#wcur

Telethon - The Grand Spontanean

I imagine that anyone with a love for music would jump at the opportunity to take journey into some new tunes. I believe that it's in our hearts, next to the lyrics of our first punk song. My whole reason for joining the radio's music committee was because I was tired of shuffling the same four albums. No offense to Modern Baseball, but a girl had to spread her wings and fly. The first band on my committee journey is Telethon, with their new album, " The Great Spontaneon". For some reason, I chose to listen to this album while writing some papers for school (yes, I said papers, PLURAL). What is the problem with this scenario, you ask? Well nothing really, except for the fact that when I listen to punk music it makes me want to throw things. For example, the first licks of the song "Paranoid Blur" made me want to do exactly that: throw my laptop across the room and nod my head until I got a headache. By the way, the next time I have to introduce myself to someone, I'm going to use the name of this song to do so. 

This album takes me back to that long, sunny drive on which I first discovered Joyce Manor. In that moment I was driven by the beats of the drum set, and the chords of the guitar shook me into goosebumps. This album unfortunately did not give me that same reaction, but that doesn't mean it didn't give me a thrill. That's the beauty in music, each album, band or song evokes a different feeling from you. The Great Spontaneon album overall is a definitely worth multiple plays on your playlist. 

FFO: Jeff Rosenstock, Joyce Manor, Laura Stevenson

Lukas Graham  - Lukas Graham

Called the best hit of 2016 so far by The Guardian, the opener to Lukas Graham's self-titled album "7 Years" is a tune you've heard whether you listen to mainstream pop radio or not. Don't be so quick to stick a one-hit-wonder label on this (soon to be) household group (also yes, it is a band and not a solo performer), as the album lives up to its hype. Sounding like a male version of Emeli Sandé on "Take The World By Storm" and channeling Annie vibes on "Mama Said", Lukas Graham is a pop radio dream with a hint of both familiarity and originality.

The album conveys a lot of soul reminiscent of James Morrison with thoughtful Ed Sheeran-like lyrics that tell a story of friendship, family, relationships, and…a funeral. Broken apart song by song, each sounds like a single, which brings with it appeal and confusion. With so much going on, you're not always sure if you're listening to the same artist you were four songs ago. When I first heard "7 Years", I thought it was a country song, and yet they're most compared to Maroon 5 and Flume.

So yes, the genre is puzzling, but it's 2016, and all artists are bringing in different types of sound into their work now. Rarely are artists boxed in anymore by one specific category. In "You're Not There" the band showcases the most consistent element of the whole album: a strong melody. Finishing with "Funeral", they manage to put a catchy spin, gospel choir and all, on a morbid subject.

Pop not your go-to? There are electro beats, soul rhythms, and alternative lyrics to reel you in. Once "7 Years" hits its expiration date, there's plenty more coming from Lukas Graham.

Explosions in the Sky - The Wilderness

Remembering the first time I heard Explosions in the Sky seems like a memory that will never escape me. I was about 9 years old and my brother had loaned me a copy of How Strange, Innocence, their first release from 2000. It’s album opener, ‘A Song for Our Fathers’ had me hooked like no other music had at the time. Its solemn composure felt like I was experiencing something bigger than anything I’ve heard before – the dual guitar was simple but rang true, the bass line was muffled but provided a contagious rhythm, and the ever-so brushed snare kept everything trotting along. Then it happened, the first real build-up and crashing crescendo I had ever truly heard. Everything dropped and left the bass to ride along, eventually being interrupted by one of my favorite guitar riffs I’ve heard to this day; and then the drums came through like a rolling thunderstorm. It’s 5-minute length may have seemed bulky to an average 9-year-old listener, but by the time it was over I felt exhausted in one of the best ways possible. After listening to the album on repeat for a few weeks I decided to try my hand at learning ‘A Song for Our Fathers’ on guitar. It became the first actual song I decided to learn myself.

