Sight & Sound

LISTEN: Joshua and the Baggage EP

joshjoshJoshua are quite the emo anomaly; once the darlings of the genre, their presence went from the thoroughfares of file sharing’s best days to the unfortunate mumblings of ‘what ever happened to?’ and the occasional joyous find at local Mom and Pop record stores. Capturing much of the attention in their early Doghouse Records days, they reached a pinnacle through, of all things, a self-titled single that still holds their two finest offerings; “Divide Us” and “Your World is Over.” It is quite strange to think that while many of their counterparts (who ply their trade in very much the same scope) have ascended to far greater heights, Joshua have never scaled higher than occasional scene reminiscence and the inquisitive wondering of lost potential…

One wonders if the band had been around today, whether their brand of pop-tinged emo would find its way onto grander settings. Truth be told, their final release, the Baggage EP, doesn’t differ too far from what popular acts like Say Anything did during their heyday. Yet there is a certain air of unpretentiousness that comes with Joshua that is sorely lacking in the music Max Bemis (of Say Anything) generally writes. Perhaps this is due to the relative obscurity that Joshua had in comparison to Say Anything, an aura of undiscovered riches amongst a sea anemone of emo-flavored indie rock. It’s what gives their music replayability years and years after the fact. Have a listen to the very breezy “Perfect Man” and tell me you’re not swayed … and then listen to the track “A Better Place” to see just what could have been.

“Perfect Man”
“Perfect Man”

“A Better Place”
“A Better Place”

Note: We are of course talking about the Joshua formed in 1995, who went on to release material on both Immigrant Sun and Doghouse … not the metal band.

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Sight & Sound

LISTEN: The Wunder Years – Pitstops On The Road Less Travelled

pitstopsThe festive season is an amalgamation of many sentiments. For some, its time is best shared in the comfort of those closest to them- be it friends or family. Others find solace in the seemingly endless road that beckons- solitary journeys that evoke the deepest of personal introspection and wonderment. If the latter is true, than perhaps the overtly bubbly nature of this time can be a little soulless- one too many “feliz navidads” sung by wide-eyed children in busy shopping malls.

In 1999 I discovered an indie/punk band on my travels around Northern California called The Wunder Years. A perfectly monikered band for those who happened to grow up alongside the troubled (but very thoughtful) childhood of one Kevin Arnold dreaming of someday landing their very own Winnie Cooper. Regardless, this particular Wunder Years took their cues more from the likes of Jawbreaker than Joe Cocker- resulting in a near seamless blend of Kerouacan contemplation and road weary rock n’ roll.

They sang about what it is like being lost in youth, finding one’s self on your travels, and growing up along the way. I for one, thought that at the age of 18/19, it was the perfect accompaniment to those years— like the audio version of On The Road. Plus, they threw in a rendition of a Cars classic, which was very well done. Appropriately, the album was called Pitstops On the Road Less Traveled. And at the time, it felt right- another chapter in a book we’re all writing.

In the years since, the band dissolved and the moniker was taken up by Pennsylvania pop punk act The Wonder Years, who felt it wasn’t necessary to avoid copyright issues. This band, while at times seemingly energetic and youthful, is by far the lesser of the two. It’s a shame that they’re the band most people will associate the name to. But as this is a nostalgic trek down the road less travelled, here are three songs from Pit Stops.

Listen: “Go Kid Go”
Go Kid Go

 

Listen: “Vacations/Seperations”
Vacations Seperations

 

Listen: “Just What I Needed”
Just What I Needed

 

 

Supplementary notes: Members of The Wunder Years went on to form The Ghost, and The Velvet Teen. Brian Moss, the band’s primary songwriter and vocalist, does time as Hanelei.

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Culture, Headlines, Music

One for Massachusetts

It’s been more than ten years since I’ve been to Philadelphia, a decade removed from its heritage and first hand lessons in American history. Equally historical were the venues scattered on South Street and Arch Street where many of my earliest punk rock memories were formed. In the Theatre of Living Arts and the Trocadero, nights of sweat, blood and bruises became as much a part of my Philadelphia story as the times I spent learning about the Liberty Bell. These moments defined the city and all these years pass and I still breathe the packed monoxide air of those age-old venue floors. It’s been even longer since I went to Boston. So much so that I only vaguely remember the wood-clad structure of my hotel, who for architectural reasons beyond me, built their vast spaces horizontally instead of vertically. But I do remember the No-Name Restaurant, not it’s food or it’s locale, but the name, a tick for clever marketing and little else.

