As I have written before, I loved and still love chillwave. I love the idea of optimistic, beautiful music that is unsullied by vocals. I love vocals, but the idea that we can have happy music that is also musically challenging is just wonderful. (It’s also why I love Fang Island.) Teen Daze‘s The House on the Mountain is about as good as I can imagine chillwave (or whatever we’re calling it these days) can be.
Single-named producer Jamison takes small melodies and builds them up with fluttery background synths, flowing guitar, and gentle beats to create deeply moving electronic pieces. Blissful is the word I would use to describe opener “Hidden,” but the low-end piano inclusions on “Eagles Above” puts a more pensive spin on the sound. “Classical Guitar” benefits from some great midi synths (as opposed to atmospheric pad synths), a heavier beat than usual and (yes) the titular instrument. While leaning toward the gentle euphoria of “Hidden,” it still forges its own path. (Is it heresy if I say it sounds like Owl City a bit? I swear it’s a compliment.)
The lead single and semi-title track “Morning House” combines the best elements of all three tracks, as it takes a unique rhythmic beat and melds it to atmospheric synths in an optimistic key. Fluttery synths and midi synths come in, giving a great amount of texture to the tune. It’s a beautiful, memorable tune: a star among stars.
If you’re sick of chillwave, sorry. I’m not, and The House on the Mountain is absolutely gorgeous. If you love blissing out, Teen Daze is here to help.
Kazyak used to be a groove-laden jam band of sorts, so it’s a bit surprising that they’ve reinvented as a alt-folk band. However, it’s not surprising that they’ve done it in a unique way, given that they came from another genre. This EP could bridge the gap perfectly between the forlorn For Emma, Forever Ago and lush Bon Iver, if Peter Frey were Justin Vernon. But he’s not, and we instead meet a Kazyak on See the Forest, See the Trees that tries to reunite disparate sounds that currently fall under the same name.
It’s a fitting title, then: the trees of the individual songs stand up, and the entire album fits neatly as a whole. A few tunes can be plucked from the runtime without injuring their effectiveness; others must be heard in context of the whole 26-minute piece. It’s a rare album that can pull off this trick, and it’s what makes me so excited about Kazyak.
The best combo move is opener “Pieces of My Map,” which introduces Kazyak’s love of atmospheric banjo, sweeping guitar swells, and lush arrangements. But amid the mini-symphony, the vocal melody cuts through, shining as the focus on the piece. This splits the difference between vocals-centric and arrangement-centric folk neatly.
“Part I: Rabbiting Fox” and “Part II: Pitch Thick” show off the arrangement-centric side of the sound, with dramatic melodies, intimate moods, and careful arrangements. The gorgeous opening 1;30 of “Rabbiting Fox” is some of the most engaging music on the album. The unique “Tar Baby” shows off the vocals by having the vocalist slide back and forth between falsetto and chest voice repeatedly to accentuate the lyrics. It is an unusual move that some may reject, but it definitely shows a creative mind at work.
Kazyak’s See the Forest, See the Trees is beautiful and substantial; the melodic qualities don’t get lost in the arrangements or vice versa. Instead, it stands as a strong testament to varied songwriting. I hope to hear more from Kazyak’s unique perspective in the future.