Bring on the Waves, and start the Riot!

NEW MUSIC REVIEW:

6 Day Riot, Bring on the Waves

Jenna Avery-Lawyer

The UK tidal force, 6 Day Riot, defines their genre of Folk Pop, and possibly creates a genre of their own; Gypsy Acoustic. Their lyrics read like poetry, and are open to the interpretation of the listener. Because of the versatility in their words, many meanings can be realized when listening to these beautiful slices of the old world.

The four tracks featured on their Myspace, from their 2008 EP, Bring on the Waves, showcase a darker, more introspective tone than their previous recordings on the 2007 release of Folie a Deux. While they have taken on a serious tone with the slightly deeper lyricism, they still maintain a joy that is prominent throughout the four tracks. I sense a theme that is based on battles and victories. Whether it is joy for joys sake, or the joy of resistance, they are ever-smiling.

An almost discordant ukulele enters as the song “Gerald the Glider” begins. Its upbeat tempo brings excitement, while the melody sparks unrest. Tamara Schlesinger sings with a clear and pure sound. I believe there to be religious contexts related to the song, especially with the lyric “Together we stand, together we pray. More hands than faces in this world we did create.” Although, the following chorus, “But don’t stray, stay tied to this wire of mine,” makes me think she is being ironic. This is what is great about 6 Day Riot- so many meanings can be found within one simple song.

“The Last Stand” is an epic send off, and doesn’t shy away from the theme of battle. The band is marching in their gypsy army, off to defend the honesty of their music. The profound trumpet sounds, while the militant percussion steadily holds its rhythm; both announcing the impending battle. The Spanish horn paints an image of a stand-off at sunset. Orange and red lights shine on the desperado they have created with their sound. It’s now or never. They unite as one voice, linking arms to create a wall of sound. They fade with the sun as it disappears behind the horizon.

Based on the four sample tracks 6 Day Riot has featured on their Myspace, I can confidently say the EP, Bring on the Waves, will do just that. They will rock the boat, but manage to keep everyone on board smiling. Witty lyrics and their acoustic, old world charm will instantly win over listeners for life.

BAND MEMBERS: 

Tamara Schlesinger: vocals, guitar, ukulele, tenor guitar, glock,
Caspar Riis: acoustic guitar, electric guitar, vocals
John Beyer: double bass, guitar, vocals
Daniel Deavin: drums, percussion, shouting
Andy Watts: trumpet, guitar, percussion, vocals

On the recordings and sometimes joining us live:
Sophie Loyer: violin, saw
Sean O'Brien: accordion  

Stay tuned for more about 6 Day Riot, as we will be featuring the band sometime in July.

6 Day Riot...the MySpace: http://www.myspace.com/6dayriot

Here is some live footage of 6 Day Riot performing their track, "Sky Father," which can also be heard on their Bring on the Waves EP:

Bring on the Waves, and start the Riot!

6/10- CLASSICAL DELIGHTS

a column by

Kristen Kozub

Susan Graham: Songs of Ned Rorem

Often times, when we think of composers who have contributed to the musical world, we think of names including-- but not limited to-- Bach, Beethoven, Debussy, Chopin, and Mozart. Although prolific, not one of these composers was American, or has lived in the last century.  In recent years, recognition for contemporary American composers has dwindled. With that said, allow me to bring to your attention the song stylings of American composer, Ned Rorem (1923 - ). For years, Rorem's gorgeous song settings have been incessantly praised.  Mezzo-soprano Susan Graham is added to the mix, resulting in the 2000 release of Songs of Ned Rorem, featuring Malcolm Martineau on piano and the Ensemble Oriol string quartet. This 32-track compilation is sure to be a delight for all who choose to give it a listen.

What is it, you ask, that make Rorem's compositions so distinctly beautiful? At the start of the first track, "Sonnet", the listener will understand why he receives the praise he does. Featuring the entire ensemble, this piece exhibits an unparalleled delicacy, and transports to a place of musical bliss. Of course, the compilation is only a taste of the hundreds of compositions that have graced the world over the last half a century or so, but the ones on this disc are undoubtedly an excellent representation. Much of the time, composers use the same compositional techniques, resulting in similar-sounding songs. While Rorem's work is distinctly his, each of the tracks has something specific that sets it apart from the others.