Boston has seen plenty since: thousands of bands have come and gone, the Boston Red Sox won three World Series, the Patriots three Super Bowls, and the Celtics hung up another championship banner. They’ve suffered immeasurable tragedy with the Boston Marathon attacks, and have banded together as a city and a region to lift each others’ spirits in the time after. All these events along with what I can assume are countless smaller, more localized strings of positivism would lead one to believe that the air of sadness and toil that appeared to envelope the city for so long has been lifted. It is not to say Boston is a sad town, in fact, I don’t remember it being so, but as a tourist and an outsider, the many elements that we encounter as being from Boston or part of it, left a melancholia that came with what were inept sports teams, terrible weather, and a gloomy disposition left in the shadow of taller, more famous cities. Boston hardcore, noted for their contribution through SS Decontrol, Gang Green, DYS and Jerry’s Kids, wasn’t exactly the plum of sunshine you’d need to get over lagging blues.

So what is my Boston? My Boston, the one I briefly knew, fueled by the angry and disenfranchised, came to fruition in a band that lasted one album, 12 songs, and a quiet influence that resonated long after their demise. The Hurt Process by Boxer, this is my Boston.

Part post-hardcore, part mid-nineties emo, Boxer still encompasses all that is the city; gritty, desolate, pained- jarring for the senses but cathartic in its connection. This is what Boston was like to someone who had never lived in Boston. Perhaps if you disagree, then it is something you need to take up with your local tourist board.

Boxer was Vagrant Records’ initial signing, the calling card for a label whose stock rose because their bands wore their hearts on their sleeves better than anyone else. We talk a lot about The Get Up Kids with Something to Write Home About and Saves the Day with Stay What You Are. These two are often considered the staple releases of the early Vagrant catalogue, but we fail to see that the very first band they ever signed, released an album just as poignant as the two, if only, not as polished.

It’s the opening line of “Blame It On The Weather” that feels perfectly Boston. It’s the stringy guitars and the pulsing bass line that accompanies it. It’s the percussions that kick in at just the right time, and it’s the voice that sounds like it has smoked a thousand cigarettes that chime in;

Sitting in my ditch of self-loathing and of course my mind is roaming / thinking things are worse than they appear to be

Listen: “Blame it On the Weather”
Boxer – Blame It On the Weather

And then there were the girls, or one in particular whose name may or may not have been Georgia. Her hair smelled like a season and she sounds like a girl who liked music you’d only play on a record player. She probably liked the Velvet Underground on Sunday afternoons but wore combat boots and spiked her hair on a Friday night. She’s someone you’d fall in love with from the deepest of your soul only to break your heart. This is the little Georgia girl Boxer sings about, with a sense of sadness and anger wrapped in crunchy mid-tempo riffs and couplets of disappointment. She’s the one that kept you up at night, 2:18am. She’s the one that you’ll forget someday, just not today, the one you’re waiting for, when the sun finally comes, it’ll be when you’ll stop missing her.

Listen: “Georgia”
Boxer – Georgia

It’s the romanticism of a troubled city that drives people to write great songs about it. It is the way the rain falls on a lonely streetlight that inspires, and I think Boston has more than one lonely streetlight. I think if I get to drive through Boston some time soon, my mind would automatically play these 12 songs in order. Appropriately perhaps, the album’s title understood the city’s plight on both a personal and cultural stake and its significance on a national and global scale. This was a hurting town, whether you were a fan of sporting teams, music scenes or girls named after southern states. Yet on some level, they knew that this sadness would only last for so long. That someday you could finally leave it all behind.

