Independent Clauses | n. —unusual words about underappreciated music

MASSIVE SINGLES DROP

January 29, 2014

A ton of great singles have come my way in January, so I thought I’d put them all in one big post arranged quiet to loud. Enjoy!

MASSIVE

1. “Pacific (Acoustic)” – Indigo Wild. Were you looking for a rolling, intricate, acoustic mountain jam? Like Fleet Foxes if they were less hazy, this will make you long for the pines.

2. “Anna” – Daniel G. Harmann. After graduating his solo project The Trouble Starts up to a full-on rock outfit, Harmann gives old-school fans a few tracks that hearken back to his early, dreamy days. His trembling, soaring voice over spare guitar chords is just wonderful to these ears.

3. “Alone You Stand” – Fairmont. A mysterious, even a touch ominous, tune anchored by ghostly marimba and poignant duet vocals. (Check a full review.)

4. “Slow & Easy” – Scott H. Biram. Less gospel and more ominous vibes mark the second Biram single off Nothin’ But Blood. It’s still incredibly engaging, what with the crisp production and Biram’s voice.

5. “Celeste” – Ezra Vine. If you’re of the opinion that you can never have enough hand claps, whoa-ohs, and happy melodies, raise your hand. Then lower that hand and click on this peppy, wonderful tune.

6. “Girl Don’t Fight It” – Phone Home. Optimistic, keys-heavy, proggy indie-rock in the vein of Fang Island, And So I Watch You From Afar, and others. It’s giddy and heavy and intelligent!

7. “Planets” – Little Earthquake. Peppy acoustic-pop + massive MGMT synth melodies = this unique song.

8. “We Fall Down” – ASTR. Fans of Icona Pop, take notice.

9. “Violent Shooting Stars” – Robot Princess. Mostly RP is a heavy, exuberant, video-game-infused garage-pop band (WEEZER FOREVER!!). This track puts them more in a pensive mood (at least for them) before ratcheting up to some stomping guitars. Get your power-pop on, dudes.

10. “Bird in the Water” – The Trouble Starts. Harmann’s band, throwing down pop-rock a la Snow Patrol. This would be fun to hear live.

11. “Tangle” – Acid Fast. Starts out with a nostalgic, emo-esque half-time section, then blasts off into a punk rock second half. The melodies bounce off those basement walls with almost more cymbals and passion than you can handle.

12. “Countermanded Orders to Preserve the Space-Time Continuum” – Heavier Than Air Flying Machines. Frantic, spazzy rock reminiscent of At the Drive-In or Coheed & Cambria; I’m always impressed at dudes who can soar vocal notes like that while pounding through heavy riffs and drums.

Heavier Than Air Flying Machines throw down chaotic post-everything

December 21, 2011

It’s amazing the amount of racket that can be made with a distorted bass guitar. Heavier Than Air Flying Machines‘ wild post-punk/post-hardcore attack has a wicked bite due to the thunderous lines laid down by bassist Jeremy Pyne. The guitars are still an integral part of debut album Siam, but vocalist/guitarist Jaymes Pyne has much more influence as the acrobatic throat of the group than a fretsman. His bombastic vocals stretch from the theatrical caterwaul of System of a Down’s work [“Follicle Gang (Green)”] to the shrieking falsetto of The Darkness (“Folio Verso”); The only constant is that they are forceful the entire time. (The group yells so often used are manically enthusiastic as well.)

That piece can be extrapolated: HTAFM is almost always forceful on Siam. The only exception is “Abacus Abacus,” which trades At the Drive-In/Death From Above 1979 comparisons for Bloc Party ones. It’s a nice break from the near-constant chaos of the album, and they connect it to their primary sound through a breakdown/chorus thing. They then slap listeners in the face with the banging sheet of distortion that is “Relativity,” just in case you were getting soft.

But while that’s the closest BP comparison, there are other dance-related elements peppered throughout. “Ascent of the Iron Talmud” throws down a nearly-funky bass groove, while “Malleable In So Far” has a staccato swagger that could pass as the dancy end of Spoon if the bass weren’t fuzzed out to the maximum.

But those are the outliers. The majority of this album is spazzy, energetic rocking, from the intimidating pacing of opener “Bedlam.Twain.Control.Towers” through the ratatat of “Vitiated/Continental” to the doomy crush of closer “Catastrophe I Castigation.” The totally sincere Heavier Than Air Flying Machines explode with a profoundly dangerous sound, and that makes Siam incredibly attractive. Rage against the machines, indeed.

Stephen Carradini and friends write reviews of bands that are trying to make the next step in their careers.

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