S . Y . M . O . N . N

Written By Simon Chisholm

‘Thistled Spring’ is Portland Oregon band Horse Feathers’ third studio album. Encompassing their indie folk style, Horse Feathers’ latest release sees them metaphorically thaw from their 2008 effort and embrace the changing landscape of the Spring.

Horse Feathers was introduced to me through the often-annoying ‘Recommended Videos’ sidebar on YouTube, while checking out Chaz Knapp’s band ‘Our Brother The Native’. I must have liked what I saw on that sleepless night, because not long after, I purchased the CD, without fully knowing into what I was investing. I would be lying if I said that was a terrible idea.

‘Thistled Spring’ is a chilled out, relaxing folk record that is sad and sombre, yet uplifting. It features dynamic melodies and accompaniment that are strangely hypnotic, lulling the listener into a comfortable state of mind. The songs flow easily from one to another, taking the listener along for the ride.

The layered instrumentation is sparse but effective. The layers build with the ebb and flow of the track, which is enhanced by the large amount of dynamic range. Harmonic change is used to create dramatic changes in the arrangements. It is the use of repetition of ostinatos that lulls the listener. The use of motifs on the piano and strings creates interest by providing accents, acting as a response to the vocal and moving the track forward.

The instrumentation has a very organic tone and includes; Piano, Violin/Fiddle, Cello, Banjo, some Percussion (Tambourine, Clicks, Crash Cymbals, Bass Drum, Glockenspiel), Acoustic Guitar, and Electric Guitar (Check the credits below for a full list). Each of the instrumental parts has a relatively simple part to play in each track, but in this case, the simplicity is all the more effective. There are a number of performance techniques used on each element of instrumentation, most noticeable on the strings.

Vocalist Justine Ringle sings metaphorically about love, springtime landscapes, drought and floods in his characteristic soothing, melancholy drawl. The vocal is not lazy, and it is not over dramatic. It is executed in such a way that keeps the listener engaged, without chewing up and swallowing the eardrums. Ringle’s voice has a strangely soothing tone colour. Counter melodies are provided by the strings, dancing around Ringle’s flowing vocal.

My overall thought of ‘Thistled Spring’ is that is just so relaxing. It’s like listening to the wind and rain tell you an epic story on a particularly refreshing springtime evening after hot, hard-working day and a hearty meal.

Horse Feathers is:

Justine Ringle – Vocals, Guitar,

Nathan Crockett – Violin, Saw, Vocals

Catherine Odell – Cello, Vocals

Also on Thistled Spring:

Sam Cooper – Banjo, Mandolin, Piano, Vocals, Harmonium, Accordion, Violin, Percusion

Lisa Molinaro – Viola

Victor Nash – Trumpet, French Horn

Released in 2010 by Kill Rock Stars.

Written By Simon Chisholm

James Blake is a British electronic producer and songwriter. After a number of E.P releases and rising fame, he released his self-titled LP in early 2011. I was introduced to the post dub step sounds of James Blake when my brother showed me a beautiful live performance of the song ‘Wilhelm’s Scream’ at the BBC.

James Blake creates sparsely textured sound-scapes using slow throbbing electronics, processed sounds, synthesisers, percussion and vocoders. The textures vary subtly based on the mood; the vocal and accompaniment layering define the arrangements.

The grooves and sounds are disjointed in some places, and at times the songs are harmonically dramatic. The overall sound is chilled out and easy to listen to. Being an electronic producer it’s only natural for Blake to make use of House-like beats and coincidentally house-like grooves. The backbeats feature some rather severe rhythmic pieces, most likely achieved through directly editing the waveform, and sampling. This severity gives some of the tracks a rigid, disjointed feel, and other times the accompaniment is relaxed and free; the contrast feels refreshing.

Blake delivers his vocals in such a way that it sounds like crying; there is a sense of strain and desperation. The melodies are sung at the top of his range, but not falsetto, giving that strained sound. The main body of the songs consist of vocal layering. The lyrics are simple, making use of repetition, layering, flowing melodic contours and melismas (one syllable sung over more than one note).

The main accompanying instrument is piano, whose performance is very dynamic in it’s use of volume, attack, flourishes and relaxed feel. At times the piano takes on a classic ‘pop’ role. Other accompanying instrumentation includes elements including clicks, pings, slaps, shakers, noise, and various sampled percussion sounds. There is a sense that a lot of the performances were derived from experimentation with sound and manipulation. The use of electronic sounds promotes interest in the backing tracks.

‘James Blake’ released in 2011 by ATLAS. Produced by James Blake.