A year passed and then my brother ended up coming home with their second release, Those Who Tell the Truth Shall Die, Those Who Tell the Truth Shall Forever on vinyl. Considering how young I was, I had no idea how to work a turntable, but this six-song epic eventually came to be my absolute favorite release by them. However, at the time I remained so enveloped with punk that I took a minor hiatus from their music as well. When 2003 came around, they released The Earth is Not a Cold Dead Place, the album that truly let them flourish with their hit song, ‘Your Hand in Mine’. As cliché as its one-hit wonder fans have made it, that song is truly what brought me back into listening to them. I never heard a song at the time that could create such a true, genuine and heart-warming feeling like it, all while having zero vocal.

2007 was the last time I stayed up to date with them. All of the Sudden I Miss Everyone was an absolutely stunning release where they managed to put their sound and emotions to near maximum levels. It became a CD that was constantly in my stereo and was my go-to CD right before I would fall asleep. Then after it, they were gone – could their album title have been a playful nod to the hiatus they were taking? I never stopped listening to them, but the infatuation eventually began to fade; 2010 and upwards was about the point where I nearly was only listening to Those Who Tell the Truth Shall Die.. an album that eventually began to truly click the more I aged. Each side’s opener, ‘Greet Death’ and ‘Have You Passed Through This Night?’ in my opinion are some of the most groundbreaking pieces of post-rock – and rock in general – I have ever heard. ‘Greet Death’ is one of, if not the best opener on a post-rock album to grace the genre – Godspeed You Black Emperor’s ‘Dead Flag Blues’ is probably the only thing I could think of that contends with it.

When 2011 rolled around I got wind that they were working on a new release and sadly at the time.. I couldn’t have cared less, and post-rock itself was to blame. After the early years of infatuation with Explosions in the Sky and Godspeed! You Black Emperor, I needed more from this genre and soon learned that there was way more, it was more of a matter of which were good. The genre’s flooded with so many bands trying to replicate what’s already been done. The song structures start becoming overly formulaic, the guitar tones start to sound the same, and what once was a genre of beauty and originality became something so stale. The term ‘crescendo-core’ was coined for a reason, when every post-rock band starts to try to make the most ‘epic’ crescendo, it starts to feel as corny as when a beat ‘drops’ in a dubstep track. While it wasn’t necessarily Explosions in the Sky’s fault, even I felt they succumbed to the blandness with Take Care, Take Care, Take Care, it all seemed so dull at this point.

So, after hearing yet again that post-rock granddaddies were in the process of recording a new album in 2016, I didn’t feel much. It sounded interesting because I really haven’t listened to them in years, but other than that it was like hearing a band like The Decemberists are working on a new album. It’s cool because I listened to them when I was younger, but now I couldn’t give two shits. At this point, Explosions in the Sky have solidified themselves within pop culture. Their songs are scattered across TV shows and movies, and it’s impossible to hear their music without pairing it up with some tender moment or picture painted memory. But is that necessarily such a bad thing?

The second I pressed play on The Wilderness I immediately felt a bit bothered; its bouncing, echoed synth plays as an introduction to the first song, the album’s title track. For Explosions in the Sky to start primarily incorporating electronic elements into their music felt like a parent finally catching up with the times and getting a Facebook. Many bands have meshed together rock and electronic in fascinating ways, 65daysofstatic being one of them, and this seemed more like a gimmick than anything. However, moving into The Ecstatics, it became clear that the new and updated Explosions in the Sky weren’t trying to prove anything, to anyone. There’s a new sincerity to their music which isn’t based on the guidelines of crescendos, their music has become more meditative and relaxed – the times the songs do gain a bigger sound don’t seem forced, it’s more of an in-and-out, move-it-along style of songwriting. There’s a strong fluidity within each track that though simple and stripped down a bit, almost seems like they’ve reverted back to what made How Strange, Innocence so great. What started to seem like a band that felt like the overly-cocky star quarterback feels a bit more like the humble, quiet student sitting at the far end of the bleachers. This pans out to be more good than bad, the album feels more introverted and at times allows for their music to feel more intimate.

