Quinn Erwin first came to my attention as a big part of Afterlife Parade, a top-shelf outfit equally comfortable making can’t-ignore-it pop-rock and textured post-rock. Erwin’s Soul EP builds on the pop-rock side of Afterlife Parade, getting crunchier and catchier simultaneously. [Editor’s note: This EP was later re-released as part of the album Initiation, which is what is currently embedded in this post.]
The titular track of Soul kicks off the four-song effort with hammering piano, crunchy guitar, handclaps, and Erwin wordlessly throwing his voice around in some great melodies. There’s a pop-rock chassis to the tune, but from the wheels up it’s all muscly soul attitude and yearning blues vocals. There’s a bit of dance-rock thrown in for spice at the end, but this is primarily an earthy, Southern (but not Southern rock) jam. “Heritage” builds on that earthy pop-rock blend, fusing a stomping backbeat to a scuzzed-out guitar line with some zinging synth on top of it. Erwin’s repeated plea (“Don’t let this be my heritage”) and anguished “la”s give the tune some extra punch (as if it needed any). Both of these tunes have a crunch that wasn’t often there in Afterlife Parade, but don’t sacrifice any of the melodic prowess. If anything, these are even catchier tunes.
“Reality” and “Soul (acoustic)” pull back from the unique vibe of the first two tracks and push the sound in different ways. The straightforward pop-rock of “Reality” does have thrumming bass and insistent snare, but the vibe here is less Southern attitude and more U2-style pop expansion. (You can hear Bono in the wordless, nearly a capella bridge, for sure.)
The acoustic version of “Soul” pulls the excellent arrangements out of the mix and shows that with or without a backing band, “Soul” is a torrential song. Just because there’s only an acoustic guitar accompanying Erwin doesn’t mean he sacrifices any of the attitude or intensity of the tune. The song reveals just how impressive a vocalist Erwin is by putting the focus squarely on his vocal performance.
Soul is one in a series of EPs Erwin is releasing, so we’re going to be treated to more work from him in the near future. And the work is a treat; Erwin’s clear vision for fusing his pop-rock background with other sounds creates distinctive, exciting work. Soul establishes (for some) and continues (for others) the need to carefully follow everything that Erwin is up to.
Soul drops tomorrow, April 29. If you’re in the South, you’ll have some chances to catch him soon on the #OYOUGOTSOUL Spring Tour:
04.29: Biloxi, MS
04.30: Mobile, AL
05.06: Baton Rouge, LA
06.10: Birmingham, AL
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.
When I was in an art-rock band in high school, we managed to agree on only three cover songs in our four-year history: Coldplay’s “Parachutes,” Fall Out Boy’s “Dance Dance,” and “Hotel California.” (If you can figure out what those have in common, let me know.) My latest endeavor with the cover song was much more coherent, as I got 22 bands to contribute to a Postal Service covers album. I’m still incredibly thrilled with the final product, although I certainly do not want to run a similar project any time soon.
Folk-pop duo Jenny & Tyler, who were featured on Never Give Up, have put together their own covers album in For Freedom. As the title would suggest, the 7-song album is a project that benefits International Justice Mission‘s work to end slavery. Not only do you get their excellent arrangement skills, songs you love, and guest musicians (Sara Groves! JJ Heller! A virtual choir of hundreds of J&T fans!), you get to support justice in the world. What are you waiting for?
“We Will Become Silhouettes” is included here in remastered form, sounding even more gorgeous than before. It would easily be my favorite (and not just for sentimental value; the crescendo from beginning to end is heart-pounding) except for the absolutely stunning “I Still Haven’t Found What I’m Looking For.” Jenny & Tyler temper Bono’s original desperation with their warm, gentle arrangement skills, using oboe, clarinet, and cello to create an alternate vision of what that place we’re all looking for sounds like. If that wasn’t enough, they enlist the excellent Sara Groves and a choir of fans to guest vocal, creating a simply masterful take on the song. I could listen to this one all day.
They turn Smashing Pumpkins’ “Tonight, Tonight” from an angsty rager into a twee-pop tune, complete with glockenspiel. “The Sound of Silence” is suitably haunting, with their voices and clarinet (aside: I just love that they give the clarinet good press) giving a new tension to Simon & Garfunkel’s original. “The Scientist” includes a harpsichord/autoharp sound, but no piano; it’s an ambitious move that pays off.
Overall, Jenny & Tyler have set their unique and particular vision on these tracks, and that’s all that I ask from covers. The fact that the tunes are alternately heartbreaking and heart-pounding is a testament to the skill with which they can realize that vision. Highly recommended.
Since I loved Megaman and Sonic the Hedgehog when I was growing up, chiptune has a special appeal to me. Add punk rock into that mix, and you’ve got something I can’t resist. Anamanaguchi has indeed made a career out of combining these things, but they’ve upped the ante in the video for “Meow” by paying tribute to all the video games I loved as a kid. This is just … I can’t even explain how much I love this.
With a band name like The Suicide of Western Culture and a song titled “Love Your Friends, Hate Politicians,” I didn’t expect thoroughly unmitigated joy out of this tune. But that’s what this duo delivers, offering up a thrilling, joyous electro-jam that’s reminiscent of Dan Deacon’s amazing work.
Bono and Glen Hansard decided to go busking together, which is amazing in and of itself. But the best part of this video is at the beginning, where Glen clearly motions to a guy off screen to come up and help play “Desire.” It’s Eoin Glackin, who I’ve been covering for a while now. Mind be blown.
Stephen Carradini and Lisa Whealy write reviews of instrumental, folk, and singer/songwriter music. We write about those trying to make the next step in their careers and established artists.