Written By Simon Chisholm

I’m not a huge rap fan. Most of the hip hop we are bombarded with on the mainstream is about clubbing and ‘bitches’ and the whole thing just makes you ill. Steve Liriks’ LP ‘Pardon Me I’m Going Thru A Phase’ was recommended by fellow ‘What I’m Listening To:’ Reviewed Chaz Knapp, who also contributes to the accompaniment. Steve Liriks has created a rap/ hip hop album that is easy to listen to, and does not leave the listener wishing death on anyone who takes part in the making of ‘beatz’ and ‘spitting lyrics’.

The first thing I notice about Steve Liriks’ music is that its not a conventional four-on-the-floor back beat. There is actually some substantial instrumentation in the loops. The beats are groovy, using swing, and laid back feels; accents are syncopated. The beats aren’t overly complicated, they are only busy enough to serve their purpose, lay down the groove and keep the track flowing.

The instrumentation is fun. You get the impression that he’s spent time playing around and having fun with synthesizer sounds and effects. The fact that the sounds used aren’t conventional in a mainstream sense makes them interesting. The opening track has that futuristic sound typical of oscillating whirring synth sounds, and sawtooth leads. The accompaniment isn’t only electronic, there are some cool acoustic drum beats as well. Also, Chaz Knapp contributed some accompaniment arrangements for a couple of tracks.

Lyrically, Steve tackles themes including social commentary, dream chasing, philosophic life lessons and serious world issues. Setting him apart from a lot of rappers is his seriousness in lyric writing; Steve is not joking around, he is not trying to funny. Something that I admire in Steve’s performance is the high level of difficulty in which the syllables are phrased. The rhythm and phrasing of the words perfectly flows with the groove and is delivered with extremely clear articulation and diction; and he takes breaths somewhere in there too.

As an added bonus, “Pardon Me I’m Going Thru A Phase” is a free online release. You can download it here:

<http://www.djbooth.net/index/mixtapes/entry/steve-liriks-pardon-me/>

My favourite track is ‘World Ends’. For it’s message and the dramatic instrumentation and arrangement. This track is a fulfilling way of finishing the album.

Written By Simon Chisholm

‘Dark Is The Way, Light Is A Place’ is Anberlin’s fifth studio album, the second to be released on a major label. This release is in no way one of the typical pop rock ‘cookie cutter’ imitations churned out by major labels. In fact ‘Dark Is The Way, Light Is A Place’ takes a step back to bridge the gap between 2008’s ‘New Surrender’ (Universal Republic) and ‘Cities’ (2007. Tooth And Nail).

Typical of Anberlin, we hear easily flowing, catchy, melodies, memorable hooks, and classic harmonic change and progression. There are many layered sounds that do not clog the mix, even making the illusion of being sparse enough for the airy vocal to be prominent. Each element is important to the overall sound-scape, whether simple (subtle percussion) or complex (main guitar ostinato).

The songs are easy to listen to due to the approach of the instrumentation. The drums groove on what are almost dance beats, staying upbeat keeping up the energy level. The guitars have some very interesting atmospheric effects and flowing countermelodies, while the bass has a distinct crunch. Lyrically, the songs broach subjects of emotional turmoil, internal struggles, social struggles and relationships. The vocal makes use of some free flowing ornamentation.

The overall mix fills out the bass, mids and high frequencies very well, like hearing the full spectrum without a harsh assault on the ears. There is a lot of reverb present, mostly on the vocal, usually I would condemn this, but it really enhances the sound. There is use of sampling throughout. In terms of structure, there are common threads in each of the tracks; the songs tend to build up to the choruses and the outro choruses repeat with harmonies.

This is another quality release from an old favourite, and is definitely recommended to anyone who has ever heard on Anberlin before, and a great introduction to the band for any newbie. Put this album on, listen from start to finish and have a fun foot tapping time!

Anberlin are:
Stephan Christian – Vocals
Joseph Milligan – Guitar, Keyboards, Programming
Nathan Young – Drums
Christian McAlhaney – Guitar, Keyboards, Programming
Deon Rexroat – Bass

‘Dark Is The Way, Light Is A Place’ released by Universal Republic in 2010. Produced by Brendan O’Brien.

Written By Simon Chisholm

Four Year Strong’s fourth album,‘Enemy Of The World’, is a collection of ‘Summer Songs’, or what I’d call pop punk battle anthems. No matter what label you choose to put on it, this is music that will get you moving.

For me, Four Year Strong falls into the same vein as Set Your Goals, with the call and response vocal style, and the mixing of pop punk and hardcore. Different though are the vocal timbres; the voices are full bodied and powerful with a throaty crunch. The vocal is a screaming singing style, but not the typical style associated with ‘screamo’, the delivery is more of a yell. As well as the use of two vocalists, the band heavily uses gang vocals, providing what sounds to me like a battle cry.