Even before Explosions in the Sky were at the helm of sound-tracking dramas, where scenes were literally played out to their music, I still could always get transported to a place whenever I listened to them. The artwork (provided by Jacob van Loon, a modern favorite of mine) is one of their first that seems far more ambiguous than previous covers, putting you in a confusion state for what’s to come when playing the album for the first time. The Wilderness feels like a drive to nowhere, asleep in the passenger seat, never caring about the end destination. Its pace at times can seem mildly lethargic, crawling at a near snail’s pace to reach the end of the track; but this is something that you don’t see from Explosions in the Sky often and as odd as it may seem, it’s can be enjoyable at times. Overall, I didn’t manage to feel all that much from The Wilderness. Maybe it’s because I’m getting older, but when I used to listen to Explosions in the Sky, I would get goosebumps and really feel something. Yet, with this album, the appreciation merely only comes and goes. I think I wanted to force myself to love this album to get me back into the genre and especially the band, but I couldn’t find much within its trudging song composure. I definitely liked this album, and it certainly had moments that brought me back to the old days of listening to them, but this is one of their releases that I find myself barely wanting to go back to, albeit a few songs. I certainly hope Explosions in the Sky continue on their journey of releasing material, although sparse; but their next release needs to proof itself to be something bigger than this.

Recommended Tracks: ‘Disintegration Anxiety’, ‘The Ecstatics’, ‘Infinite Orbit’

Rating: B

Underworld - Barbara, Barbara, we face a shining future

The electronic dance duo Underworld consisting of singer-lyricist Karl Hyde and producer Rick Smith released their first record in half a decade "Barbara Barbara We Face a Shining Future", their latest since "Barking" places matters of pure optimism at the heart of beautiful dance rhythms.

From previous tracks like "Pearl's Girl", "Born Slippy", and "Cowgirl", "Barbara Barbara" assumes a slower pace compared to Underworld's numerous high octane past works. Their seventh album in a long line of consistent hits radiates vitality and a renewed sense of purpose, impressive for a dance act nearly 30 years on the move.

Opening track and single "I Exhale" exudes thick two-note bass riffs in perpetuity, as Karl Hyde (reminiscent of Mark E. Smith from The Fall) strings together droning non-sequiturs. It's an impulsive, maddened spoken-word romp whose introductory lines—"Life / It’s a touch / Everything is golden / Open" set the album's optimistic tone. The expansive percussion coupled with Hyde's utterances conjures up cinematic images of blinding lights atop a massive stadium stage or climactic scenes of hedonistic bliss. “I Exhale” is a bone-shaking, blood-curdling rhythm that lures you to the dance floor.

"Low Burn" takes a sensuous turn, taking inspiration from the ambiance declared in the group's earlier work "dubnobasswithmyheadman". Pulsing low beats and swirling synths inspire a sense of awe as the melody weaves between cyclical chants of "time / first time / blush / be bold / be beautiful / free" throughout the duration of the song.

In an interview with Consequence of Sound, Karl Hyde explains his lyrical motivations: "When we came to do the lyrics for this, Rick pointed out to me that I should just see the world like I do my camera. This is what I’ve done for 25 years now because I’m unable to articulate how I feel with words. What I decided to do is use collections of words like objects to describe how I feel. So, in the past, if I was feeling happy, you knew it by the things I had collected. If I was feeling dark, the same thing. That’s what I’ve done to a much higher degree on this album, made those collections even more apparent."

The result is poignant and evocative imagery painted by isolated words surrounded by complementary instrumentation. "Barbara Barbara" experienced as a collection of images and objects and a series of abstractions elicits passing emotions of ease and satisfaction and drive to live life at its fullest and most expressive.

