Ben Fisher‘s Roanoke EP comes on the heels of his 2011 debut album Heavy Boots and Underwoods. The latter showed flashes of brilliance and foreshadowed a bright future for folk-singer Fisher; Roanoke is where he starts to build on that foundation. Since The Tallest Man on Earth’s nasally voice is a high price of entry, opener “You’re Gonna Make Me Lonesome When You Go” becomes instantly likable by aping Kristian Matsson’s carefree strum and pairing it with Fisher’s low voice. “Dublin Blues Pt. 2” puts some forlorn but interesting lyrics into a country mold, with good results. But it’s “Hibernation” that sticks with me, as the gently fingerpicked tune sounds like a calmed-down Tallest Man in both the vocals and the guitar. The melodic flourishes that fill it out give a sense of Josh Ritter-esque gravitas, while not feeling too much like a Ritter tune. The title track is a high-desert tune with pedal steel, shakers and a wide-open feel; “To Conclude…” is a quiet strummer, but the vocals push a little hard against the gentle track.
That push and pull between gentle and intense is where Fisher lives on this EP (his bio says that he “tends to bellow”), but he doesn’t turn gentle songs into roars (like Damien Rice) or speed them way up (The Tallest Man on Earth). Instead, he fills his gentle performances with a confident energy. It’s a tough thing to explain, but that’s why it’s great: it sets Fisher apart. I’m looking forward to more tunes from Fisher, as Roanoke is a satisfying chapter in Fisher’s songwriting that points towards more good in the future.
White Blush‘s bedroom electronica is of the claustrophobic, moody and sparse type. I’m not too familiar with the genre, but I checked it out due to the Portishead connections I heard in the sound. Carol Rhyu’s music is much more mellow and free-flowing than Portishead’s lock-step trip-hop, but both share the ability to traverse in dark sounds without sounding particularly evil or sad. They just like hanging out in the nighttime, it seems. “Without You” builds from some fragmented melodic elements into a swirling, pensive tune. “808 Myst” is an eerie sort of chiptune piece that traffics in the same moody vein as “Without You,” while “Wait” is a stark tune that strips her sound down to vocals, a casio and soft rhythmic thumps. It’s oddly intriguing, just as the other two tunes. White Blush has delivered three beautiful tunes here; fans of ambient or other quiet electro would really enjoy this.