Lights & Motion‘s Dear Avalanche delivers more of the high-drama, major-key post-rock that composer Christoffer Franzen has come to be known for. Fans of this style of post-rock already know what to expect from a Lights & Motion album, and Franzen does not disappoint: there are a lot of delicate melodies that grow into giant codas, big explosions of sound, and pounding percussion.
There are a few new touches (or old touches with new emphasis): Vocals appear in standout “Silver Lining,” which will appeal to fans of Sigur Ros; “Perfect Symmetry” includes some intriguing patterned piano playing; “DNA” is a stomping, aggressive minor-key piece. Beyond these small changes, Franzen sticks to what works: closer “We Only Have Forever” opens with a celebratory guitar melody underpinned by punchy drums and big pad synths, then grows to a giant, revelatory conclusion. Fans of enthusiastic, cinematic post-rock will find much to love in Dear Avalanche.
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Jake McKelvie‘s The Rhinestone Busboy EP is an alt-country record mostly because of the tone in which he sings and the lyrics he pairs with his traditional, spartan country arrangements. If McKelvie had a baritone drawl, this would be pretty close to vintage country. Instead, McKelvie’s voice is a wobbly tenor, and his lyrics include lines like “‘Cause I flat-out can’t kiss you with food in my mouth” and “I’m a brutal believer, you’re a tongue-tied late teether.” There’s a tension between these two elements, with neither the “alt” or the “country” winning out.
Instead of sounding goofy or unrealistic, McKelvie’s slightly warped delivery and alternately quirky/incisive lyrics are lent gravitas by the precise guitar strum and subtle arrangements. The results are a set of tunes that sound like a usually-cheery person trying to cope with a broken heart, trying to be mature about things but really just not wanting to. Like this set of lines from standout “Fantasy Team”: “And it’s time for me to leave / To practice my cursive and eat lots of ice cream / And buy a new weight set to leave / In the box that it comes in and draft my new fantasy team.” Pretty real, man. If you’re not into stark alt-country, these six tunes may all sound similar; but if you’re a card-carrying sad-song-person, this one will be a great friend in your next sad-song-binge.
Side projects can be confusing whims, cross-genre experimentations, or weird one-off collaborations. They can also be unhurried, easygoing works that reveal new facets of musicians.
Tim Carr‘s The Last Day of Fighting has that unhurried ease in spades. His indie-pop/folk album has overtones of French pop in the meandering vocal melodies, airy guitars, and lazy rhythms; these together create a short album that’s relaxing to listen to. “Easy for Me” is not just a fitting title to add on such a flowing album, it’s a standout tune that sees Carr’s room-echo vocal performance mesh beautifully with a rolling, tumbling acoustic guitar performance. Carr’s sleepy-around-the-edges tenor recalls Paul Simon’s at times in this Simon and Garfunkel-esque tune. “Beyond You” and “The Last Day of Fighting” also show off his folky bonafides, while “Kindred One” has some rhythmic alterations that give the tune a different, slightly African feel.
No matter what track you’re listening to on The Last Day of Fighting, you’re sure to hear some relaxing, enjoyable acoustic music. Lots to love here.