S . Y . M . O . N . N

By Simon Chisholm

Lupercalia – Patrick Wolf

I pre-ordered this CD on a whim. The single ‘House’ popped up on YouTube one day and I just went with it. What roped me in? Listen to the way he pronounces ‘conkers’, English accents get me every time.

This is a CD made up of such ridiculous pop music it may be carcinogenic. It is happy, upbeat and exciting right from the first measure. The instrumentation is made up of sampled sounds, real instrumentation, and sounds processed into oblivion. Instrumentation includes the typical pop line-up of piano, strings, bass and vocal layering. The harmonic change is dramatic and moving. The sounds tend to become more organic as the album progresses.

The vocal performance is strong. Wolf’s voice is deep and throaty and he executes with amazing diction.

Apart from the single ‘House’, highlights include the arrangement in ‘Armistice’, and the second half of ‘Time Of My Life’.

 Produced By Patrick Wolf. Released in 2011 by Mercury Records.

Josh Pyke – Only Sparrows

I invested in this release based on countless columns in free music magazines.

This album blew me away after the first listen. For some reason I had been overcome with a sense of peace, happiness and satisfaction. I was relaxed and excited at the same time.

This is the first time I’ve listened to Josh Pyke and I must say I was very impressed.

Pyke makes use of loops to build a groove and a backbeat, and then layers his folky acoustic guitar and sweet crooning voice over the top.

The story behind the creation of this album is that Josh went to New York to write and record as he wasn’t finding inspiration at home in Australia. This search and story really comes through in the poetry of the songs. There is a real sense of melancholy and hopelessness, forming into a feeling of frustration and finally starting to find a calling. These ideas come across both in the lyrics and the soundscapes created by the instrumentation.

Highlights include the single ‘No One Wants A Lover’, but you must give the whole thing a listen start to finish. It really is a good listen.

Oh and the CD case has rounded corners. 

Produced By Josh Pyke and Wayne Connolly. Released in 2011 by Ivy League Records.

The Panics – Rain On The Humming Wire

This is an easy to listen to rock album.

The raspy vocal delivers catchy, smoothly flowing melodies with seemingly effortless execution. Each line ends with a perfect cadence. The album’s lyrics revolve around story telling, aided by the movement of the accompaniment.

The instrumentation mostly acts as a backbeat playing the feel and groove of the track. The harmonic change is distinct and is defined by the bass guitar staying true to the tonic note of the chord.

The highlight of the record is the single ‘Majesty’ and ‘Endless Road’.

The Panics are:

Jae Laffer – Vocals, Piano, Guitar

Drew Wootton – Guitar

Paul Otway – Bass

Myles Wootton – Drums

Jules Duoglas – Vocals, Keyboards, Guitar.

Written By Simon Chisholm

‘Thistled Spring’ is Portland Oregon band Horse Feathers’ third studio album. Encompassing their indie folk style, Horse Feathers’ latest release sees them metaphorically thaw from their 2008 effort and embrace the changing landscape of the Spring.

Horse Feathers was introduced to me through the often-annoying ‘Recommended Videos’ sidebar on YouTube, while checking out Chaz Knapp’s band ‘Our Brother The Native’. I must have liked what I saw on that sleepless night, because not long after, I purchased the CD, without fully knowing into what I was investing. I would be lying if I said that was a terrible idea.

‘Thistled Spring’ is a chilled out, relaxing folk record that is sad and sombre, yet uplifting. It features dynamic melodies and accompaniment that are strangely hypnotic, lulling the listener into a comfortable state of mind. The songs flow easily from one to another, taking the listener along for the ride.

The layered instrumentation is sparse but effective. The layers build with the ebb and flow of the track, which is enhanced by the large amount of dynamic range. Harmonic change is used to create dramatic changes in the arrangements. It is the use of repetition of ostinatos that lulls the listener. The use of motifs on the piano and strings creates interest by providing accents, acting as a response to the vocal and moving the track forward.