We wait until the sun goes down in Boston, the stars are out / We’ll have our way; our time will shine like the twinkle that’s in your eye

Listen: “One for Milwaukee”
Boxer – One For Milwaukee

There is something to be said about not overstaying your welcome. Boxer knew 12 songs were enough. It was for that moment, the perfect capsule of the streets and places no one but themselves knew and understood. I can’t for one imagine any more songs written or recorded by them. It would be strange and out of place, almost like happiness and sunshine down on Harvard Avenue. I would never claim to be from Boston, and I can’t tell you what it’s like now. I can only imagine at least, with all the things that has happened to the city over the past decade, that there has to have been an uplift of some kind. In fact, I’m sure it’s a terribly nice place to visit. But for an outsider like me, until I get to venture down a sun-soaked path leading to the friendliest bar in town, Boston will always be The Hurt Process, where it rains or snows every night.

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Boxer formed in 1995 and disbanded in 1999. Vagrant Records released their one album, The Hurt Process, in 1998. Drummer Chris Pennie recently drummed for Coheed & Cambria and the Dillinger Escape Plan. 

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Featured, Interviews

The Astronaut: An Interview with Lights & Motion

From the embers of a thousand stars comes the music of Lights & Motion; the musical project of Christoffer Franzen. A self-taught musician of introspection, his music is a dream-like journey into the stories of his imagination. Written through the clouds of insomnia, Franzen has painted the night sky with his latest album Save Your Heart. Released via noted indie label Deep Elm Records just months after his debut, Save Your Heart has received praise and accolades from countless sources, all citing Franzen’s ability to turn the greatest of human inspiration into music.

We sit down with Franzen to talk about his craft, his passion and where his journey will take his listeners.

Congrats on the release, how does it feel now that the album is out after all those months of work?

Thank you!

Well you know, it’s sort of a weird feeling, because I have been working so hard and so focused towards making this album a reality that I haven’t really stopped and taken a look around. I never took a break after releasing Reanimation, my first album, because once that was done I got this feeling that I kind of have right now, which is a feeling a completion in the sense that this has been the big goal all along, but also a bit of emptiness due to the fact that this is something thats been taking up most of my life for this past year. You go from working 40 hours a week non-stop on this thing and then all of the sudden it’s done, it’s out, and people hear it for the first time and it’s somewhat scary. It’s been yours alone for such a long time and then you get to share it with the world, and I think that this is something that all creative people experience, the gratitude of having your work being noticed and the fear of letting it go, and to say that this actually is the finished thing, and I’m not going to work on it anymore. It’s out of my hands. I feel proud

What about all the overwhelmingly positive feedback?

The feedback, as you said, has been overwhelmingly positive and that’s so humbling, I can’t tell you. Because you don’t really think about this things when you are in the middle of the process, or the eye of the storm as I like to call it, because then it seems so far away until a possible release, so you sort of just focus on the music and that lays before you. But to get this much appreciation is extremely fun and something I never count on because who knows what people are going to think. But for the most part, the thing that makes me really amazed is that people still take time of their day to actually sit down and listen to something that I’ve created. That still blows my mind, and to be able to share this music with people from all around the world, it gives me endless joy. The feeling is like you are alone in the creation, because I always work alone on these Lights & Motion albums, it’s just me in a dark studio all through the nights, but then you walk out the door when it’s all finished and suddenly I feel like I’m in a band of 30,000 people, it’s absolutely amazing. I really feel like I have a close bond with my fans, and maybe it has something to do with what I just mentioned before, being alone in the creative space, but I feel such a commitment to them, and it’s that personal interaction that makes me work that much harder in order to achieve my goals.

How did you get started with the “self-learning” of music?

That’s a good question. I first started playing guitar when I was 16, that was the time I got my first ever acoustic guitar for christmas, so I began pretty late. Then I practiced for probably 4-5 hours every day (my poor mom and dad) and then I got into bands and all these things that you do as a young musician.

After a few years of things not really taking off, I started to feel this itch to not having to depend on other people for creative purposes. I used to wish that I was a singer and not just a guitar-player because then I actually could steer the ship a bit more and not be forced to check the schedules of 4 other people with busy lives.

I managed to get access to a studio, a very simple set-up, and during a time of sleep depravation and insomnia I started to basically spend all my nights there by myself, just fiddling on different instruments and ideas. I used to record small pieces of music that sounded awful, but I loved it because it gave me such creative freedom.

I would go there on saturday nights while everyone was out partying, and I wanted to join them but I just couldn’t let go off the studio. Just 30 more minutes I would say when they called and I would be there until 5 am.