Lyrically, the tracks are intensely positive. Just about every song tells a story about overcoming problems, chasing dreams, motivational chants and just being you.

The music is intricately layered, and each layer is very rhythmic and busy. The guitar provides the main harmonic movement and also supplies leads (sometimes there are two leads), while the crunchy bass shreds, and the chugga chugga drums bust out polyrhythms, heavily crashing on the cymbals and attacking the skins with ferocity; All the while the main voice and gang vocals yell catchy hooks over the top.

While I love the album as a whole (it can be enjoyed from start to finish or on shuffle) my favourite tracks include; On A Saturday; Wasting Time (Eternal Summer); and Enemy Of The World.

As a whole ‘Enemy Of The World’ is fast paced, high-energy sonic fun.

Extra Kudos for the beards.

Four Year Strong are:
Alan Day: Vocals, Guitar
Dan O’Connor: Vocals, Guitar
Josh Lyford: Vocals, Synth
Josh Weiss: Bass
Jackson Massucco: Drums

‘Enemy Of The World’ released by Universal Motown Records in 2009. Produced by Machine.

Also check out Four Year Strong’s 90’s cover album ‘Explains It All’

Written By Simon Chisholm

What We Left Behind’ is, in essence, an ode to all the negativity the members encountered in their hometown in Augusta, Georgia. Every track has a bitter feeling. The groups Sophomore effort explodes from your speakers.

The songs are fast paced pop-punk pump up music that will have you wanting to jump around. In keeping within the pop punk genre, the choruses are catchy, the rhythms are ‘dance-able’ and the tempos are fast and up beat. The vocals in classic pop punk style, heard easily in the phrasing and cadences. The themes covered by the lyrical content include bitterness, encouragement, honesty, selling out and fakers.

One aspect worth mentioning are the drums. They are huge. Brittany is a percussive powerhouse. I saw Veara when they came out for Soundwave (Feb 2010) and she blew everyone else away. While they are classic pop punk fun grooves, they also have a sense of intensity you feel in your gut.

The tracks are crafted nicely, with contrasting sections aiding to the ebb and flow of the lyrical content. The contrasting sections promote interest through chord and rhythm changes. You really feel the movement within a track when the rhythms change throughout. On the negative side, each of the songs sound very much like a part of each other, giving the album an abstract sound.

At times the singer pronounces some words a little funny. It works, but causes a kind of dissonance. He probably does this to fit the flow of the lyrics and rhymes. Look out for the opening line and the word ‘Frivolous’ in the opening track.

My B-Side Life

Veara are:
Bradley Wyrosdick – Vocals
Patrick Bambrick – Guitar, Vocals
Brian Kerr – Bass, Vocals
Brittany Harrell – Drums

Released by Epitaph in 2010. Produced by Jeremy McKinnon and Andrew Wade.

Written By Simon Chisholm

Easton is a band made up of a group of friends. It’s a project that is ongoing, a fun interim between the busy lives of it’s members. ‘H & H’ was released independently in the US summer of 2010. I was drawn in to this band by Elliot James, a former member of ‘Hey Monday’. This is a collaboration of five talented and passionate guys doing what they love, and loving what they do.

The first interesting thing about this E.P. is in the title, ‘H & H’. Looking at the track listing we notice that there is two tracks entitled ‘H’. As dramatic, film inspired instrumentals (an introduction and an interlude) the ‘H’s act like bookends, separating the tracks and also cleansing the ‘auditory pallet’. This interesting concept lends the song titles to the name of the E.P. ‘H & H’. An interesting concept.

The production and engineering on this release is fantastic. All of the elements are full sounding and strong. The songs have been crafted to allow each member to show skill. Each instrument plays interesting parts that compliment each other and contribute to a thick, full, busy and moving texture.

I love the drums sound, it is sharp and full. They manage to fill up a lot of the texture. They are very busy, playing beats that utilise most of the kit and smashing out copious amounts of fills. Elliot’s drumming is most definitely the backbone of the tracks.

The bass is strong and powerful, supporting the groove supplied by the keys. The keys and synthesisers add a lot of ornamentation, and flits in and around the other instrumentation without getting in the way.

All of the tracks are likable and are an enjoyable listen. The songs are high energy and fast moving, with a sense of urgency in the vocal style. The boys make use of interesting rhythms and grooves, creating catchy hooks and danceable anthems. There is constant movement in the harmonic change, using altered riffs and passing notes. There is some evidence of experimentation with sounds and electronics in ‘H(1)’ and ‘H(2)’

The acoustic and bonus tracks are a nice inclusion, filling out the E.P. and adding interest and highlights to the dynamics of the band. The B-Side ‘Bittersweet’ is a track that contrasts to the rest of the songs. It features a number of vocalists, who I assume are all of the band members and possible guests.