The instrumentation has a very organic tone and includes; Piano, Violin/Fiddle, Cello, Banjo, some Percussion (Tambourine, Clicks, Crash Cymbals, Bass Drum, Glockenspiel), Acoustic Guitar, and Electric Guitar (Check the credits below for a full list). Each of the instrumental parts has a relatively simple part to play in each track, but in this case, the simplicity is all the more effective. There are a number of performance techniques used on each element of instrumentation, most noticeable on the strings.

Vocalist Justine Ringle sings metaphorically about love, springtime landscapes, drought and floods in his characteristic soothing, melancholy drawl. The vocal is not lazy, and it is not over dramatic. It is executed in such a way that keeps the listener engaged, without chewing up and swallowing the eardrums. Ringle’s voice has a strangely soothing tone colour. Counter melodies are provided by the strings, dancing around Ringle’s flowing vocal.

My overall thought of ‘Thistled Spring’ is that is just so relaxing. It’s like listening to the wind and rain tell you an epic story on a particularly refreshing springtime evening after hot, hard-working day and a hearty meal.

Horse Feathers is:

Justine Ringle – Vocals, Guitar,

Nathan Crockett – Violin, Saw, Vocals

Catherine Odell – Cello, Vocals

Also on Thistled Spring:

Sam Cooper – Banjo, Mandolin, Piano, Vocals, Harmonium, Accordion, Violin, Percusion

Lisa Molinaro – Viola

Victor Nash – Trumpet, French Horn

  Written By Simon Chisholm

James Blake is a British electronic producer and songwriter. After a number of E.P releases and rising fame, he released his self-titled LP in early 2011. I was introduced to the post dub step sounds of James Blake when my brother showed me a beautiful live performance of the song ‘Wilhelm’s Scream’ at the BBC.

James Blake creates sparsely textured sound-scapes using slow throbbing electronics, processed sounds, synthesisers, percussion and vocoders. The textures vary subtly based on the mood; the vocal and accompaniment layering define the arrangements.

The grooves and sounds are disjointed in some places, and at times the songs are harmonically dramatic. The overall sound is chilled out and easy to listen to. Being an electronic producer it’s only natural for Blake to make use of House-like beats and coincidentally house-like grooves. The backbeats feature some rather severe rhythmic pieces, most likely achieved through directly editing the waveform, and sampling. This severity gives some of the tracks a rigid, disjointed feel, and other times the accompaniment is relaxed and free; the contrast feels refreshing.

Blake delivers his vocals in such a way that it sounds like crying; there is a sense of strain and desperation. The melodies are sung at the top of his range, but not falsetto, giving that strained sound. The main body of the songs consist of vocal layering. The lyrics are simple, making use of repetition, layering, flowing melodic contours and melismas (one syllable sung over more than one note).

The main accompanying instrument is piano, whose performance is very dynamic in it’s use of volume, attack, flourishes and relaxed feel. At times the piano takes on a classic ‘pop’ role. Other accompanying instrumentation includes elements including clicks, pings, slaps, shakers, noise, and various sampled percussion sounds. There is a sense that a lot of the performances were derived from experimentation with sound and manipulation. The use of electronic sounds promotes interest in the backing tracks.

Written By Simon Chisholm

I’m not a huge rap fan. Most of the hip hop we are bombarded with on the mainstream is about clubbing and ‘bitches’ and the whole thing just makes you ill. Steve Liriks’ LP ‘Pardon Me I’m Going Thru A Phase’ was recommended by fellow ‘What I’m Listening To:’ Reviewed Chaz Knapp, who also contributes to the accompaniment. Steve Liriks has created a rap/ hip hop album that is easy to listen to, and does not leave the listener wishing death on anyone who takes part in the making of ‘beatz’ and ‘spitting lyrics’.

