you inwards to a more intimate atmosphere than before. In between albums, they have since written a few soundtracks, all of which showcased Explosions branching off into different soundscapes and experimentation all while still signing and sealing them with signature and familiar elements I know and love. I reviewed the first single, Disintegration Anxiety that showed off a distorted flurry of warped guitar tones and electronic sampling that caught me off guard at first, but was something I warmed up to over time. It felt like a breath of fresh air that I haven’t heard from a band in this genre in a while… and that’s the best way I can describe The Wilderness.

Fresh, but familiar.

Disintegration Anxiety is an appropriate sounding appetizer for an album laced with electronic filigrees, glitchy percussion, and a palate of different soundscapes. One of the best features of The Wilderness is that the band released a collection of still images captured by members and crew over the course of 17 years worth of writing, recording, and touring that inspired each of the nine tracks. Listening to these songs and pairing them with the images gives a more intimate view into the band’s imagination. For example, the opening track, Wilderness, is drawn from an image taken late night at an airport concourse in Europe with a focus on the gate sign reading, Austin. The band wrote about how it was a reminder that after being on tour, they were almost home. You can almost hear that sense of longing to return to their 12509094_10150599760549987_5072979378544854382_nroots when you reach the end of the track and hear a twinkling guitar loop that fades out to the end, reminiscent of their early work. Rather than crafting something with the flow of a classical piece like the rest of their discography, they wrote something more straightforward and spliced that still retains the same musical meta-narrative – much like different scenes in a film. Logic of a Dream reaches the most cathartic heights with these orchestral crecendos that sound like something off Hans Zimmer’s work in Interstellar, and Landing Cliffs ends the record hushed and spacey with atmospheric synths cradling gentle guitar chords.

This album had to grow on me, because it’s a sonic departure from albums that I’ve loved from the band. However, this new style they’ve embraced is in some ways even more emotional than other work. I don’t know how else to describe this, but I’ll end with a quote from Pitchfork writer, Brandon Stousy, about his thoughts on The Wilderness…

Because the group has done so much soundtracking, it’s difficult when listening to The Wilderness not to think of images that could go with these songs. Instead of making music for dramatic moments in football games, we’re getting sunsets you’ll remember a decade later, stumbling first kisses, half-heard car alarms during a comforting dream, that horribly unreal and frozen moment when you first hear a friend has died, walks alone at dusk, laying on your back and watching the constellations with the person you want to grow old with, the calm of seeing a loved one sleep. These songs feel personal. They tug at important moments.”

 

 

 

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Red Rocks Worship | The Rooftop EP

Placing roots just outside the mile high city, Red Rocks Worship is a collective of musicians who are on the worship team for Red Rocks Church in Littleton, Colorado. One of my roommates found a link a mutual friend of ours shared of the group’s latest EP recorded in a single session from a rooftop in downtown Denver. He started playing the last song, All I Want, and all of us were hooked. The finger plucked chord progression that transitions into stellar vocal performances, a surprisingly thick bass line, and well balanced percussion drew me into this record, because it brings worship into an inviting, intimate atmosphere. At this point in my life I can enjoy a big crowd with bombastic instrumentation in a packed sanctuary, but I’ve found that sense of the organic in times of worship with a few friends with nothing more than an acoustic guitar become some of the most memorable moments. The project starts out with Fill This Place, which begins dimly with bells, piano, and a guitar that sounds like it was recorded on a rainy day with Joshua Radin or The Weepies, but strong bass drums, and a robust set of musicians built this up into a release in electric guitars and powerful vocals. One Great Passion is the stylistic middle ground between the two, keeping a mid paced tempo and putting a foot in both poles on this album – ranging from the soft and acoustic to the big and booming. In the times I’ve reviewed worship music on this blog, I’ve always had to tag on a disclaimer that discusses my sentiments about worship music being corporatized and 12321567_1567863050129930_7679414217313514340_n ergo reduced to radio “hits” that carry little artistic merit. I still hold those assumptions to a certain degree, but the truth is that there is some well crafted worship music that’s been resuscitated by groups like Hillsong and Bethel. You just have to go looking for it. Other groups like The Dust of Men, Rivers and Robots, and Gungor have made prolific worship albums that are honest and heart filled. This is another one of those records that I can honestly say is convincing. Now that I’m in a spot where I’ve experienced some legitimately powerful times of worship, this kind of music is really starting to grow on me. Lyrically, this EP treads waters that are pretty familiar to most worship albums, musing through the sovereignty of God in difficult times and praise, but the highlight for me is a line in All I Want – “steal away my selfish gain, bringing Glory to Your name.” Being someone who wrestles with pride as part of my process of recovery, this line resonated well, especially when it’s back dropped against well-written music. The production quality reminds me of how well Bethel’s last album, We Will Not Be Shaken (everyone and their mother who likes worship music must listen to that album…. Even if you’re not into it that much, it will rock you), was done for it being a live record. After gaining insight from a good friend of mine about the engineering process behind live albums like such that involves additional synths to thicken the ambiance, the finished product can only be as good as the heart and soul of the original takes. My point is that this was recorded on a rooftop in a downtown district, which means the acoustics are not going to provide the same control as a studio environment, but they’re still stellar! Overall, this is a really diverse EP that has tunes good for a range of moods, environments, and moments of worship. I would definitely give this one a listen and an add to any worship playlist!