The aptly named final album track named "Nylon String" is also my favorite, doing as the title appropriately entails, mending together layered and varying electronic melodies to create the sensation of floating synthesized and expanding strings plucked between the space created by Karl Hyde's upbeat and heartfelt lyrics and Rick Smith's keyboard mastery. The stirring background vocals over ever-turning arpeggiated synths rings of hope for the coming years with Karl Hyde’s repeated iterations of “Open me up, I want to hold you, laughing” and members of his family providing backup vocals. Each repetition of the phrase lends itself towards growing emotional impact, ending the song and album as a drunken sob-fueled emotive fest that looks forward towards a bright shimmering future...hopefully one where this sort of electronic music seeps into the EDM dominated mainstream of the current.

Even at their slowed down pace Underworld - a group nearing their 60s, delivers unparalleled and incomparable electronic art. With Hyde's heavy doses of lyrical surrealism, poetry, and spoken word and Smith's meditative, hypnotic, and beautiful electronica dance vibrations, Underworld never disappoints and always reinvents themselves into something unique, prominent, and here to stay.

RIYL: The Chemical Brothers, The Prodigy, Orbital, Massive Attack, Moby

Recommended Tracks: “I Exhale”, “Low Burn”, “Ova Nova”, “Nylon String”

Into it. Over it. - Standards

           I grew up in a town whose music scene was almost entirely based on the emo revival movement, or what I like to call post-emo. I mean, I couldn’t hang out with any of my friends without listening to Snowing, or Spraynard, or Mallard, or any of the other local bands that played sparkly guitar and screamed into the mic. And that’s all fine and dandy, except for the fact that post-emo music is usually so “bleh” to me. I’ve listened to so much of it over the years through friends and people I barely know, and it never really caught my attention. For me a lot of it was boring and formulaic, and I’ve never been one for vocalists with annoying voices, especially when that involves screaming. However, Into It. Over It. is a whole different beast.            Hailing from Chicago, Illinois, Evan Thomas Weiss has become one of the biggest names in the emo revival movement. With his project Into It. Over It. he has created three studio albums, an EP, and a whole bunch of splits and compilations. Weiss has created a really interesting project for the post-emo crowd to digest, because it’s definitely not what you’d expect. He takes a different approach to the genre, and it’s really refreshing to hear. He has continued this wild streak with his newest album, Standards.            The first track off this new record, “Open Casket,” is a really sweet sounding, somewhat folky tune. It’s a shimmery acoustic guitar and vocals duet, and gives you a pretty good understanding of what you’ll be hearing for the next forty minutes. Though at first I thought this album would have a really Front Bottoms-esque feel to it because of this track, it quickly becomes apparent that it’s not nearly that simple.            Next up, “Closing Argument” opens with a nice piano and synth duet before cranking it up with the guitar and drums. I really like the noodly electric guitar on this track, because it hints to that post-emo sound without ever really indulging in it. It feels like this track is teasing you, acting like it’s about to turn into this all out, post-emo scream fest, but it never does… thankfully. That, combined with a really nice use of chord voicings and progressions make this one of my favorite tracks on the album.            The next track, “No EQ,” starts out just like it suggests; with a distorted guitar solo that sounds like it could benefit from some good equalization. But it’s not the guitar that takes main stage on this one. I think this was the first time I really noticed how integral the drums are on this album, which becomes more and more apparent throughout the Standards. The drums really drive this song into the fast lane, but also go into these cool little math rock Hella-esque fills. This shows up again and again throughout Standards, but this is the first real time I noticed.            When “Your Lasting Image” comes on, and even into the next song “Old Lace & Ivory,” I could have sworn I was listening to Death Cab for Cutie. Like seriously, if these tracks were on Plans I wouldn’t bat an eye. They use the classic techniques that Ben Gibbard has patented, like the really sweet, really calming, reverb laden guitar and piano, combined with smooth vocals and sad lyrics. Reminds me a bit of when the Hotelier, another great post-emo band, goes acoustic.            And after the two quietest songs on the album by far, comes probably the most post-emo track, “Adult Contempt.” Once again, the drums are really showcased here, pulling some more math rock stuff. The clash of different vibes really adds an eclectic feel to the album, and reminds you that this album isn’t just a boring mess of songs.            The next track, “Required Reading,” is probably my favorite track on the album. This one starts out seriously strong with an awesome mix of quick paced drums and soothing, distant piano. When the vocals and guitar come in it somehow gets even better. I love the mix between Death Cab For Cutie and Brand New, which isn’t a collaboration I ever thought I’d hear. This track has everything I love about this album in one song; the harder hitting post-emo attitude combined with the mellow, sweet sounding approach. It sounds like this song should be all over the place in terms of structure and vibe, but “Required Reading” doesn’t feel like it has a short attention span or anything. The transitions feel natural, and all the changes that take place just add to the excitement.            “Who You Are Does Not Equal Where You Are” is another one of the tracks that exemplifies the feeling of the entire album. I like the distorted guitar playing little noodly licks and some off key chords here and there. This is another nice sounding, dark themed track, which are always the most fun to dissect. It’s so interesting listening to the juxtaposition of rough, harsh sounds combined with calming, up beat ones, which happens all throughout Standards.            The last song on the album, “The Circle Of The Same Ideas,” starts out as a really shallow track, with mostly just guitar and vocals. I do like the additions throughout the song from there however, with some backup vocals, some bells, and a really interestingly recorded lead guitar part. As the last song on the album, I was really surprised on the first listen to hear it end so quickly. It’s a short track, only about two minutes long, and it honestly felt like it should have been longer. Maybe the fact that it caught me off guard, no matter how, is a good sign; I don’t want to be able to guess what’s coming next in an album anyway.            Into It. Over It. is definitely considered post-emo, but this is one of the few times where that means something good for me. It has that emo-revival feeling for sure, but the vocals are more mellowed out and crooner-like. If there were some screaming layed on top of these tracks, it might make it more post-emo, sure, but I still don’t think it would fit. It’s not just the vocals that make this band stand out among the rest. Every track is really well thought out and has something interesting throughout it. Into It. Over It. doesn’t just copy and paste some generic drum track or guitar licks and call it a day. Weiss puts a lot of thought into each instrument. Not only that, but the structure of the songs aren’t kept static, often switching up right in the middle of an idea. Post punk is often times formulaic and trite, but Into It. Over It. likes to spice things up and keep me on the edge of my seat. I’ve been slacking with listening to new music this year, so this might not mean as much, but Standards is already a strong contender for album of the year.