The first thing I notice about Steve Liriks’ music is that its not a conventional four-on-the-floor back beat. There is actually some substantial instrumentation in the loops. The beats are groovy, using swing, and laid back feels; accents are syncopated. The beats aren’t overly complicated, they are only busy enough to serve their purpose, lay down the groove and keep the track flowing.

The instrumentation is fun. You get the impression that he’s spent time playing around and having fun with synthesizer sounds and effects. The fact that the sounds used aren’t conventional in a mainstream sense makes them interesting. The opening track has that futuristic sound typical of oscillating whirring synth sounds, and sawtooth leads. The accompaniment isn’t only electronic, there are some cool acoustic drum beats as well. Also, Chaz Knapp contributed some accompaniment arrangements for a couple of tracks.

Lyrically, Steve tackles themes including social commentary, dream chasing, philosophic life lessons and serious world issues. Setting him apart from a lot of rappers is his seriousness in lyric writing; Steve is not joking around, he is not trying to funny. Something that I admire in Steve’s performance is the high level of difficulty in which the syllables are phrased. The rhythm and phrasing of the words perfectly flows with the groove and is delivered with extremely clear articulation and diction; and he takes breaths somewhere in there too.

As an added bonus, “Pardon Me I’m Going Thru A Phase” is a free online release. You can download it here:

<http://www.djbooth.net/index/mixtapes/entry/steve-liriks-pardon-me/>

Written By Simon Chisholm

‘Dark Is The Way, Light Is A Place’ is Anberlin’s fifth studio album, the second to be released on a major label. This release is in no way one of the typical pop rock ‘cookie cutter’ imitations churned out by major labels. In fact ‘Dark Is The Way, Light Is A Place’ takes a step back to bridge the gap between 2008’s ‘New Surrender’ (Universal Republic) and ‘Cities’ (2007. Tooth And Nail).

Typical of Anberlin, we hear easily flowing, catchy, melodies, memorable hooks, and classic harmonic change and progression. There are many layered sounds that do not clog the mix, even making the illusion of being sparse enough for the airy vocal to be prominent. Each element is important to the overall sound-scape, whether simple (subtle percussion) or complex (main guitar ostinato).

The songs are easy to listen to due to the approach of the instrumentation. The drums groove on what are almost dance beats, staying upbeat keeping up the energy level. The guitars have some very interesting atmospheric effects and flowing countermelodies, while the bass has a distinct crunch. Lyrically, the songs broach subjects of emotional turmoil, internal struggles, social struggles and relationships. The vocal makes use of some free flowing ornamentation.

The overall mix fills out the bass, mids and high frequencies very well, like hearing the full spectrum without a harsh assault on the ears. There is a lot of reverb present, mostly on the vocal, usually I would condemn this, but it really enhances the sound. There is use of sampling throughout. In terms of structure, there are common threads in each of the tracks; the songs tend to build up to the choruses and the outro choruses repeat with harmonies.

This is another quality release from an old favourite, and is definitely recommended to anyone who has ever heard on Anberlin before, and a great introduction to the band for any newbie. Put this album on, listen from start to finish and have a fun foot tapping time!

Anberlin are: Stephan Christian – Vocals Joseph Milligan – Guitar, Keyboards, Programming Nathan Young – Drums Christian McAlhaney – Guitar, Keyboards, Programming Deon Rexroat – Bass

Written By Simon Chisholm

Four Year Strong’s fourth album,‘Enemy Of The World’, is a collection of ‘Summer Songs’, or what I’d call pop punk battle anthems. No matter what label you choose to put on it, this is music that will get you moving. For me, Four Year Strong falls into the same vein as Set Your Goals, with the call and response vocal style, and the mixing of pop punk and hardcore. Different though are the vocal timbres; the voices are full bodied and powerful with a throaty crunch. The vocal is a screaming singing style, but not the typical style associated with ‘screamo’, the delivery is more of a yell. As well as the use of two vocalists, the band heavily uses gang vocals, providing what sounds to me like a battle cry.