Eventually after battling with this thought that I wanted to do something by myself, I decided to buy a bass-guitar, some drumsticks, I started to play the piano, and even though I didn’t really know any theory, I could hear when it resonated and that was a big kick. So I would try all these different instruments and record myself over and over in layers so that I could make it sound huge and not just like one guy in a dark room. I just had such a need for control and I knew exactly what I wanted, so I ended up doing every single sing by myself. I learned all the instruments I needed for what I could hear in my head, I recorded and recorded and recorded until my ears bled, and slowly I got better at it

I now have two albums out, and still I have no formal training. I have been responsible for composing, playing, arranging, engineering, producing and even mixing. And that’s what I always wanted. To be able to go from the first fleeting idea to a finished product without breaking the chain of command, which in this case is just me.

I have never actually considered myself to be that musically gifted. I always just said that you just gotta put in the hours and practice. And a lot of that self doubt was blown away after I took the courage to record Reanimation. And that I owe everyone out there who has emailed me, written on Facebook or soundcloud about how they enjoyed the music and made it a part of their day. That was incredibly humbling for me, and for that I will always be grateful.

Save Your Heart comes less than a year after your debut, how did it come around so quickly- was it just natural inspiration to keep writing?

After Reanimation was out I felt that I had so much creativity left that I didn’t want to stop. I jumped right in and started recording ideas, the first of them being ”Heartbeats”, the opening track. Even though it was written probably 1 month after the first album was out, I already knew it was going to open my second album, whenever that was going to be or whatever it was going to sound like. Then of course I would sit on things for months, just listening back and forth and adding sprinkles of sonic fairy dust and try to really make it shine in it’s own right. I tend to work like that; very fast and effective when laying down the foundation, but then I spend an enormously long time finding the sound for things, getting into the arrangements and the production side of things. In the opening track there is probably 80-90 different tracks layered, and if you listen really carefully in good speakers I’m sure you would be able to make it a lot of details in the background, ambient movements and stuff that you might not think much about but if you were to take those sounds out, a lot of the magic of the song is lost.

How did you and Deep Elm come together? It seems like the perfect fit for both of you.

Deep Elm signed me back in 2012, after hearing one of my first tracks called ”Home”, which was released on my first album, but back then it was only a demo. I knew them through Dorena who I had met in the studio, and I thought that they would be a perfect fit for my vision of this project. Since then, John (who runs Deep Elm) and I have been working very close throughout this entire process. They give me complete trust and creative space, and I look to them for everything surrounding the releases to the day to day givings of me sending them tracks and asking for their opinion. Its’s been working really well I got to say, for the both of us. I’m just grateful we got the chance to meet because it was a series of small stuff that led us there.

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Listen to music from Save Your Heart:

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You talk about music similar to painting and how your songs have a certain hue to them, what are your favourite “colours” to paint with at the moment?

Yeah that’s right, and I understand that it might be a hard and abstract concept to grasp but I really do think of music in terms of colors. If something sounds earthbound and calm I immediately think of colors like yellow and brown, whilst sounds that have a big quality and a sort of distance to them are blue/violet to me, and blue/violet was exactly what I wanted to bring into this record, Save Your Heart. This is all very visible in the artwork as well, done by an amazing artist called Elias Klingen. I went to him and I pretty much said; “Look. I have all these colors in mind and I want to make em shine and blend together to represent the music I’m writing for this album. It’s called ‘Save Your Heart’, so maybe that could be a starting-point for you. I want the colors to feel alive and to illustrate the sonic identity of this record.” He did an amazing job, I couldn’t be happier with the results.

I wanted this album to venture higher up in the skies, towards the stratosphere, and then stay there. In comparison, Reanimation is more earthy for me, it takes place down here while Save Your Heart is up above the clouds in terms of the sonic identity.

What was your process for writing Save Your Heart, did you write a lot of the material at once, or was it more of a gradual process?

I never really took a break, but the process was different. Some stuff came right away and then I worked on it for months. Snow was an early one, and I probably did 3 different versions of the outro before settling on the one you hear now, and that’s also how I work. I search for that, in my mind, perfect thing.