Céu - Tropix

The latest from Brazilian singer Ceu is titled Tropix; a breezy, smooth blend of lounge, dance, Brazilian music and dub. Traditional Brazillian instrumentation tapered with electronic overtones yields a warm album to welcome the initial vestiges of spring.

The sound found in Tropix is brilliant and inviting, mending organic melodies and lush casual yet penetrating vocals with a voice that carriers listeners along the dance of explorative and varying tempos. The sound, at times, is laidback, drugged, flowy, and furthermore upbeat. It's a positive, refreshing tone that suggests relaxation, steamy days at the beach, long nights at the bar, and contemplation even for those who don't speak the singer's native language.

Both "A Nave Vai" and "Etílica-Interlúdio" are, to me, exemplary of Ceu's ability, range, and diversity. The bass-driven start of "Etílica-Interlúdio" is reminiscent of the partial mellow upbeatness found in Kate Bush's "Running Up That Hill" however digresses into a slowed down and weightless melody, hazily drifting forward as notes appear and disappear and cool sexy vocals and spoken words emerge to mend and hold the tune intact as it gradually dissolves into the everness of "A Menina E O Monstro" - a panting beat that picks up the pieces where Interludio leaves off.

"A Nave Vai" echoes spunky and sassy textures whilst featuring classical violins building a baritone and more controlled musical backbone to the rosy vocals. It's two parts pop, and one part classical, resulting in a unique vibrant cadence reaching far beyond Brazil's indigenous sounds though its undertones and influence ring apparent throughout the album (hints of samba are ever-present).

According to Ceu, the album Tropix is the formation of "tropical" and "pixel" inspirations, and this gives explanation to the album's rhythmic like basis: "A pixel is a small part of a big thing—defragmentation as a concept. That's also why the album has a lot of arpeggiator keyboard, to capture that sound."