Lyrically, the tracks are intensely positive. Just about every song tells a story about overcoming problems, chasing dreams, motivational chants and just being you.

The music is intricately layered, and each layer is very rhythmic and busy. The guitar provides the main harmonic movement and also supplies leads (sometimes there are two leads), while the crunchy bass shreds, and the chugga chugga drums bust out polyrhythms, heavily crashing on the cymbals and attacking the skins with ferocity; All the while the main voice and gang vocals yell catchy hooks over the top.

While I love the album as a whole (it can be enjoyed from start to finish or on shuffle) my favourite tracks include; On A Saturday; Wasting Time (Eternal Summer); and Enemy Of The World.

As a whole ‘Enemy Of The World’ is fast paced, high-energy sonic fun.

Extra Kudos for the beards.

Four Year Strong are: Alan Day: Vocals, Guitar Dan O’Connor: Vocals, Guitar Josh Lyford: Vocals, Synth Josh Weiss: Bass Jackson Massucco: Drums

‘Enemy Of The World’ released by Universal Motown Records in 2009. Produced by Machine.

Written By Simon Chisholm

What We Left Behind’ is, in essence, an ode to all the negativity the members encountered in their hometown in Augusta, Georgia. Every track has a bitter feeling. The groups Sophomore effort explodes from your speakers.

The songs are fast paced pop-punk pump up music that will have you wanting to jump around. In keeping within the pop punk genre, the choruses are catchy, the rhythms are ‘dance-able’ and the tempos are fast and up beat. The vocals in classic pop punk style, heard easily in the phrasing and cadences. The themes covered by the lyrical content include bitterness, encouragement, honesty, selling out and fakers.

One aspect worth mentioning are the drums. They are huge. Brittany is a percussive powerhouse. I saw Veara when they came out for Soundwave (Feb 2010) and she blew everyone else away. While they are classic pop punk fun grooves, they also have a sense of intensity you feel in your gut.

The tracks are crafted nicely, with contrasting sections aiding to the ebb and flow of the lyrical content. The contrasting sections promote interest through chord and rhythm changes. You really feel the movement within a track when the rhythms change throughout. On the negative side, each of the songs sound very much like a part of each other, giving the album an abstract sound.

At times the singer pronounces some words a little funny. It works, but causes a kind of dissonance. He probably does this to fit the flow of the lyrics and rhymes. Look out for the opening line and the word ‘Frivolous’ in the opening track.

My B-Side Life

Veara are: Bradley Wyrosdick – Vocals Patrick Bambrick – Guitar, Vocals Brian Kerr – Bass, Vocals Brittany Harrell – Drums

Written By Simon Chisholm

When I heard that Yellowcard were back working together, I was quite excited. When I finally got my hands on the new release, ‘When You’re Through Thinking Say Yes’, I could not have been happier with the effort.

I really like this album, from start to finish. It is fun to listen to, has typical Yellowcard punk melodies and rhymes and the dynamics between tracks vary from frantic punk to ballads.

The album opens with a fast, paced energetic track, seemingly telling the story of the boys return to form, delivered lyrically and outlined by the instrumentation. The drums are fast, the bass shreds, and the violin and guitar supply the leads. Sit back and enjoy the breakdown, it sucks the breath from your lungs. The punk tracks are packed into this release, telling the tales of the hiatus, the time off and the return of punk rock’s biggest bands. The boys smashing into a heavy, fast, punk tracks showing that they are indeed back and ready to cement their place in your music collection. These tracks will have you jumping around busting out some air guitar/ violin. 

The punk tracks continue, till we reach the single ‘Hang You Up’, a ballad made up of sparse parts creating a full, layered texture. The track builds from section to section, raising anxiousness and excitement. ‘Sing For Me’ is another slow song. A heart felt ode to the silent sufferers to speak out and be heard. A song that delivers a message of support.

We conclude the record with a song accepting the fact that we all have to grow up some day, but imploring that we not give up our youth, our dreams or our ambitions.