Oh, and honorable mention goes to a live version of Pursue (<—- LINK!) that’s mashed up with All I Need Is You from Hillsong Young & Free. I can only find it on Youtube and I have to give a shout out to my roommates for playing this!

 

Explosions In the Sky | Disintegration Anxiety

Aside from a few soundtracks written for a couple of Sundance films and Lone Survivor, I have been enduring radio silence from my favorite band for five years since they released, Take Care, Take Care, Take Care. After dwindling patience, quintessential instrumental rock outfit from Austin, Texas, Explosions In the Sky,12509094_10150599760549987_5072979378544854382_n.jpg have released a new single from their forthcoming record in April, The Wilderness. I’ve heard it said that post rock is limping from a lack of ingenuity since the late 1990’s and early 2000’s – basically that the genre is running dry on fresh ideas that are now being lathered, rinsed, and repeated nearly two decades since its prime. While, bands like Mogwai, If These Trees Could Talk, Godspeed You Black Emperor are maybe falling back on certain formulas that gained them notoriety, other groups like The World Is a Beautiful Place and I’m No Longer Afraid to Die (say that one five times fast) and Foxing are soldering post rock with emo and even punk to inject it with a shot of adrenaline. Now, Explosions, one of the premiere groups in this genre is turning it upside down… with electronica? I was honestly expecting the familiarity of shimmering guitar tones back dropped against field snare percussion, and bombastic crecendos, but instead Disintegration Anxiety begins with thick electronic sampling that combusts into a chaotic flurry of guitars and bass that remind me a lot of Kasabian and even some of the new Switchfoot. Dare I say it’s a bit of a head banger and I actually like this direction that the band is taking with this song that seems to go against the grain of the monotony of originality. It’s stylistically shedding skin without sacrificing any of the ambiance and build up that these guys are Jedi Masters at. I look forward to the rest of their album in April! Listen to it. It’s good. Like… really good.

 

