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Lights & Motion – Save Your Heart

There is beauty in music and then there is Save Your Heart.

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In the modern realm of post-rock complexities, there are artists whose art and music has undertaken a certain breadth to it. But as you step back and listen to it as a whole, you often realize it is more burden than anything else. A lot of it is very weighty and careens into self-indulgent territory. Explosions In The Sky can write music that is breathtaking, but sometimes their songs are too long, Godspeed You! Black Emperor is similar, where experimental becomes the focal point instead of the beauty, and Mogwai and Tortoise unfortunately, are just far too dreary and mathematical.

A few years ago, Jade Tree Records released music from Statistics, the musical moniker of Nebraska mainstay Denver Dalley. His brand of post-rock combined elements from Midwestern emo’s lineage, and escaped into the ethers of pop and the more aurally pleasing. His songs however, often felt unfinished.

So there must be middle ground somewhere, and Swedish multi-instrumentalist Christoffer Franzen may just be it. Under the name Lights & Motion, Franzen has been making beautifully soaring, instrumental post-rock akin to Statistics (and to some extent, Angels & Airwaves and 30 Seconds to Mars without the inflated rockstar ego), but with a little more grace, a finished veneer, and a stratosphere’s distance in emotional resonance.

There is beauty in music and then there is Save Your Heart, a record so glistening with the sounds of perfect soundtracks the world over that it should really be the sound of every successful spacewalk, moon landing, and the perfect dawn. We’ve thrown the word “epic” around on numerous occasions, but it is by far the one word that is most suitable for Save Your Heart as Franzen has crafted songs that shine with the vision of a brightly burning star. Songs like “Sparks” and “Ultraviolet” are a mixture of pretty guitars, midtempo percussions, and soaring instrumental harmonies, all wrapped in a welcoming glow.

“Snow” is the album’s longest excursion at 6.40 (a pop punk second compared to an Explosions song), and with its percussion-toned opening and graceful ascension, it is the album’s finest moment. Keyboard sprinkles and Franzen’s ability to craft music that is both reflective and optimistic is exemplified to near perfection.

The album is succinct, and spends less time in tangents than most other post-rock artists which is a refreshing change for the genre. “We Are Ghosts” erupts in a euphoric blaze of electronica-laced keys after painting a certain musical serenity, while “Atlas” brings home the beautiful melancholic grace Save Your Heart is so good at doing.  The album closes out with the title track, like an effective closing credits scroll, it is harmony in the end and a fitting bow to a memorable performance.

Few albums will come this close in capturing the imagination of hope and promise in musical form. Save Your Heart’s beauty and grace is one to savor.

(Deep Elm Records)

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Crossed Keys – Saviors

Saviors shows the work of well-seasoned musicians finding new energy in old sounds

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Crossed Keys Saviors

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.

(Hellminded Records)

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Every last time: Revisiting Gameface’s “How Far Is Goodbye?”

A glorious sound of a time gone by

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Southern California’s Gameface were always a band that seemed perfect just below the cusp. Their brand of pop-tinged punk was somewhere in between the melancholy driven emo of the early 1990s to what would become of radio-friendly punk bands evolving from the Jimmy Eat Worlds of the… world.

I loved this band. It was songs like “My Star” and “When You’ve Had Enough” that captured my attention. They didn’t fit in with the punk explosion of the mid-90s and had more melodic chops than those that remained in the underground with bands like Quicksand and Texas is the Reason (the latter being the most musically similar).

To this day, I count their track “How Far Is Goodbye?” as one I can listen to on any given day and still feel the same way about it as I did years ago. It’s a glorious sound of a time gone by, and Jeff Caudill, who has been the backbone of their songwriting since the beginning, has still got the chops his ilk can only dream of. There’s a tinge of melancholy that conjures up a certain sadness, a scene in a movie where the protagonist is making their exit into the distance as the scene closes. Something about the song, the sentiment, and the lyrics that always reminds of driving away while looking at the rear view mirror.

Five years ago Gameface released a new album, Now Is What Matters, an album that perfectly encapsulated their ability to write with emotion, melody, and magnetism that only a select few seem to possess. I interviewed frontman Jeff Caudill before the album came out to chat about the band, an interview I think still holds up. Caudill has been busy since then with a lot of solo material, while the band themselves have been releasing music sporadically (mostly singles) since 2014.

While their catalog is deep, there’s one song I keep coming back to, and that’s “How Far Is Goodbye?”. Originally released on the split 10″ vinyl with Errortype: 11 in 2000, the song received an update in 2018, which you can hear below.

Gameface photo from Gameface facebook page.

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