Ray LaMontagne – Till The Sun Turns Black
Till The Sun Turns Black is, most assuredly, a fine collection of tracks
Ray LaMontagne showcases just exactly what he’s about on Till The Sun Turns Black; his second full-length release. His whispery vocals shine quite well through the creaky woodwork of this albums recording; you can feel the air in the room, the space between, and the passion living strongly in his voice. It’s easy to see that LaMontagne doesn’t just sing these songs; he lives them. The gorgeous, six minute opener “Be Here Now” sets the tone quickly, letting the world know that, no; he isn’t another polished pop-songster, or a man who doesn’t exactly know how to get the sound he’s going for; but instead this is the sound of a talent who knows precisely what type of music he wants to make.
The tracks on Till The Sun Turns Black defy genre, and in doing that they also defy a specific time period. When listening to LaMontagne, it’s easy to forget that these tunes weren’t penned a few decades ago, back when Bob Dylan was in his heyday, taking the world by storm. Just the same, every tune houses the relevance of contemporaries such as Damien Rice, and Ryan Adams—two talented, fellow songwriters currently well in their prime.
To draw a line between two dots, LaMontagne sounds quite a bit like Ryan Adams on some of his more recent material; most specifically his latest: Twenty Nine. Like Adams, LaMontagne displays a more stable incarnation of that sporadic brilliance that accents almost all of Adams work. LaMontagne is, to put it bluntly, the type of artist that Ryan Adams would be if he could just slow down. Till The Sun Turns Black is, most assuredly, a fine collection of tracks. A focus is shown in the craft of songwriting that stands few and far between in the current landscape of music, and there is nary a misstep all the way through.
The album closer “Within You” brings this affair to an all too fitting close. LaMontagne is backed beautifully, and to finally stop with the Ryan Adams comparisons, it reminds me quite a bit of the stumbling ballroom balladry of “Goodnight, Hollywood Boulevard.”
Goodnight, indeed; and I’ll surely be listening to Till The Sun Turns Black, until the sun comes up.
Crossed Keys – Saviors
Saviors shows the work of well-seasoned musicians finding new energy in old sounds
Philadelphia’s Crossed Keys are an interesting intersection between melodic hardcore and punk, taking an earnest approach to the sound that made its way from the underground in the late 90s and early 2000s. This relatively new outfit is the result of Kid Dynamite and Samiam in a blender- in the best way possible. The Kid Dynamite influence may be a given since Crossed Eyes features KD’s drummer Dave Wagenschutz, but the band’s pedigree also includes members of bands like Zolof the Rock & Roll Destroyer and The Curse, all backing the melancholic vocal work of frontman Joshua Alvarez (Halo of Snakes). So while Crossed Keys are somewhat new, its members have been cutting their teeth within their respective circles for years, and their new EP Saviors shows the work of well-seasoned musicians finding new energy in old sounds.
Saviors is backboned by the furious urgency and energy that Kid Dynamite showed through their history, but while Jason Shevchuk’s vocals were beautifully abrasive, Alvarez takes a more restrained, wistful approach to singing. Songs like the opening “Times of Grace” are musically up-tempo percussions and razor-sharp guitars, but are buoyed by Alvarez’s more melodic vocals. His vocals rest at a good place between Samiam’s Jason Beebout and that NYHC tone exhibited by bands like Token Entry and Grey Area. In songs like “R.J.A” and the closing title track, Crossed Keys find more success with their brand of blistering speed meets harmony- slowing down only for the kind of melancholic punk that made Samiam a noted name. While much of Saviors is built on pace, it wasn’t always this way for the band. In fact, their 2017 EP, I’m Just Happy That You’re Here, leans closer to Samiam than it does to Kid Dynamite (the song “Jeff Pelly vs. The Empire” is particularly fantastic), so there’s been an uptick of urgency with Saviors.
For fans of any of the aforementioned bands here, there is plenty to like with Crossed Keys and plenty to like in Saviors. It’s succinct, to the point, but filled with ample reflection and exploration that gives the EP depth and resonance. Any band that has found influence from Kid Dynamite is most certainly OK by us (this site is named after a KD song after all), but Crossed Keys does more than just tip their cap. This one’s a really good one, and worth your time.
Pine – Pine
Pine’s debut album is a kind of hypnotic melancholia
Where did Ottawa’s Pine come from? It’s a question worth asking after listening to their painfully gorgeous self-titled debut album. Pine use the phrase “doom and gloom never sounded so sweet” to describe their sound, and true to that, this 11-track outing is filled with the kind of hypnotic melancholia that became the playbook for a great many Midwestern emo bands that emerged in the late 90s/early 2000s. The biggest difference here is that while Pine have the heartbreak down pat, their musical sense of loss is lifted slightly by the airy, more wistful sounds of their guitar-strewn songs. Sure, there’s a lot that sounds like a great Mineral record or a Gloria Record album, but there’s also traces of Florida indie/emo band The Rocking Horse Winner and at times, bands like Rainer Maria.
Pine are buoyed by the great vocal work of Darlene Deschamps. Her voice soars through tracks like “Memento” and the terrific “Lusk”. The latter in particular is a great example of how Pine lull you into a sense of calm before it explodes in a collage of symphonic distortion and post-rock twinkling. In “Sunder” they ascend to louder, more expansive sounds. The song is a great combination of thick, fuzzy guitars, mid-tempo percussion work, and that pained vocal delivery that gives the song an extra punch in the guts.
The album took an impressive 2 years to finish, and you can hear the trials and tribulations of that gestation period through the songs. There’s pain, sadness, anger and frustration in songs like the intro “Within You” and the more new emo-esque “Swollen”, but also beauty, and as the album concludes, a sense of incredible catharsis. The record SOUNDS great too, with production values (by a production team that includes Will Yip, who has helmed records by Circa Survive, Braid, Saosin, and the Bouncing Souls to name a few) adding to the grand cinematic finish of the record.
For those who love what emo was in the mid to late 90s will find much to like about Pine just as much as those who like Explosions in the Sky and their post-rock brethren. Pine have been crafting their sound over the last few years and while their previous EP Pillow Talk showed a solid foundation, this new self-titled record is the work of a band close to the height of their abilities. Moving, beautiful, and littered with life’s roller coaster of emotions as songs, Pine is definitely recommended listening.