Easton are:

Elliot James, Marc Ryan, Chris Martin, Skyler Mondell with help from Jeremy Michaels

Released Independently in 2010. Produced by Easton and Co-Produced by Matt Laplant.

Get H&H here: http://easton.bandcamp.com/

Written By Simon Chisholm

I know I’m late to the party, but sometimes it takes time for music tastes to evolve, and to save enough money to purchase music; but the cost of music is a discussion for another time and place. An old friend showed me some of Tegan and Sara’s music years ago, and also personal hero Hunter Burgan (of AFI) is friends with and has recorded and performed with the girls. Now that I’ve had a chance to listen hard to this album, I wish I jumped at the chance years ago.

‘The Con’ is not your usual brand of pop music. While the hooks and choruses are catchy, and the harmonic progressions are the typical intervals, it has a disjointed quality. There are times when the melodies and the arrangements are more erratic than is traditional.

Lyrically, the songs are open to personal interpretation by the listener, and that’s beautiful. While the melodies are easy enough, in order to follow the lyrics correctly, further interrogation of the CD booklet is required. Not all together a bad thing, delving deeper into the words can be enlightening, highlighting lines you would never have picked otherwise, or altering the phrasing and flow of the ‘story’. The songs translate a lot of personal expression of emotions and feelings.

The main instrumentation are two harmonised voices of Tegan and Sara and their two steel string acoustic guitars. There is an intensity to the execution of the guitar parts; a combination of the performance and the timbre of the instruments themselves. As well as that, most of the songs also make use of full rock band accompaniment playing interesting polyrhythms a lot of the time. There are synthesisers throughout the tracks that add a cute quality to the accompaniment.

The vocals are executed with a sense of intensity and passion. While the main vocal seems desperate, the backing vocal seems as though it’s not bothered by the course events. It’s almost like a conversation is taking place between the two vocal tones. I love the harmonies in the vocals and their use of counter melodies. I also like the urgency in ‘Are You 10 Years Ago’ and that it is underlined by a second slower vocal line. At times the girls sing in falsetto, and when they do is sounds almost like a kettle whistling.

The guitar tone is very percussive. Having been mic’ed in such a way that a lot of plectrum noise is captured. It is also a quality of steel stringed guitars. Some guitar motifs have an almost western quality

I really like this album. Pretty much every track made it on to my ‘notable tracks’ list and given the fact that there are 14 tracks that is saying something.

Released in 2007 by Sire Records . Produced by Christopher Walla, Tegan Quin and Sara Quin.

Written By Simon Chisholm

‘Fixed At Zero’ is Florida band Versa Emerge’s debut LP. The best way to sum up this music is to call it progressive pop rock. A progression from 2009’s Self-titled E.P. the trio (now duo) have polished off their song writing, performance and production chops to create a hard hitting progressive album with a pop punk backbone.

The music was definitely written and arranged by Blake. It is typical guitarist music, being a bit wanky at times. Each of the tracks features some rather intricate arrangements of instrumental parts. The accompaniment goes further than the typical rock band scenario, making use of harmonised and layered vocals, strings, synthesizers, programmed percussion and electronic nuances. The guitar work has a push and pull with the string sections, almost fusing the sounds for an epic layered tone. The harmonic changes are strong, causing the tracks to rise and fall dramatically and take the audience along with it. While the tracks are relatively busy, the texture is sparse enough to allow the listener to appreciate even the smallest element in the sound.

Sierra’s vocals are a strong, solid effort, using a variety of different timbres. Blake’s performance is transparent in contrast. The melodies and hooks are catchy. The lyrics seem to aim at being deep and metaphorical, and they are. The subject matter seems to focus on angst, inner turmoil and motivation.

The level of production is high. There is a lot of processing, including heavy quantization, causing it to sound very shiny and plastic. Having such complex layering of instrumentation and processing one would think that being bombarded with so much sound would be tiring on the ears. On the contrary, the LP has mixed in such a fashion that your ears are filled with sound, without any fatiguing or headaches.

The songs on this album are a mixture of styles and emotions, which create a mixture of implications. The notable tracks I have chosen include: ‘Figure It Out’, Fixed At Zero’, ‘Fire (Aim Your Arrows)’, and ‘Your Own Love’. The final track, ‘Lost Tree’ sums up the record by returning to key elements of each track and dancing around them. This gives the artists a chance to really show off their performance chops. It’s a nice way to conclude the album, almost like we’ve on a journey, and the final track is analysing and replaying the twists and turns in the road.

Versa Emerge are:

Sierra Kusterbeck – Vocals