Fit For an Autopsy | Absolute Hope, Absolute Hell

Hailing from the Jersey Shore and signed to eOne Music’s menacing roster, Fit For an Autopsy sank their teeth into deathcore when it first became a divisive sensation amongst metal fans in the mid 2000’s. Regardless of the particular subgenre’s fidelity, Fit For an Autopsy established themselves as heavy hitters to be reckoned with on the back of their slamming debut – The Process of Human Extermination (talk about family friendly title). While I was never into this band even during my most scathing phases of musical interest, they managed to weave their way through the underpinnings of some of my favorite heavier metal acts, like Whitechapel. Many of the bands I used to really be into all cite Fit For an Autopsy as a common denominator influence, so in a sense, I have to tip my hat to these Jersey boys for having a musical hand in a core section of my catalog during high school. What tipped me off to their new album, Absolute Hope, Absolute Hell is lead guitarist, Will Putney. Armed to the teeth with prolific production ability 12063694_1010270315670338_8148475741185813042_nand a crafty ear for catchy hooks with a lot of grit, Putney has been the man at the helm for some of my favorite bands, including Counterparts and Hundredth. In fact, I got the chance to talk to one of my favorite bands For Today‘s lead guitarist, Ryan Leitru, last October at their show in Minneapolis about what it was like for them to have Will Putney produce their new record. Leitru had nothing but good things to say, so it peaked my curiosity to see how he handled it with his own band. All of that talent dimly shines through an otherwise dark and visceral record. Absolute Hope, Absolute Hell undoubtedly lives up to the second half of its title with a calculated, down tuned storm of guitars, pummeling percussion, and a powerful vocal delivery from Joe Badolato. With plenty of breakdowns to go around for 40 minutes, this band has not completely shed the skin of their deathcore roots, but they make up for that with shrewd creativity and melodic tendencies on songs like Ghosts In the River, Out to Sea, and Swing the Axe. Other tracks like Wither and False Positive put the record in fourth gear and crank the intensity to warp ten with black metal influenced savagery. Lyrically, this dives face first into recycled, nihilistic themes of hatred and corruption, so I don’t connect with anything. For what it’s worth, this record tickles nostalgic tendencies from late high school and junior college when I was able to stomach bigger doses of it. Though I don’t find anything to resonate or leave a long lasting impression, it’s a brutal listen, written well, and has some earworm guitar licks. Check it out if you want to mosh with your friends in a living room (Trust me, it’s fun).

 

Sons of the East | Already Gone EP

Back with a set of new songs packed for a journey through a half hour of nimble acoustic/folk, Aussie trio Sons of the East have been slowly leaving musical footprints around the other corner of the world with old school folk flourishes and even a touch of their roots with indigenous instrumentation that will make you stomp your foot to the kick drum beat of songs like, Miramere. Acoustic/folk reminds me of hip-hop. A lot of contemporary artists within the genre can trace their sounds and influences to a handful of game changers who wrote catalytic and memorable music that still leaves their fingerprints in the thank you sections of records. Acoustic/folk is very similar. It lives in a house that Bob Dylan, Neil Young, and Crosby, Stills, and Nash built with mainstream success and 1374964_940893175995257_729486520242907147_n.jpg was given a renovation/facelift with modern artists like John Mayer and James Morrison. Though Sons of the East doesn’t join such prolific mainstream ranks of anyone previously mentioned, they for sure have the former to thank for paving the way for their style. Sons of the East definitely tip their hats and guitar picks to the legends that proceed them with the trademark elongated enunciated vocals of Bob Dylan from Nic Johnson and garnish their rootsy sound with the likes of Fleetwood Mac. Already Gone takes a lot of what really made me like them on their previous release and then reaches out in some different directions that still make for a cohesive listen. Songs like Into the Sun showcase the use of electric guitars and let Jack Rollins have a crack at the drivers seat leading vocals, which is a really nice change in pace. The title track is an upbeat ballad that begins with the tenor of Gregory Alan Isakov and includes some old key organ parts in the bridge that throws the song back to the 1960’s. The project continues in lineage of songs from their previous EP on tracks like Head For Home and Jacaranda Tree, both of which are packed with rich sounding tones and beautiful complimentary pianos. The Farmer speeds up the pace by the end of the album with a lively toe tapper reminiscent of anything from Mumford & Sons first two albums. This EP is a lot better produced and has more scope to it. It sounds fuller and the best part is that it doesn’t take away from the sense of the organic. Overall, I really enjoy this EP and the experimentation taken from the last release. I would highly recommend this album for anyone who wants some good acoustic tunes for coffee shops, windows down in the summer, or… yeah. Pretty much anything.