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Freer – Secret Chorus

Musically speaking, Secret Chorus serves up a fine course of melodically pleasing songs that are well arranged and imaginatively executed.



It is a beautiful Sunday morning on the first May weekend in Surf City, which is perfect for the mammoth volleyball tournament going on at the pier. Yes, nothing stimulates me more than sitting with bikini clad babes and tan, hunky dudes watching the likes of Misty May and Kerri Walsh inflict a beating upon their opponents. I’m all about the sunshine and sand; that is why my pasty, white ass is firmly planted at my desk typing a review for Sound the Sirens. Today’s offering to the God of tin ears is Freer, a band that has sprung up from the mean streets of Detroit to share an “avant-garde creative attitude” that makes “music that is not only artfully meaningful but fun to listen to as well.” At least that’s what their press kit says but since they misspelled that bloody French adjective, I decided I would have to take these guys for a test drive before determining if they were true artists.

“Long Road Home” is a solid opening track that combines the accessible yet linear simplicity of late 60s rock with the 80s ethereal sound of the Cure. My only objection is that the bridge section sounds a bit too much like “Under The Milky Way” by the Church. “Taking Me Over” also has a minimalist arrangement that is super clean, nicely played and features good lead vocals by keyboardist Jeremy Freer. “I Think You Know” is a dynamic song with a combination of sounds reminiscent of the early work of Split Enz. This one features outstanding guitar and bass parts working effectively together to enhance engaging song changes. Jeremy does a great job on both electric piano and vocals on the pretty, melancholy “Dreams Disappear” that unfortunately suffers from less than stellar lyrics. Also flawed from feeble words is “Souvenirs,” a song that otherwise showcases excellent acoustic guitar work, vocal harmonies and melodic quality. 

Freer consistently does a good job writing interesting melodies and the epic “Snails” is a cool throwback to the progressive arena rock of the early 1970s. This imaginative arrangement almost makes me forget this line:  “There’s a road where you find / no one finds you / and you feel so unreal / and the snails come out in time to remind you / you can’t always trust the way you feel” Well I don’t know about you, but beyond occasionally enjoying some escargot, snails have never been a barometer for my emotional stability.

Musically speaking, Secret Chorus serves up a fine course of melodically pleasing songs that are well arranged and imaginatively executed. It is unfortunate that once again the songwriters seem to have played hooky during their creative writing lessons in favor of attending music theory class. My recommendation is to go down to Borders and buy a couple of old Dylan records or perhaps some poetry books written by Jim Carroll or Gary Snyder.

(Jumberlack Records)


Berwanger – Watching a Garden Die

Josh Berwanger continues to evolve as a songwriter



At the height of Vagrant Records’ early success in the late 90s, the label was buoyed by the incredible draw of their two biggest names- The Get Up Kids and Saves the Day. And while those two bands took a chunk of the notoriety, there were plenty of great bands that called the label home. One of those bands was The Anniversary. The Lawrence, Kansas band shared musical similarities with both TGUK and Saves the Day, but were unafraid to branch off into slightly more synthesised terrain that gave their songs an added element. Coupled with their super easy to digest harmonies and fantastic male/female vocals, songs like “The D in Detroit” still has a place in countless “favorite playlists” all these years later.

Since their initial break-up, guitarist and vocalist Josh Berwanger has been busy writing and recording a bevy of music under the moniker Berwanger. His recent discography is a talented kaleidoscope of songs that traverse genres from folk and indie, to more rock and straight forward singer/songwriter fare. There was plenty to like on his 2016 album Exorcism Rock, an album that delved into a little bit of psychedelia and fuzzed out indie rock. His 2017 album And the Star Invaders saw a gradual move away from the more electrified to the imaginative kind of singer/songwriter we’ve seen from the likes of Devendra Banhart. True to form, Berwanger continues to evolve as a songwriter, and his latest, Watching A Garden Die, is the next chapter in his thriving songwriter cabinet.

The gloomily titled record is mostly upbeat and diverse. While he may have shown a kinship to indie/folk songwriting of the Banharts and Obersts of the world previously, Watching a Garden Die features the kind of seasoned and more classic toned work you’d find on a Crosby, Stills & Nash record, or even a Paul Simon record. Songs like the softly, almost whispered “Even the Darkness Doesn’t Know”, and quietly moody, introspective “Paper Blues” (until that electric guitar solo hits) harks back to a time long ago of unfettered hair and soulful folk music. The album’s best moment is probably a combination of the wistful, pedal-steel toned Americana of “When I Was Young” and the equally effective, spacey indie rock of “The Business of Living”. The latter giving Grandaddy a run for their money in that music department. These two songs in particular showcase an artist fully aware and capable of his abilities to craft music that’s personal but exhibits the kind of draw you want from a record this close to the heart.

The album doesn’t have the more ruckus moments Berwanger exhibited in his earlier work (outside of perhaps, the more upbeat power-pop, new wavy “Bad Vibrations”). At times the album takes just a few listens to grab you. But when you listen to songs like the spritely “Friday Night” and the somber reflection of the twangy “I Keep Telling Myself” a few times more, you find the depth of the record. There are elements that reveal themselves on the second, third, fourth listen, and that’s rewarding.

Berwanger’s songwriting ability was never in doubt, and his new material continues to expand his songwriting reach. Watching a Garden Die, while not a frantic effort, is quiet composure.

(Wiretap Records)

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Fences – Failure Sculptures

Failure Sculptures is a steady outing



Christopher Mansfield, under his alter-ego, Fences, has made himself well known through the collaborations with Macklemore and Tegan & Sara. It’s set him up with well-deserved excitement for his new album Failure Sculptures. The genre of pop scores a good reputation with artists like Fences. I wouldn’t necessarily categorize this album as pop, but Failure Sculptures has catchy songs that will appeal to a large scale, however it keeps the integrity of accomplished music. Each song provides a story that allows you to drift into your own thoughts. He also uses idioms like there is no tomorrow.

“A Mission” is a lower-toned song that launches the album with an echoing sound of voice and guitar, and it sets an example of the whimsical type of music that is shown throughout the album. Mansfield has a way with words and was definitely listening in English class. A+ for storytelling. OK, you twisted my arm, I’ll point out some idioms: “body sways like trees in a storm” sung in “Paper Route” and “lately I just pass by like a cloud” heard in “Brass Band”. It’s a great way to paint a picture in your listeners head.  

“Same Blues” exposes a folk side to Fences. It has a lovely addition of cello in the background. It is enchanting and flows so well, which makes a terrific inclusion to the album. The plucking and acoustic sound of “Wooden Dove” has a powerful effect, and suits the song well. It follows the theme of echoes and storytelling. Although “War Kid” is a song about divorce, it is a pleasant way to end the album, and it features more idioms; “tears falling like bombs“.

This type of music allows you to drift and flow in and out of your own thoughts. It’s a friendly haunting and emotionally driven set of songs (and don’t forget about the idioms), and while it is quite predictable in a pleasant way, Failure Sculptures is a steady outing.


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