You And Your Denial

Instrumentally, the album is ‘very Yellowcard’. Making use of the classic fast and inventive drumming, punk melodies and rhymes, leads and countermelodies supplied by violin and guitar, chugga chugga bass lines, and string interludes reminiscent of the classic ‘Only One’. As opposed to other pop punk and pop rock, Yellowcard make heavy use of riffs and ostinatos. These motifs separate the instrumentation from the vocal, keeping interest in the separate entities.

The movement supplied by the violin and leads on the guitar are a fantastic touch. Not only does it keep the interest and move the track, it fills the texture, creates a sense of polyphony and countermelody while not making the tracks too busy.

Lyrically, the band return their roots singing of typical skater punk subjects including life reflection, moving on, dreams coming true, reminiscing on the past, looking towards the future, feeling motivated and strong, calling for help and growing up. While the vocal has a fairly limited range, it gets the message across, and lets be honest, as long as the audience can sing along easily and can understand the words, you’re all set.

The songs are dynamic in the arrangements, they almost mimic stream of consciousness as a person thinks through a situation, makes a decision or gets an epiphany. It’s this stream of thought lyrical approach that makes the audience relate to the songs. High energy with contrasting sections create a sense of ebb and flow.

The choruses are catchy the lyrics hit home, and the melodies flow easily. What more do you want in your pop punk? This is one of those albums you can’t stop listening to.

Yellowcard Are:

Ryan Key – Vocals, Guitar

Sean Mackin – Violin, Vocals

Ryan Mendez – Guitar, Vocals

Sean O’Donnell – Bass, Vocals

Longineu W. Parsons III – Drums, Percussion

Written By Simon Chisholm

Easton is a band made up of a group of friends. It’s a project that is ongoing, a fun interim between the busy lives of it’s members. ‘H & H’ was released independently in the US summer of 2010. I was drawn in to this band by Elliot James, a former member of ‘Hey Monday’. This is a collaboration of five talented and passionate guys doing what they love, and loving what they do.

The first interesting thing about this E.P. is in the title, ‘H & H’. Looking at the track listing we notice that there is two tracks entitled ‘H’. As dramatic, film inspired instrumentals (an introduction and an interlude) the ‘H’s act like bookends, separating the tracks and also cleansing the ‘auditory pallet’. This interesting concept lends the song titles to the name of the E.P. ‘H & H’. An interesting concept.

The production and engineering on this release is fantastic. All of the elements are full sounding and strong. The songs have been crafted to allow each member to show skill. Each instrument plays interesting parts that compliment each other and contribute to a thick, full, busy and moving texture.

I love the drums sound, it is sharp and full. They manage to fill up a lot of the texture. They are very busy, playing beats that utilise most of the kit and smashing out copious amounts of fills. Elliot’s drumming is most definitely the backbone of the tracks.

The bass is strong and powerful, supporting the groove supplied by the keys. The keys and synthesisers add a lot of ornamentation, and flits in and around the other instrumentation without getting in the way.

All of the tracks are likable and are an enjoyable listen. The songs are high energy and fast moving, with a sense of urgency in the vocal style. The boys make use of interesting rhythms and grooves, creating catchy hooks and danceable anthems. There is constant movement in the harmonic change, using altered riffs and passing notes. There is some evidence of experimentation with sounds and electronics in ‘H(1)’ and ‘H(2)’

The acoustic and bonus tracks are a nice inclusion, filling out the E.P. and adding interest and highlights to the dynamics of the band. The B-Side ‘Bittersweet’ is a track that contrasts to the rest of the songs. It features a number of vocalists, who I assume are all of the band members and possible guests.

Easton are:

Elliot James, Marc Ryan, Chris Martin, Skyler Mondell with help from Jeremy Michaels

Released Independently in 2010. Produced by Easton and Co-Produced by Matt Laplant.