The arpeggiator is essentially a synthesizer function that plays the several notes that compose a single chord, a feature or technique that gives the levity and airy fleetingness inherent to the compositions found in Tropix - a vivacious sound expressed beautifully in "Perfume Do Invisível".

Ceu's Tropix is at its best when the distinction between violins, synthesized electronic sounds, and grassroots beats all fuse into the same identical groove, borders for each genre blurred into obscurity and abstraction and sultry harmonies.

Though the contrast is overt; the sultry and suggestive singing style of Ceu against the backdrop of electronic modulations parallels the cool air of Portishead with a Latin flair. If Beth Gibbons of Portishead took an injection of samba and took inspiration from jazz and soul rather than trip-hop, the resemblance would be uncanny. Regardless, the velvety voices of both artists are sure to captivate any crowd and invoke images of smoky lounges and sequin dresses, or (in the case of Ceu), flirty Sao Paulo beaches with a cocktail in one hand and a bikini-clad woman in the other.

Well-composed orchestration aside, Ceu's voice is the mainstay of her work; evocative and suggestive your infatuation will be imminent. ​

In the form of weed smoke and NUGthing BUD it (nothing but it), JANK comes flowing out of the musical mind, alternatively-tuned guitar, and loud mouth of Matt Diamond from West Chester's very own Panucci's Pizza.  Joining him on bass is Ruben Polo, who has had one of the most influential hands in Philly's local music scene.  And hopping on the drums is Sam Becht, whose upbeat punk drumming and impressively fast, yet varied, fills make up some of the most solid drumming I've ever heard from a local band.  All together, these three talented musicians (and all-around cool people) work together to create the driving, jamming, and wailing mash-up of pop, anti-pop, emo, punk, electronic, and fucking memes that is JANK.  

Every single ounce of music that this up-and-coming band releases is of material that makes you want to get up and dance like you haven't in years, sing along at the top of your lungs like you're at a live show, laugh like you're not sad anymore, and love yourself and those around you like appearances or identities have never mattered, like what people think has never mattered, and like your innocence is still very much alive.  Just as all of Matt Diamond's / Panucci's Pizza's previous releases, JANK's new album and first full-length, "Awkward Pop Songs", is a compilation of extremely jammy, mixed-meter, emo punk tunes with a twist of pop influence making every song an instant, catchy classic.  In addition, each song is blessed with some of the most creative and hilarious song titles in the business, making you laugh each time a new track comes up on the album.  This album is perfect for fans of Matt Diamond's earlier music as well as just for anyone who knows what's good for them, since this album, this band, and this music is top-notch.

So, if you're looking for some great new music with depth, drive, infectious energy, plenty of humor, and almost infinite replay value, look no further than JANK's "Awkward Pop Songs", which is available on their Bandcamp for pay-what-you-want!  Beam me the FUCK up.

GrasChoir of Young Believers - Grasque 

Out of all the amazing things that the 80s gave to us, like Ferris Bueller’s Day Off, John Cusack, and leg warmers, I have to say, synth is its shining glory, the peak of its legacy. Out of the synth came so many musical innovations across all genres, from jazz, to pop, to hip-hop. Synth pop, one of the many new styles of music given to us by the 80s, has been evolving ever since, and its still changing almost every day it seems. Every now and then, a new, subtle change will come along, and take the genre into a new direction. Now I’m not saying that Choir of Young Believers are breaking ground for the next big thing in synth pop, but they do bring a lot to the table.

Jannis Noya Makrigiannis, the mastermind behind Choir of Young Believers, just released his third full length album, Grasque, and there’s a lot to digest in the hour it takes to listen to it. The album starts out with a bit of an intro piece, entitled “Olimpiyskiy,” that’s mostly ambient noise of a crowd with a slowly rising, ominous synth and scat vocals. It’s a nice touch to the beginning of the album so the listener isn’t thrown right into the mix without knowing what to expect. But then after that short minute long intro we get “Serious Lover,” one of my favorites on Grasque. The 80s influence is really obvious on this track, with its gated snares, synth bass, clavés, and melismatic, robotic vocals. Speaking of the vocals, they’re possibly my favorite part of this album, but I’ll get into that later. One of the best parts of this song is the breakdown half way through the song that has a really cool chord progression and synth solo that’s almost tribal influenced. Stuff like that is what makes this album so unique.