Some of the tracks like “Save Your Heart” and “Atlas” came to life just 3-4 weeks before the mastering was scheduled to begin. Then we have tracks like “Sparks”, “Bright Eyes” and “We Are Ghosts”, who have in one way or another been sitting around on tapes for years. I tried to dust them off and I obviously changed a lot of things within them but It’s kind of funny to think that these demos I made back when I was just alone in a studio with no name or anything, would end up on this album all this time later. Very rewarding for me personally.

lights3andmo

Your songs have a very dream-like, stratospheric aura to them— would you say that Save Your Heart has a distinct “theme” or story to it?

I always try to think conceptually and visually while I write. Reanimation came from me not being able to sleep, and by chance discovering this amazing world which I would get lost in, and I never wanted to wake up. I would sit in my studio at winter, 4 in the morning, looking out the window and see everything being lit up and covered by snow, and I would feel like I was the only living person awake in the entire city. That was pretty magical sometimes. For Save Your Heart, I really wanted it to be an escapism as well, but the main thing for me with this one was that determination of having the courage to go with your passion, and not cave in even though it’s easy to do. This project takes up a huge amount of time and effort in my life, and sometimes it’s hard you know? You see friends and family doing “proper” jobs and giving in to the “conformity” of society. At times it’s a struggle not to let your passion go because it’s hard doing this. And that is really what Save Your Heart is for me. It’s an encouragement to stick with the things you love and see them through. If you find that thing, you owe it to yourself to keep it alive. I think that’s extremely important. For me it is.

Do you have a particular track on Save Your Heart you can say was the most satisfying to complete?

Well it’s hard because every song has different things related to it, but if I have to pick one I would say “Heartbeats”. Simply because that song turned out exactly as I had hoped, and it was the foundation on which I would then proceed on with the other songs of the album.

Will you be touring in support of the record?

I would love to tour, but right now it’s not planned at all. I spend so much time writing this music that once I’m done, I sort of step out into the world again from my studio and realize that it’s a much bigger place then I remembered, and so if I were to tour I would want to do it just as had envisioned it, like I did with my music.

It would take a lot of planning and ambition, and I have simply not had the time to do that properly yet with touring. But I’m thinking about it a lot now so who knows..

Now that you’ve conquered the stars so to speak, where do you go next with Lights & Motion music?

Haha, well I definitely want to keep writing. I might release some new music next year and in the meantime I want to keep writing film music which I have been doing a lot this part year in between the more traditional L&M songs, and these pieces of music has become quite popular on Soundcloud, so that’s a big ambition right now.

I would love to score a film someday. That’s a big dream of mine for sure. I am such a movie-goof and I probably check IMDB on my phone 5 times everyday for new trailers, so being able to score one one day would be so cool.

Who knows..

If listeners can take one thing away from your music, what would you like that one thing to be?

A sense of hope.

 

Lights & Motion’s new album, Save Your Heart, is available now via Deep Elm Records. You can read our review for it here.

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Sight & Sound

Video: RDGLDGRN – “Power Ups”

Here is the new video from Washington, DC trio RDGLDGRN, who manage to do what so few can; successfully blend hip hop with rock and indie. It’s refreshing, decidedly contemporary, but also pushing forward in directions new to the ear.

Not bad for material on a debut album, which is out now and simply titled RDGLDGRN (which, for those who haven’t quite picked up yet, is Red Gold Green).

They’re touring too, all over the world and will be Australia in a few weeks before heading back to the US for a lengthy tour. Details are below.

