by Kira Cappello | Aug 12, 2019 | albums, review
All at once natural, manmade, and the product of a dream: With Fuwa Fuwa Music, Miki Moondrops guides listeners through an ethereal world that hums, glitters, and bleeds with vivid watercolors. The allure of Fuwa Fuwa Music lies in its fantastical nature – this album breezily transports listeners to an enchanted forest that is part organic, part machine, and always breathtaking.
The second studio release from Miki Moondrops, the finely layered production of Fuwa Fuwa Musicbubbles over with enthusiasm and curiosity. The group is comprised of Miki Masuda Jarvis, on bass and vocals, and David Lord on guitar, synths, and glockenspiel (for this record, they are joined by William Erickson on drums and Ben Snook on electronic percussion). The work as a whole is peppered with clicks, whistles, and cartoonish bounciness that serve as markers for the passing of time, as they weave in and out of earshot, brightly punctuating spells of haziness. Airy synths paint a permanent sunset as the backdrop for hearty drums, psychedelic guitar loops, and unrolling spools of abstract lyricism. While each track carries an individual theme all its own, the zeitgeist provided by Fuwa Fuwa Music is consistently sunny – even through spasms of chaos or harsher distortion.
Listening to Fuwa Fuwa Music feels brand new and yet somehow deeply instinctual. For example, characterizing features of track “Bumblebee House” include the faint buzzing of honeybees alongside a fuzzy distortion, reminiscent of the stuttering twitch of insects’ wings. On “Ants”, Miki Moondrops shrinks us down to microscopic size and into a glittery, glitching realm that could only thrive hidden beneath the earth. Rapid, perforating melodies from vocals and guitar plucking alike read like an ancient language, paired with more “known” elements of electronica. “Dragonfly Wings” is another play at perspective: listening to it inspires contemplation of whether we are watching a dragonfly as it flickers and jerks in and out of the sonic frame; or if we are the creature itself, ascending ceremonially before lilting back down to earth, settling like fog.
Woven snippets of found sound and electronically produced noise are essential to Fuwa Fuwa Music. At times, these elements drive the song’s direction, like on “Orange to Pink, Mushroom to Turtle”; while at other points, they flit in and out of the mix and of frontal attention, providing space to appreciate Jarvis’s drifty vocals humming with reverb – see “When You See the Eyebrow, You Will See the Gnome”. At the top of opening track “Shells”, at least three psychedelic guitar loops and reverses take the stage, weaving through each other and the Jarvis’s vocal melody like ribbons in the wind.
The last two tracks from Fuwa Fuwa Music serve more as mood suggestions than as landscapes. In just a fleeting 1 minute 19 seconds, “Glassy Eyes” wisps the faint chirping of birds and gentle harmonies knit together by the melody of a lullaby. Final track “It Is Glowing” feels more anthemic than illustrative or inviting. Its undulating electronic percussion, ensnared by subtle guitar strokes, provides a groove that satisfies Miki Moondrops’ quota for psychedelic rock.
TRACKLISTING
- Shells
- Orange to Pink, Mushroom to Turtle
- When You See the Eyebrow, You Will See the Gnome
- Ants
- Dragonfly Wings
- Bumblebee House
- Glassy Eyes
- It Is Glowing
You can follow Miki Moondrops here.
by Kira Cappello | Aug 2, 2019 | albums, review
Corey Harper’s newest EP
Barely Put Together hones in on young adulthood, deftly blending moods colored with snug optimism, taut despondence, and wistful recollection. The five-track EP exhibits Harper’s talent for constructing songs that deliver the immediacy of a live performance; some with the resounding power of a stadium anthem, and others, the gentle intimacy of an acoustic set.
Opening track “Blind” is warm, woody, and feels hopeful despite the fretting lyrics, dealing with the questionable aspects of an unstable relationship. Minute details produce an endearing familiarity, as well as contribute to the feel of a live performance: A close listen reveals the clicks and scratches of Harper’s fingers along the acoustic as he plays, and the generous reverb on his vocals ghost behind as if echoing across a stadium.
Moody, syncopated chords on second song “Don’t Hate Me” are reminiscent of the biggest hits of Justin Bieber and Shawn Mendes, as Harper evokes vulnerability following a tenuous relationship. He begs his significant other for a diplomatic split: “If we’re breaking up, we’re breaking up, just don’t hate me / That’s the only thing I couldn’t live with, baby”. A resounding anthemic club beat punctuates the severity of the chorus here, emphasizing the lyrics’ unabashed heartache. After the first chorus, a hidden gem in the form of a bluesy electric riff sneaks by, a segue to Harper’s bare vocals bolstered by a deeply funky bass line. His mercury-smooth vocal runs contribute the perfect dash of R&B freshness. Of all the tracks on the EP, this song welcomes the widest range of elements spanning several genres.
What follows exhibits confidence, defiance, and acceptance that life doesn’t always make perfect sense. Track 3 from Barely Put Together is titled “Better”, and carries the easy-breezy swagger of a California boulevard, as the chorus declares: “I like it better knowing I don’t have it all together.” Harper’s soaring falsetto complements the peppered lead guitar riff, giving listeners plenty of sunny texture to look forward to.