Written By Simon Chisholm

I know I’m late to the party, but sometimes it takes time for music tastes to evolve, and to save enough money to purchase music; but the cost of music is a discussion for another time and place. An old friend showed me some of Tegan and Sara’s music years ago, and also personal hero Hunter Burgan (of AFI) is friends with and has recorded and performed with the girls. Now that I’ve had a chance to listen hard to this album, I wish I jumped at the chance years ago.

‘The Con’ is not your usual brand of pop music. While the hooks and choruses are catchy, and the harmonic progressions are the typical intervals, it has a disjointed quality. There are times when the melodies and the arrangements are more erratic than is traditional.

Lyrically, the songs are open to personal interpretation by the listener, and that’s beautiful. While the melodies are easy enough, in order to follow the lyrics correctly, further interrogation of the CD booklet is required. Not all together a bad thing, delving deeper into the words can be enlightening, highlighting lines you would never have picked otherwise, or altering the phrasing and flow of the ‘story’. The songs translate a lot of personal expression of emotions and feelings.

The main instrumentation are two harmonised voices of Tegan and Sara and their two steel string acoustic guitars. There is an intensity to the execution of the guitar parts; a combination of the performance and the timbre of the instruments themselves. As well as that, most of the songs also make use of full rock band accompaniment playing interesting polyrhythms a lot of the time. There are synthesisers throughout the tracks that add a cute quality to the accompaniment.

The vocals are executed with a sense of intensity and passion. While the main vocal seems desperate, the backing vocal seems as though it’s not bothered by the course events. It’s almost like a conversation is taking place between the two vocal tones. I love the harmonies in the vocals and their use of counter melodies. I also like the urgency in ‘Are You 10 Years Ago’ and that it is underlined by a second slower vocal line. At times the girls sing in falsetto, and when they do is sounds almost like a kettle whistling.

The guitar tone is very percussive. Having been mic’ed in such a way that a lot of plectrum noise is captured. It is also a quality of steel stringed guitars. Some guitar motifs have an almost western quality

I really like this album. Pretty much every track made it on to my ‘notable tracks’ list and given the fact that there are 14 tracks that is saying something.

Written By Simon Chisholm

A good friend recommended Me’Shell Ndegeocello to me after a discussion about bass guitar and grooves. I don’t know if I chose the best album to reflect what we were discussing, but it still put an amazing artists on my radar. On this album, Me’Shell is Bitter.

The album title is very descriptive of the overall tone of the album, and the first track (an instrumental) acts as an introduction into the ‘Bitter’ state of mind that the album stems from. While the tone is negative, the lyrical subjects revolve around relation ships including; finding, wanting, and being in love, losing love and remembering love. The album isn’t dark however, at times our protagonist is full of love and happiness.

Overall, this album is easy to listen to. It has a laid back, relaxed classic R’N’B sound with Jazz influences. There is also a funk and soul element present, through heavy use of hook line repetition.

The vocal performance throughout the album is deep, flowing and mostly slow. Yet don’t think the performance is lacking, what has been delivered is exactly what the songs called for.

While the vocals are the focal point of each track, large sections of the songs are instrumental, making the instrumental motifs a central element. The accompanying instrumentation is sparse and groove orientated, with heavy utilisation of ostinato by all instruments.

Me-Shell is an accomplished bass player and the bass lines that feature on this record are fun and groovy. The kind that a bass player delights in jamming. Songs like ‘Satisfy’ particularly show off Me’Shell’s bass chops.

Featured on this work are a number of compositional devices that are not used in a scarce capacity. They include riffs, lick, ostinatos, motifs, fills, ornamentation, harmonics, solo sections, movement and arrangements. The musicianship present is highlighted by the perfect execution in the performances.

My favourite track is ‘Beautiful’, simply because it sounds pretty and creates an interesting soundscape with the layering of ostinatos.