By the time we get to the track “Face Melting,” another of my favorites, the album has been almost completely fluid, without a break between songs. This is the first hard transition, which is appropriate because it brings about a pretty major change in mood. “Face Melting” has a very vaporwave, chillwave feel to it, which brings the atmosphere down to a very mellow vibe. There is a lot of major pitch bending and key modulation on this track, which becomes a common theme throughout the rest of Grasque, and is another reason I find this album so fascinating. This song could stand to shave off a couple minutes from the seven minute run time it has, but it’s so deeply layered and complex that it’s not that noticeable. There’s enough to listen to on each run through that it doesn’t get boring, like following the song’s transition from 80s synth ballad to Scandinavian house beat.

“Graeske” follows after “Face Melting,” and it’s another pretty ominous song. Synths are great at making really dissonant, off putting sounds, but it does get boring after a while. This song being one of the longest on the album, I feel like it could use a bit of trimming as well. It likes to take its time developing each section before abruptly moving on to the next, and these transitions are really interesting because of how quick Makrigiannis is to change key and tempo. I recommend this song to anyone looking for a rollercoaster ride, because it goes from ambient, to synth ballad, to experimental chanting, and just about everywhere in between.

“Jer ser dig,” the next track, implements even more ethereal vocals than usual, and the Danish lyrics with crazy amounts of reverb help. The drum machine almost takes on the spirit of a 90s hip hop sampler, and feels a bit out of place, but towards the end it feels more natural as the song picks up. I like the synth on this one again, with its really nice chord voicings, and the background vocals add a nice touch, coming in waves.

The crown jewel of this album, and a really early, but strong contender for song of the year, comes in the form of “Cloud Nine.” This song really caught me off guard in the best way possible. It’s poppy enough to have a great structure and melody behind it, but it still has that out there, ghostly feel that this synth laden album has been giving us so far. This song is everything good about this album condensed into five minutes. It’s full and dark at times, but then goes light hearted and sweet immediately after. This one was also good at not over staying its welcome, unlike some other tracks.

“Gamma Moth,” the penultimate song on Grasque, starts out a bit seizure inducing because of its rapid left channel/right channel switches, but after that it becomes one of the better songs on the album. The use of a grand piano really contrasts the synth and adds a nice touch. “Gamma Moth” is another one of those tracks that goes crazy with the key modulation, but it really gets your feet tapping and makes you want to dance.

The last song, “Does It Look As If I Care,” gets right into things, unlike a lot of the other tracks on this album that have lengthy intros. Though it’s the longest song on Grasque it doesn’t feel too drawn out; there’s enough to keep you interested throughout. This song is where the vocals really shine through, and it wasn’t until I heard this one that the vocals became my favorite part of the album. They go on this amazing off key riff throughout the song that almost becomes microtonal. Not only that, but, like many other songs on this album, this track loves to play with its key and the structure, making for an interesting experience all around.

This album has some amazing moments on it, but it also has some moments I could do without. There are so many moments where I find myself in love with Grasque, but there are times when I wonder if making it an hour long was necessary. Shaving off a bit of introduction here, getting rid of an interlude there and you have a much more consumable album. I do love some of the poppier, more melodic songs that use the synth as an instrument rather than a noise scape generator, as seen on “Face Melter” and “Cloud Nine.” It’s the experimental stuff, though, that really makes this album stand out. Makrigiannis throws in some really fascinating effects, like modulation, off-key notes, and tempo changes that are the type of techniques usually found in a musician who is not afraid of stepping out of the box. I like the fact that they play around with a lot on this album, because it makes it more than just another synth pop album.