Track “Dried Blood” is a dip in atmosphere and stripped down in comparison, the acoustic picking pensive and cautious. This song’s lyrical melody is beautifully melancholy, but the strumming patterns are never dark; offering a versatile intimacy that could flourish within the walls of a solitary bedroom or floating alongside a each breeze. Harper faces the difficulties of healing from past failures, and casts out his doubts about the future in a fluttering falsetto: “Waiting for the waves to crash, [I’m] too far out to make it back.” Comparable to the scratching guitar strings from “Blind” is the slightest rustling noise in the background during the verses of “Dried Blood” – it suggests Harper is shifting positions in his seat as he plays. These “imperfections” cast a spell that is enthralling because it is realistic, as listeners are able to visualize Harper playing the music live.
Harper is at his most raw and desperate for the final track of Barely Put Together: “Best of Me” is an anthem best characterized by its rising anticipation and stadium earnestness. The first chorus offers a head-turning twist, as the muted beat and strumming actually shift to the back of the mix, granting Harper an open stage allow his vocal presence to take precedence. Electronica-style vocals layer behind the clear belting and gripping rasp, weaving a crowd of voices that proclaim Harper’s drift from heartache: “You’ll never get the best of me.”
Tracklisting
01. Blind
02. Don’t Hate Me
03. Better
04. Dried Blood
05. Best of Me
Follow Corey Harper here:
by Caitlyn Champ | Aug 2, 2019 | albums, review
Ann Arbor based indie rock band Fallow Land has recently released their first LP Slow Down, Rockstar dripping with hefty arpeggios flush with reverb and repetition while emotional lyrics slide over the top. A true evolution for the band from their EP Pinscher guitarist/vocalist Whit Fineberg claims a lot of emotional healing in the two years between records. He was even quoted to say, “When I was younger I lived more recklessly, it sometimes felt like every aspect of my life was an extension of the art I was creating.” While this was helpful in creating the band’s early works a fundamental shift was necessary for further production and as they’ve matured emotionally listeners can hear a change between the two albums.
With “The Things You Say” and “The Hope” emerging as the two most popular songs it’s by no coincidence that they’re also two of the most emotional and healing songs on the album. “The Things You Say” offers a total expression of fears and emotional exposure from the band. While in “The Hope” listeners are able to come to a place of complete comfort, similarly to how Fineberg himself was able to find comfort in the relationship he was writing about. With an emotion for everyone expressed on the album, the most unique song is “The Dog Song” featuring a heavy metal vibe unlike anything else on the record, and at third to last it creates a nice change of pace to reinforce the attention of the listener. As the band figured out who and what they wanted to be throughout the course of the work anyone listening in is also able to follow the narrative arc from beginning to end.
Perhaps though one of the most unique features of the album is how every track’s title begins with “The” instantly piquing the interest of anyone reading through the songs. This repetition of “The” also reflects the repetitive nature of a few of the tracks on the album such as “The Boredom” discussing gym class days and a need to feel comfortable in your own skin again. This album contains lyrical warmth felt inside of your bones while also packing a powerful punch from the content of the words being said.
Slow Down, Rockstar is a perfectly complete album with a definitive style created and maintained throughout its entirety. With lines such as, “I was unaware of the space your presence occupied inside of me” and “I wish I could undress your influence” it’s no wonder anyone who sits through the whole thing will feel as if they just traveled along an emotional roller coaster, and came out better because of it.
Fallow Land will be announcing their 2019 tour of the USA soon, so be sure to check out their new LP Slow Down, Rockstar here and stay up to date on their tour here.
by Meredith Schneider | Jul 24, 2019 | albums, review
Never before have I heard – and perhaps never again will I witness – such an inspired and heart-wrenching album vocally than Salt Lake City act Ritt Momney‘s debut 13-track collection, Her and All of My Friends. Brainchild Jack Rutter speaks from a space of loss at many levels – Rutter spends his time writing alone mostly, since his friends and girlfriend have gone off to college and pursued missions in other regions – and delivers a highly relatable album, christened with his beautiful vocals
The album opens raw with “I”, which leads into “Lew’s Lullaby”, a very literal telling of his loss of people in his life to circumstance. While “Command V” – computer nerds, we got you and that shortcut for “paste” – might give us some dramatic lyrics that truly resonate, the faster paced “On Love (An Alternative Response to Almitra’s Request)” holds a fondness in our hearts, as we got to witness it live and it features the vocals of Rutter’s adorable girlfriend. As the rest of the album unfolds, you realize how much heart went into its creation. Thirteen tracks that draw an emotional response, amidst thousands of releases that dedicate that type of attention to one or two songs, is incredibly thrilling to see.
What Ritt Momney has accomplished – at a level higher than most of what we have witnessed thus far – is the creation of a new genre, as he integrates an r&b flare into his indie alternative music, at times rock, sometimes more electronic, and, interestingly, percussion heavy. But, save for the lines of spoken word or rap, more or less, there isn’t a moment void of Rutter’s airy, breath of fresh air vocals. This album is definitely one to hold onto, especially when you’re missing someone.
