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Spitalfield – Better Than Knowing Where You Are

Illinois’ Spitalfield have carved themselves nicely into the pop punk tree.

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Illinois’ Spitalfield have carved themselves nicely into the pop punk tree. Ever since the release of 2003’s Remember Right Now, their brand of breezily accessible pop tunes emblazoned with the occasional searing guitar cut has given them the right kind of exposure and continued momentum to build upon. As they launch their brand new LP, the rather awkwardly titled, Better Than Knowing Where You Are, Spitalfield have established that while their music is certainly easy to get into, it is by no means sagging with the burden of being labeled “Nickelodeon” punk. And immediately apparent from the release is how comfortably Spitalfield appears to be in their designation- somewhere between guilty pleasure and enjoyable, easy listening rock.

First single, “Secret In Mirrors,” is a slow moving amalgam of mid-paced rock and sugary MTV melodies and is a fitting way to showcase slight maturity in their music. The album gets its much needed pep from tunes like “The Only Thing That Matters” and “On the Floor” that harkens back to the catchy, up-tempo numbers found on Remember Right Now. It’s a formula repeated again on “Tell Me Clarice” and “Curtain Call,” songs that try their best to get the ‘go’ into the mix. Their Jimmy Eat World influences are made as clear as day on tracks “Lasting First Impression” and “Hold On,” both relying more on slower harmonies and a gradual build up to its respective apexes (the latter tune being their best impressions of Jimmy Eat World’s slower radio hits).

Lyrically, Spitalfield get a bit queasy; doe-eyed all the time, fluffy puffy rhymes found in your very straightforward yet no less painful (un)romantic inklings of ‘teener types; “You picked out your favorite dress / Made yourself up your very best … I know you’re dying to be / Broken and let down by me.” So while they’ve found comfort in musical maturity, their lyrics seem to remain within the Teen Beat slash quasi-romance type that will surely turn away anyone older than fourteen. It’s the most frustrating aspect of their music because their sometimes great tunes become so excessively bogged down by poor lyrics that the whole experience becomes a turn off.

While their shortcomings are rather less than subtle, the lack of depth is covered up nicely with their overall zeal for writing excessively catchy and accessible rock tunes. And make no mistake, there’s enough rock of the briskful kind to keep those listening entertained. Spitalfield, like a temperate autumn day, is a soothing blend of easy listening that’s certainly great for the brief duration of the season. Either you really like the sight of falling leaves and the gentle hum of the wind across your face, or it will really just piss you off.

(Victory Records)

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Berwanger – Watching a Garden Die

Josh Berwanger continues to evolve as a songwriter

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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

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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.

(GRNDVW)

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