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.
3. “Picture Picture” – Tall Tall Trees. Kishi Bashi contributed strings to this giddy, major-key alt-hip-hop/singer-songwriter’s tune. It’s pretty amazing.
4. “Billions of Eyes” – Lady Lamb the Beekeeper. Lady Lamb opens her sophomore campaign with a tour de force grower that moves toward indie-rock, away from the Neutral Milk Hotel-ish psych, and maintains the inscrutable, impressionistic lyrics she’s known for.
5. “Laurel Trees/21 Guns” – Jet Plane. The opening moments of this 10-minute post-rock piece mix fragile strings and bagpipes with grumbling guitar noise to set the scene. The rest of the tune is a leisurely unfolding track that follows that same pattern, albeit with more clean guitar.
6. “New Year’s Retribution” – More Than Skies. What if Tom Waits had played in a punk band and adopted modern folk arrangements to go along with it? This sad, pensive 8-minute track has twists and turns galore.
7. “Lo and Behold” – Sarah Marie Young. More and more people are picking up vintage vocal styles and combining them with modern instrumental styles. Young has a crooner’s voice added to some funky R&B bass and keys, making for a smooth, head-bobbing track.
8. “Pores” – Hand Sand Hand. “Rumbling” is what I call things that sound ferocious but never get a sharp, brittle edge. This post-punk track presses forward with all the power of a much heavier band and keeps me glued to my seat.
1. “Cassius” – The Maytags. You want some fun, dance-around your kitchen vibes? The Maytags have perky horns, upbeat rhythm section, group vocals, and a totally infectious mood. My fiance likes it, and she likes good music. Jump on it, people.
2. “In a Desert of Plenty” – Sunmonks. Motown horns, distant vocals, funky vibes, and engimatic/intriguing rhythmic elements make this track a keeper.
3. “The Snowfalls” – Whyte Horses. Gentle psychedelia meets ’70s folk with some ’50s girl pop vibes in the vocals: it’s a really inviting overall effect.
4. “Center of the Universe” – Chris Staples. Remember that hyper-personal acoustic indie-pop movement from the early to mis ’00s? Some called it quiet is the new loud, but I called it deeply engaging, personal work with a priority on intimate recording styles. This Built to Spill cover nails all the right notes.
5. “i don’t need an advocate, i need an exorcist” – moyamoya. If Appleseed Cast’s wide-open, cinematographic motion from Mare Vitalis made into to the minor keys of Peregrine, we’d have this track. Tons of great guitar work throughout, beautiful production job.
6. “A Sunday Afternoon Epilepsy” – More than Skies. MTS continues their very intriguing campaign to mix lush, autumnal folk landscapes with angular, punk-inspired guitars and creaky vocals. I’m a fan.
7. “Ghostlight” – Alex Tiuniaev. Here’s a cinematic, pensive, romantic instrumental piece led by piano and strings.
8. “Opus No. 21” – The Greatest Hoax. Ambient classical? Dreamy no-guitars post-rock? Wistful dreamweave pop? Whatever this is, it’s pretty, moving, and sets a scene well.
1. “New World” – Grammar. What if the Postal Service had been thought up by a woman instead of a man? Here’s a loose, flexible, smooth take on electro-pop that made me ponder the question.
2. “Gum Wrapper Rings” – Kind Cousin. I love to hear sentimental-yet-complex songwriting, and Kind Cousin delivers. Fans of Laura Stevenson will rejoice in the amalgam of wistful indie-rock guitars, ’50s girl pop vocals, and noisy drumming.
3. “Hold On Tight” – Ed Prosek. Radio-friendly, catchy folk-pop that’s a cross between Ed Sheeran and Phillip Phillips. Yes, that’s a pretty strong litmus test, I know. But it’s true.
4. “White Pine Way” – More than Skies. This impressive track falls somewhere between noisy punk/emo and slicker indie-rock bands like Interpol and Silversun Pickups. Lots of great melodies, but without hitting you over the head with them. Great work here.
5. “Black River” – Wild Leaves. Lush harmonies and ’70s-style production make Laurel Canyon the spiritual home of this track. Fleetwood Mac can come too.
6. “Tulsa Springs” – White White Wolf. Here’s an ominous, mysterious, rugged cabin-folk tune that’s high on atmosphere. (Also, +1 for anything with the name of my hometown in it.)
7. Ne Brini Za Mene – Neverdays. The Serbian response to Jason Molina, complete with mournful cello.
8. Even I – Grant Valdes. Valdes found a trove of hymns written by Haden Laas (1899-1918), an American soldier in WWI. They didn’t have scores, just words–so Valdes is setting each of the 44 hymns to music. This initial offering is a plaintive, yearning, piano-led tune. I’m super-excited to see where this goes.
I can’t believe it’s been almost two weeks since I posted. Crazy times. Here’s a bunch of quick hits to clear my slate and get back to lengthy reviews I am such a fan of writing.
The fractured melodies and herky-jerky energy of Good News-era Modest Mouse meet the moody ponderousness of Tom Waits’ work in More Than Skies‘ I Am Only Above The Ground. The lyrics are far more positive than either party is accustomed to writing, making the album a unique experience of positive-to-wistful lyrics led by a raspy singer and backed by an enthusiastic band that often breaks out into group vocals. Instrumental chops abound (“Introduction,” “The One Who Wanders Is Not Lost”) and the melodies shine (“Life Declines at Twenty-five,” the title track), but it’s the exuberant “We’re Getting Older” that will stick in your mind and heart. Highly recommended for fans of a full-bodied folk sound that’s still raw and real.
Nonagon‘s People Live Everywhere EP offers up technical post-hardcore that’s big on dissonant melodies, tempo changes, odd time signatures, and shouted vocals. The unusual juxtaposition of guitar lines in opener “Vikings” should tip you off that this is loud music to appreciate with your brain as much as your body. You can definitely mosh to it (the dissonant “Fresnel Lens,” the manic “The Swifts”), but it’s the atypical rhythms and melodic ideas in “Fadeout” and the aforementioned “Vikings” that get me. Nonagon’s working at a high level here.
The Woodrow Wilsons‘ Devil Jonah focuses more on mood and arrangement than hummable melodies, making their acoustic amalgam much less of a traditional “folk” album and more of a chamber-pop album. “I Love the Atlantic” is a beautiful tune that experiments with tempo and arrangement for effect, while “Anthropomorphics” is a jubilant tune with a horn chorale in it. Songs like “The Ocean is Rising to Meet You” and “Heat” play with the conventions of songwriting to great effect. Male and female vocals lead the band in turns, only lending more variety to the album. The highlight is the tense, emotive “The Size of My Fist,” which calls up what Andrew Bird might sound like if he had an interest in conveying emotions. On the whole, fans of The Decemberists and old-school Sufjan Stevens will find much to love in The Woodrow Wilsons.
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.