I’ve been covering More than Skies for a while, because their blend of folk, indie-rock, and emo/punk is a unique one. On their self-titled double album, Adam Tomlinson’s brainchild sprawls out in all directions, delivering a powerful sound that encompasses all three of its genres on a spectrum. The band is adept at switching between the three within the same song, often staging them back to back for maximum effect. Their adherence to any particular sound is only so great as is called for by the tune: The emotions powering these tracks are what dictate how loud or quiet they should be. This allows center stage to be taken by swooping cellos, soaring violins, crunchy electric guitar riffs, gentle finger-picked acoustic lines, and Tomlinson’s creaky voice at different points throughout the album.
Tomlinson’s voice is an important point here: his nasal vocal tones aren’t hidden in any way, shape, or form. People who like the vocals (which could be compared to those of MeWithoutYou’s Aaron Weiss, Neutral Milk Hotel’s Jeff Mangum, and early John Darnielle of The Mountain Goats) will have a great shot at loving the record; people who aren’t down with atypical vocal styles might struggle a bit. A second make-or-break point is its titanic length: it’s a full 24 songs, and they aren’t short tunes. This album runs almost 100 minutes. Settle in, friends.
However, if you’re into it, you’ll be very into the total scope of the album: wild, moody, frantic, despondent, and everything in between. Tunes like 8-minute closer “New Year’s Retribution” show off the impressive range of emotion that More than Skies is capable of, moving from gentle folk to string-accompanied indie-rock, then to unaccompanied acoustic guitar, before ramping back up in a punk/emo style (but with soaring strings on top of it). It’s an uncompromising, adventurous song that encompasses this spirit of this uniquely realized release. More than Skies drops March 24.