Written By Simon Chisholm

Emma Louise is a young independent artist from Brisbane. Her folk pop tunes are mind blowing-ly beautiful. At only 19 years old Emma Louise has already achieved more that us ‘bedroom musicians’ could dream of. At 15 she had already won two Q Sing Awards for her song writing, and she has played support for aussie heavy weights Sarah Blasko, Bob Evans and Boy and Bear with upcoming support for Josh Pyke. This release marks the next step for this young singer songwriter, and is the first of many more to come.

Emma Louise was suggested to me by a friend, and boy am I glad he made that suggestion! This E.P. is captivating from start to finish. These four songs take you on a ride over galloping melody lines, emotional tensions and breezy textures.

Emma demonstrates a large vocal range. Her galloping, free-feel approach to the melodies is playful. The freedom of the vocal is perfect. There is a complimentary mix of chest voice and falsetto, and it’s a good falsetto! ‘Bugs’ boasts some beautifully airy backing vocal ‘ooh’s’. There is some creative use of lyrical repetition.

Emma Louise has crafted the songs with an uncanny way of matching lyrical tone to the instrumental and  harmonic tone. One of these ways includes varying the textures when the vocal enters and exits.

The accompanying instrumental performances are skilled and well executed. Within the instrumentation there is a large amount of dynamic range, meaning that the ebb and flow of the music is both more dramatic and more complimenting of the tone of the tracks. The percussive elements littered throughout are fun, and well placed.

The standout track for me is ‘1000 Sundowns’. This was the track suggested to me. Historically, this track has stuck with Miss Louise since her time at high school. It is slow, sad and moving. There is an electric guitar arpeggio accompanying a symmetrical vocal contour. The harmonic movement of the track seems to have a swaying feel to it. The song is about a lost love, and Emma really gets into the mood, the vocal is strained and you can really hear the pain in her voice.

Overall, the E.P. is populated by honest, heartfelt, easy to listen to compositions. After listening you are left relaxed and smiling. The only bad thing worth mentioning is its too short! I await the next release with interest. Kudos Miss Louise.

‘Full Hearts & Empty Rooms’ released independently through MGM in 2011.

Written By Simon Chisholm

Ari Herstand is an independent multi-instrumentalist singer/songwriter based out of L.A. I came across this track somewhere on Tumblr. It was accompanied with a caption something along the lines of ‘love this song’, or ‘so me right now’, which piqued my interest. What are social networking sites for if not to share music that moves us?

This is one of those truly beautiful songs that stop you in your tracks. The overall effect of the track is relaxing and emotionally moving. The mix is very spacious and airy, which supplies that element of relaxation.

The song tells the story of a relationship. It is a melancholy recount of the trials and tribulations in the search for love. The lyrics  communicate angst, frustration and heartbreak. The track concludes with our protagonist showing acceptance.

The instrumentation is sparse. The main instrumentation is the vocal and piano with a steel string acoustic guitar. As the track progresses, the texture and intensity builds with the aid of adding instruments. We hear a string interlude and a weeping accompaniment, as well as a female vocal and, towards the end, a classic rock band. The piano motif in the conclusion of the song is pretty. It is nicely timed and executed.

Ari’s vocal is almost strained. It sounds as if Ari is in pain or trying to sing quietly so as to not wake someone. It has an intense, breaking quality that implies emotion, that he is choked up over the events he is recounting.

Deep underneath the mix is a low rumble and click, what I would identify as the sound of a vinyl record. The quality that give a vinyl record its ‘warm’ sound.

The arrangement, instrumentation and movement of the track mimic the turmoil and emotion of the relationship. As the story unfolds the track builds into full rock band instrumentation including groovy electric guitar solo. The arrangement is a progression. The structure is made up of a number of different sections building to the conclusion. I’ve labelled them thus: Intro/ Passage 1/ Interlude/ Passage 2/ Build-up/ Conclusion.

The performance is not virtuosic, but it is crafted ingeniously from start to finish.

Sit down and listen.

Ari is known for his live looping performances, check out the one below.