Brother Moses‘ sophomore EP Legendsbuilds on their debut Thanks for All Your Patienceby upgrading the sonics of their rubbery, laidback, Spoon-meets-Pavement indie-rock. Their debut EP was almost preternaturally chill; Raymond Richards (Local Natives) gives their sound some punch, while not losing their goofy, waltz-through-it-all charm.
The easiest place to see this is in “Older,” the lone track present on both EPs. The opening synth has become fatter, the drums are more resonant, the tempo is slightly sped up, and the guitars are brighter. The overall effect is like cranking up the saturate knob on a picture: it’s the same thing, but bigger, brighter, and warmer. Elsewhere, the saturation holds in the form of more reverb (the guitars on “Time to Leave”), more ambiance (“Crazy Eyes”), and more expansive songwriting touches (“Pretend”). Some tracks sound like post-punk; some sound like Vampire Weekend chilling way, way out. Throughout, the band is playing with what they can do in a studio, experimenting with what exactly the sounds in their heads can be with a lot of equipment at their disposal.
Closer “Please Stop” is probably the furthest push of their experiments, putting all of their sonic elements together into one track. Mashing all of their ideas into one place results in a tune that doesn’t quite sound like anyone: James Lockhart’s lolling drawl amps up to an anthemic soar over an indie-rock band that has thoroughly ingested modern indie music and spit out their own distinct version of it. It’s a fantastic tune that is more than the sum of its parts–and the parts are all pretty great on their own.
Legends is a brief six songs, but the growth and development from their first EP shows that they’ve got a lot of ideas. Brother Moses has got a great thing going, and you should jump on that.
1. “Hero” – Starlight Girls. If you mashed up Tusk-era Fleetwood Mac with modern indie-pop sensibilities, you’d have this powerhouse of a pop song. This is the most infectious, irresistible groove of 2016 so far.
2. “Hang On To Yourself (David Bowie Cover)” – Ancient Cities. Bowie didn’t play much of a role in my personal musical development (I was introduced to him in my 20s), but his shadow looms large over many musicians. Ancient Cities drops a worthy tribute to Ziggy here.
3. “Boys That Sing” – Viola Beach. Sometimes the melody, the lyrics, and the vibe just come together for a great pop tune. Puts a smile on my face.
4. “Crazy Eyes” – Brother Moses. BroMo returns with a breezy, peppy tune that builds on their slacker-rock foundation with some scrambling drums, driving bass and twirling guitars. The compelling vocal tone and delivery are as powerful as ever.
5. “Youth Dies Young” – Til We Have Faces. Well here’s something interesting: A major key indie-rock song that thinks it’s an arpeggiator-heavy electro-jam which builds at the speed of a post-rock tune. By the end it’s almost a Here We Go Magic tune. Totally rad.
6. “Fundamental Ground” – TW Walsh. I don’t use the term “floating” that often, but this indie-pop tune has a lot of the elements that you might associate with floating: lazy rhythms, slightly washed-out vibe, hazy elements chilling out in the background of the tune, a vocal line that seems distant-yet-close. It’s beautiful, in a weird way.
7. “Sometimes (One Night)” – The Golden Peppers. Here’s a tight soul arrangement, blanketed with horns and infused with indie-pop vocal melodic flair. Just can’t get enough Nathaniel Rateliff?
8. “Lucky One” – Why We Love. It seems that the major-key, jangly pop-rock tune is not only immortal, but thriving. Everything about this is fun.
9. “Unicorns Get More Bacon” – Marc with a C. The giddy, funny, absurd, fourth-wall-destroying power-pop of Marc with a C is in fine, fine form in this 3-and-a-half minute jam.
10. “Glad to Be Alive” – Memoir. Draws from funk, reggae, and ’90s pop without camping in any of them, this grounded-yet-bouncy tune is led by neat vocal syncopation and and a mood that just brightens a room.
11. “Touch” – Guard. A hypnotic keys melody and a head-bobbing beat make this into the chillest of remix-ready club tunes. Ibiza beaches for this version, Ibiza clubs for the inevitable reworks.
12. “Still Life” – I.W.A. Blissful chillwave, the likes of which I don’t get to hear very often. Just gorgeous stuff here.