Tour Dates:
11/22 – London, UK @ Underworld#
11/23 – Bern, Switzerland @ Festhalle*
11/24 – Vienna, Austria @ Wiener Stadthalle*
11/29 – Brisbane, Australia @ RNA Showgrounds **
11/30 – Coffs Harbour, Australia @ Coffs Harbour Showground **
12/1 – Sydney, Australia @ Barangaroo **
12/6 – Canberra, Australia @ Exhibition Park **
12/7 – Melbourne, Australia @ Birrarug Marr **
12/8 – Adelaide, Australia @ Ellis Park **
12/27 – Baltimore, MD @ Rams Head Live ^^^
12/29 – Washington, DC @ U Street Music Hall
1/31 – Boston, MA @ House of Blues ^^
2/7 – New York, NY @ Irving Plaza ^^
2/8 – New York, NY @ Irving Plaza ^^
2/13 – South Burlington, VT @ Higher Ground ^^
2/14 – Montreal, QC @ La Sala Rossa ^^
2/15 – Toronto, ON @ the Annex Wreckroom ^^
2/16 – Pittsburgh, PA @ Altar Bar ^^
2/18 – Cleveland, OH @ Beachland Ballroom ^^
2/19 – Louisville, KY @ Headliners Music Hall ^^
2/20 – Chicago, IL @ Metro ^^
2/21 – Madison, WI @ Majestic Theatre ^^
2/22 – Minneapolis, MN @ Fine Line ^^
2/23 – Omaha, NE @ The Waiting Room ^^
2/25 – Denver, CO @ Gothic Theatre ^^
2/26 – Salt Lake City, UT @ the Complex ^^
2/28 – Seattle, WA @ Crocodile Cafe ^^
3/1 – Portland, OR @ Peter’s Room at Roseland ^^
3/2 – Eugene, OR @ Wow Hall ^^
3/5 – Santa Cruz, CA @ Catalyst Atrium ^^
3/6 – San Francisco, CA @ Slim’s ^^
3/7 – Los Angeles, CA @ El Rey ^^
3/8 – San Diego, CA @ Soma ^^
3/9 – Tempe, AZ @ Club Red ^^
3/10 – Albuquerque, NM @ Launchpad ^^
3/14 – Houston, TX @ Fitzgerald’s ^^
3/15 – Dallas, TX @ House of Blues ^^
3/16 – Oklahoma City, OK @ the Conservatory ^^
3/18 – Birmingham, AL @ Zydeco ^^
3/19 – Atlanta, GA @ Centerstage at Midtown Complex ^^
3/20 – Charlotte, NC @ Visulite Theatre ^^
3/21 – Philadelphia, PA @ Theatre of Living Arts ^^

* Vans Warped Tour Europe
** Vans Warped Tour Australia
# The Kevin Says Tour w/ Itch, Hype Theory, Ghost Town
^^ w/ Aer
^^^ w/ Soja

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Album Reviews, Headlines

Review: Lights & Motion – Save Your Heart

art_550In 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.

[rating=5]

 

Lights & Motion’s Save Your Heart is out now on Deep Elm. Listen to a few songs below:

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Album Reviews, Headlines

Review: Save Ends – Warm Hearts, Cold Hands

saveendsTaking a cue from early Saves the Day, Get Up Kids and The Anniversary, Boston’s Save Ends is a wonderful and energetic throwback to the glory years of early Vagrant-era post-emo, pop-fused punk. Warm Hearts, Cold Hands is a wonderful mix of everything that era did well; uptempo melodies, melancholic tones, harmonic vocals and a sense of “growing up” within the songs.

Save Ends features dual male/female vocals that work in unison to give the songs an added texture. Christine Atturio’s voice comes across similarly to how Jolie Lindholm’s did during her time as vocalist for grossly underrated band The Rocking Horse Winner. The songs on Warm Hearts come across as a mixture of Atturio-directed sentimentality (the great “Chasing Embers”) and the Hot Rod Circuit-esque (“Kurzweil”), while tracks like “Song of Susannah” could have been a cut off Designing A Nervous Breakdown or a highlight from a Rainer Maria album. The album opens with the humorously titled “Punkorama 30”, giving credence to the band’s self awareness and lineage, and quickly ascends to fast-paced melodic punk, setting the tone and energy for the rest of the release’s vastly oscillating styles and tones. Much of which results in one of the most rewarding listens we’ve come across this year.

There’s a lot to like about this record, and while the sounds can be a throwback to music from a decade ago, Save Ends aren’t just about sounding like their influences. For those who grew up with mid to late 90s emo, Save Ends are what would become of the sound, and liking this record is about more than just nostalgia- it’s about realising the long lasting resonance of that time and how well this band is able to capture and emote this aural atmosphere.

Falling snow, reflections of Massachusetts, and the pull of the heartstrings are the things Save Ends write home about. And Warm Hearts, Cold Hands is the finest entry into the genre in a very long time.

[rating=4]

 

Save Ends’ Warm Hearts, Cold Hands is out on Tiny Engines November 12th. You can preview and purchase the record via the stream below:

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