Keep up with Ritt Momney here.
by Caitlyn Champ | Jun 28, 2019 | albums, review
Mega Bog’s seventh album Dolphine gives listeners a ride through an auditory kaleidoscope with abstract and trippy sound coming out in every track. Get ready to picture yourself running barefoot through a field or swimming in a pool of seltzer water as singer Erin Birgy brings incredible vocal control with every song. This album could be played in a coffee shop or on a dance floor with its versatile and ever-changing melodies, giving listeners a hidden gem within the beat of every track.
Opening with “For the Old World” we are sent onto a mystic journey until the 30th second when the song takes a turn towards modern jazz. Then in “I Hear You Listening (to the Bug on My Wall)” we’re slowed down with an acoustic guitar strumming pattern that could leave you in a trance. “Diary of a Rose” is the longest track on the album, driven by the sound of chimes and lyrics dedicated to days of the past. The title track “Dolphine” opens with an upbeat and staccato electronic sound which moves the listener forward only to be swept up by Erin’s angelic and celestial voice. “Spit in the Eye of the Fire King” is the most unique song on the album, standing out among the rest as not only a duet with Ash Rickli but it also features a folk twang to it. “Truth in the Wild” tells a two-part story of a western style love that is broken up in “Shadows Break” where native whistling can be eerily felt next to the fading nature sounds and sad lyrics. In “Untitled (with ‘C’)” we’re transported back to the ethereal world of the tracks of the beginning. “Fwee Again” proves to be just as playful as its name being the only instrumental song on the whole album, and it doesn’t waste any time showing you. Finishing up with “Waiting in the Story” listeners can expect to enjoy a guitar-heavy vibe with harmonization in many octaves from singer Erin.
Saying to have written this album due to, “a myriad of overwhelming emotions” it’s no wonder we get so many different tempos and styles of songs. You can truly expect to be taken on a journey of self-discovery throughout this work. Let yourself float away and enjoy the dissonant and acoustic vibes given to us in this wonderful new album from Mega Bog.
Keep up with Mega Bog here.
by Kira Cappello | Jun 28, 2019 | albums, review
For fans of Adrianne Lenker, Shannen Moser, Field Medic, Lomelda, Julie Byrne, Liz Cooper and the Stampede.
Daughter of Swords’ Dawnbreaker spins webs of stretching landscapes, intimate self-reflection, and the solace of a eulogy. Marked by gentle acoustic strumming, the faintest vocal harmonies, and folk storyweaving, the affect of this album soars most in its home-grown familiarity and faithful consistency.
Mountain Man’s Alexandra Sauser-Monnig paces her lyrics with intent, fully forming her own conclusions before speaking out loud. The characters that drift in and out of her stories (see opening track Fellows) could be people she knew, or mirrors through which she talks to versions of herself. Dawnbreaker feels like a faint memory being retold to you by someone else, and the sporadic flourish of gentle harmonies on Fields of Gold texturize Sauser-Monnig’s musings. It is this introspective exploration that distinguishers Daughter of Swords’ storytelling from that of Mountain Man.
Sauser-Monnig creates the perfect balance between indie folk and an Americana dream, be it resting in the tall brush on Grasses or careening through the evening air on a bicycle in Shining Woman. The occasional toned-down electric guitar and textured vocal harmonies lend their curiosity to the flowing breezes, pink clouds, and rising mountains painted on Dawnbreaker.
Undoubtedly, the grittiest Americana track Daughter of Swords delivers is Rising Sun. A classic and undulating electric blues riff peddles along behind a soulful harmonica solo and Sauser-Monnig’s sweeping notes that rise and fall like the Western mountainsides she seems to climb, not searching for anything in particular, but finding all along the way.
While Long Leaf Pine and Gem sparkle with optimism, tracks Easy Is Hard and Human portray the melancholy that heartache, a soaring soprano, and the peppered-in twinkling of a grand piano illustrate so well. The magic of Sauser-Monnig’s lyricism is that even morose moods never feel truly hopeless, rather, they are examples of folk storytelling at its finest: the story sits back, and, accompanied by the ever-reliable acoustic, tells itself.
Lastly, a perfect ending to a folky dream: Dawnbreaker’s title track is arguably the most pensive, featuring comparably deeper, earthier guitar tones than its predecessors. The topic is hazy, but this is where Sauser-Monnig’s heartbreaking warble shines. The final word of the album, a low, oaky utterance of the word “Dawnbreakin’”, invokes finality. The song feels like a eulogy, an acceptance, a forgiving.
Keep up with more to come from Daughter of Swords here:
daughterofswordsmusic.com
facebook.com/daughterofswordsband
Twitter @swordsdaughter
Instagram @swordsdaughter
TRACKLISTING
- Fellows
- Gem
- Fields of Gold
- Shining Woman
- Grasses
- Easy Is Hard
- Long Leaf Pine
- Human
- Dawnbreaker
