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The Getaway Plan – Other Voices, Other Rooms

Only a few years into their musi­cal careers, and these dandy gen­tle­men have more going for them than most will in an entire life­time. Stamp Other Voices, Other Rooms as essen­tial listening.

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There is no secret to the Get­away Plan for­mula. Their brand of post-hardcore is one lis­ten­ers have seen and heard many times before– Saosin, Armor for Sleep, Funeral for a Friend– all musi­cally sim­i­lar to Mel­bourne, Australia’s lat­est flex­ing their artis­tic mus­cle. Yet, as you lis­ten to the band’s full-length debut Other Voices, Other Rooms, there is a dis­tinct qual­ity that sep­a­rates them from their coun­ter­parts. It’s an intan­gi­ble qual­ity, one that can’t really be described by hyper­bole, lav­ish praise, and/or writ­er­s­peak, but unfor­tu­nately, aside from actu­ally lis­ten­ing to the record, it’s the only way to say how good it is. Yes, it’s post-hardcore, and yes, it sounds a lit­tle pol­ished, but unlike other local fare (Kiss­chasy, The Hot Lies to name a few), The Get­away Plan have urgency and musi­cal chops by the bag load.

The band’s sin­gles– “Street­light” and “Where The City Meets the Sea”- are your req­ui­site, big cho­rus, chunky gui­tar type songs, and will eas­ily grab casual lis­ten­ers into the fray. How­ever, it is when the band digs a lit­tle deeper into their emo­tional pock­ets that they truly find their sym­me­try. The album’s best is the mid-tempo, soar­ing melan­choly of “New Med­i­cine (Stay With Me)”; a lovelorn ode to, from what we can see/hear, the faith in fight­ing sick­ness. Then there is the more lit­eral tale of love in “A Lover’s Com­plaint,” backed by solid melodies, and vocal­ist Matthew Wright’s tow­er­ing voice, the song is the pin­na­cle of the band’s efforts; pow­er­ful, mov­ing, yet not overly sen­ti­men­tal and/or naïve.

Whether it is delv­ing into piano-oriented com­po­si­tion (“Red Flag”), or elec­tronic land­scapes (“Trans­mis­sion”), The Get­away Plan are more than capa­ble of pulling in ele­ments of other gen­res into their own. It makes for an enthralling lis­ten, and are the facets of the album that keep it from becom­ing stale and/or over­done. Only a few years into their musi­cal careers, and these dandy gen­tle­men have more going for them than most will in an entire life­time. Stamp Other Voices, Other Rooms as essen­tial listening.

(Boomtown Records)

Reviews

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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Reviews

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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