13. “Don’t Complain/Don’t Explain” – Bare Mattress. Like a more existential version of The Postal Service, this unassuming indie-pop-electro track sneaks its way into ears and heart.
14. “Glass” – Howard. This is like the indie-electro/post-dub version of a dystopian movie in which everything looks kind of right but is slowly revealed to actually be dystopian. In other words, the slow burn works great.
15. “I Don’t Want to Know Her Name” – Amber Quintero. Lilting, easygoing, spacious bedroom pop that finely balances lyrical intimacy and wide-open pad synth landscapes.
EPs are becoming more popular than ever, and I love the trend: there’s no room for filler on an EP. As a result, a lot of artists brought their A game to the smaller format this year. Here’s to them:
1. Thanks for All Your Patience – Brother Moses. (Review) I spun this one the most often because the easygoing, almost effortless indie-rock vibe gave rise to some seamless, indelible melodies. Clean, tight, clever, and earnest, I gravitated to this one early and often in 2015.
2. On Separation – David Wimbish. (Review) Wimbish, frontman of The Collection, stripped out some of the intricate arrangements of his day job for a more intimate set of portraits that focused in on the lyrics. Elegant, haunting, and beautiful.
3. Loca EP – Valley Shine. (Review) Folk-pop can be a formula these days, but Valley Shine is all about exploding the formula with raw enthusiasm, brash melodies, and surprising pathos.
6. Regards – We are the West. (Review) A wisp of an EP that barely has time to meet you before it’s gone, but oh does it deliver: this Low Anthem-style Americana sounds like a warm blanket around my ears.
7. Joe Kaplow EP – Joe Kaplow. (Review) One of my favorite debuts of the year, as Kaplow showed off his versatility in several different acoustic-based styles. Looking forward to more from Kaplow.
8. Away, Away – B. Snipes. (Review) Another excellent debut that introduces Snipes’ low-slung troubadour singer/songwriter voice to the world, taking the lyrics of Rocky Votolato in a more Americana direction.
Brother Moses‘ Thanks For All Your Patience is the sound of slackers who listened to a lot of Beck and the chill parts of Modest Mouse growing up. I mean that literally and figuratively; the lyrics explain the foibles and fears of maturing (just check the titles “Older,” “Wake You Up,” “Eyes Open”), while the music is a refined take on minimalist indie rockers like Spoon.
The line “I’m tired of sleeping in” from “Wake You Up” pretty much sums up the EP lyrically, as Moses Gomez’s lyrics all have to do with that process (sometimes a single sudden moment, sometimes several years’ worth of stuff) where you realize that you’re an adult and you have responsibilities. It’s the soundtrack of the mid-to-late ’20s in 2015. The lyrics are tight and quotable; they’ll appeal to people in that process, as well as people looking back on it.
The music is a streamlined, bouncy, minimalist form of indie rock that relies heavily on the interplay of the easygoing baritone, wiry guitar, rubbery bass, and tasteful drums. Sometimes this takes the form of The Walkmen-esque towers of hollowed-out guitar sound (“Wake You Up”) and sometimes there’s a hectic mashup between all the parts (“Eyes Open”), but most often Brother Moses isolates one aspect of the sound and features it against a backdrop of space (“Older,” “Hopeless”). “Older” takes its cues from a warm-yet-staccato synth, rim-rapping percussion, and occasional guitar to build an infectious, enigmatically beautiful tune. The parts are all there (this isn’t totally minimalist work), but there aren’t a lot of overt rock moves here. There’s a lot more warm vibe and unique mood-building going on.
That’s the thing that sticks the most from Thanks for All Your Patience: the lyrics are memorable, the melodies are tight, and the instrumental work is solid, but the overall mood of the piece is its greatest takeaway. (Slackers trying to grow up don’t necessarily get 100% business-like, at least not all at once.) The work here is strong, high-quality work, yet it’s all read through an easygoing, relaxed perspective. You can get old and not grow up, but you can also grow up and not become stodgy. Brother Moses’ Thanks for All Your Patience is a remarkable debut EP that leaves a big impression.
Stephen Carradini and friends write reviews of instrumental music. We write about those trying to make the next step in their careers and established artists.