Drift Wood Miracle impressed me from the word go, and every interaction I’ve had with them or their music since then has only grown that admiration. The Between Three & Four EP takes their disparate ideas (punk, artsy emo, acoustic singer/songwriter) and melds them into a cohesive experience that ranks with some of the best artistic rock music being made today.
“41 (Blue)” starts off with morose vocals over dreamy guitars (emo revival!) before seguing into a snappy acoustic singer/songwriter section; it shifts into an arty, woozy, vaguely psychedelic coda, then closes with traditional classical piano. If you’re scratching your head, no shame there. It’s only held together by force of Drift Wood Miracle’s collective will. The band then smashcuts into the raging punk/emo track “Typical,” complete with their quickly-becoming-signature sliding guitar riff style. The type of guitar work here makes me immediately think of verse/chorus/verse style of Brand New and Taking Back Sunday, but they subvert those markers of familiarity by not complying with that standard songwriting style. Instead, they throw riff after riff, never returning to any of them. You can make three or four songs out of the ideas in “Typical,” especially if you include the pensive guitar ballad at the end. If you’re not impressed at this point, this type of music probably isn’t for you.
In the rest of the all-too-short EP (12 minutes?!), we get a spoken-word French section, a squalling instrumental emo breakdown, group vocals over an acoustic guitar in a haunting melody, the drummer singing a song he wrote (!), more piano, complicated drum rhythms, and a towering post-hardcore wall of guitars. It’s a tour-de-force collage of sounds and ideas that all come together in a consistent mood. Drift Wood Miracle has come into its own here, asserting their innovative artistic vision with impressive maturity and clarity. Between Three & Four is a dizzying, astonishing performance that will make you want to play it over and over.
Midway Fair‘s 2011 offering The Distance of the Moon at Daybreak leaned heavily on traditional English folk rhythms and melodies, throwing in some Springsteen-esque chug to cap it off. On their latest EP Most Distant Star, the band has grown into its sound quite a bit: the influences are still there, but they’re much tighter wound around each other. The result is a sharp four-song outing that gives me a feel for what Midway Fair is trying to accomplish as a band.
The opener/title track starts off with a strong piano riff and brash male/female vocals. By the middle of the first verse, they’ve introduced galloping drums to speedily pace the tune. They build the song throughout to a great, pounding high-point at about two minutes in, showing off their instrumental chops (those drum fills!), songwriting ability, and style. It’s a great song, totally appropriate to be the title track. The quartet keeps that energy and passion going through the rest of the EP, not letting any track drag. “Gone to California” features folk-style storytelling lyrics on top of a jaunty backdrop. “Ones and Zeros” incorporates some ’50s pop influences, while “Be What You Like” loops in some light soul and funk elements. It’s fun to see a band that’s comfortable with itself start to push the boundaries of its sound.
Midway Fair’s Most Distant Star may have started out as a folk EP, but by the end it morphed into a quick sampler of American pop music. Their tight instrumental interplay results in a light mood throughout: none of these tunes sound forced or heavy. If you’re looking for a fun pick-me-up today, look to Most Distant Star.
Eoin Glackin also sounds like an amped up version of himself on his new EP Pretty Girl. While the title track is a smooth adult alternative cut in the vein of David Grey, the other three tracks are louder, faster, and fuller than Glackin has experimented with in the past. “Morning Take Us Easy” turns rumbling toms into a punk-inspired, push-tempo pattern in the chorus; the bass, guitar, and speedy vocal patterns follow suit, making this somewhat like a Frank Turner song or a Ryan Adams song on speed. There’s still harmonica and piano in there for sure, but this ain’t your usual laidback singer/songwriter fare.
“Ride It Out” expands the sound even wider, pulling in some widescreen soundscapes reminiscent of U2. Glackin gets a tenor howl going on against a reverbed guitar riff–I can totally see him throwing his head back and going full Bono on it. He fills out the EP with a punchy alternate version of “Rain Finally Came” from his previous album, using the drums and bass to once again help create the energetic vibe of the tune.
Sometimes an artist loses all their charm when they “go electric,” but Glackin is able to transfer his appealing aspects to the new situation and incorporate new tricks. His vocals are perhaps even more suited to the electric style than the troubadour folk he was previously doing. Pretty Girl is a fun, exciting EP that shows a new direction for Glackin that could pay off in spades.