As far as the text is concerned, Rorem has chosen a group of lyric poetry whose themes seem to center on death, love, nature, and the passage of time. A good majority of the poets are American, but, interestingly enough, the chronological gap is quite large.  Rorem features poetry spanning from the Elizabethan era to Walt Whitman. His chosen texts (and his music, for that matter) are stunningly, sometimes startlingly, dazzling, and honest.

Upon first listen, it is quite obvious that Rorem draws much of his inspiration from setting. Having spent much of his life in both New York and Paris, these two places seem to recur frequently throughout his compositions. The third track, "Early in the Morning", is often hailed as Rorem's most famous work.  The text, by Robert Hillyer, paints a tourist's picture of Paris. Similarly, the twentieth track, "The Lordly Hudson", uses a backdrop of the majestic Hudson river.

Mr. Rorem could not have picked a better vessel for his work than the lovely Susan Graham. In recent years, Ms. Graham has become one of the most acclaimed and sought-after mezzo-sopranos of our time. Her milky, rich tone enhances the music in ways no one else's possibly could. As with many of her other works, she executes the songs beautifully, making them seem effortless. Even twenty or thirty tracks in, it is impossible to tire of her voice and what she brings to the music. Martineau and the chamber ensemble deliver a sparkling performance as well.  

Some listeners may find a few of the tracks on this disc rather abrupt, as some of them last only thirty seconds or less. Many times, however, their brevity is appropriate, and directly relative to the texts. 

Other highlights include a setting of Walt Whitman's "Look Down, Fair Moon", and Robert Frost's "Stopping by Woods on a Snowy Evening"; perhaps the most beautiful setting of it I have ever heard. In both pieces, Rorem establishes setting with excellent use of the piano. The unpredictable melodic lines are sure to leave the listeners with something different to sink their teeth into.

Rorem brings an unprecedented eloquence to the field; one that is sure to stand the test of time.  This compilation serves as a fantastic taste of Rorem's work, and an excellent example of a prolific contemporary American composer. If nothing else, consider it as a great way to brush up on British and American poetry. For something that will leave you enlightened and enchanted, I encourage you to seek out this collection.

Track Listings for Songs of Ned Rorem:

1. Sonnet [Bynner] 
2. Clouds [Goodman] 
3. Early In The Morning [Hillyer] 
4. The Serpent [Roethke] 
5. Now Sleeps The Crimson Petal [Tennyson] 
6. Opus 101 [Bynner] 
7. I Strolled Across An Open Field [Roethke] 
8. To A Young Girl [Yeats] 
9. Jeanie With The Light Brown Hair [after Foster]
10. Ode [de Ronsard]
11. For Poulenc [O'Hara] 
12. Littlle elegy [Wylie] 
13. Alleluia
14. Look Down, Fair Moon [Whitman] 
15. O You Whom I Often And Silently Come [Whitman] 
16. I Will Always Love You [O'Hara]
17. The Tulip Tree [Goodman]
18. The Wintry Mind [Bynner]
19. I Am Rose [Stein] 
20. The Lordly Hudson [Goodman] 
21. O Do Not Love Too Long [Goodman]
22. Far - Far - Away [Tennyson]
23. For Susan [Goodman] 
24. A Journey [Glaze] 
25. Sometimes With One I Love [Goodman]
26. Love [Lodge] 
27. Orchids [Roethke] 
28. Stopping By The Woods On A Snowy Evening [Frost] 
29. Do I Love You More Than A Day [Larson]
30. Ferry Me Across The Water [Rossetti] 
31. The Sowers [Bynner] 
32. That Shadow, My Likeness [Whitman] 

Here is a video featuring Susan Graham's recording of "Look Down, Fair Moon."

6/10- CLASSICAL DELIGHTS

Join the Silent Parade of Sydney Wayser

NEW MUSIC REVIEW:

Sydney Wayser, Silent Parade

Jenna Avery-Lawyer

At age 21, with the debut of her first record under her proverbial belt, Sydney Wayser has only just begun her artistic journey. Silent Parade, released in 2007, reflects a deep understanding of life and love; a perspective rarely seen in artists at such a young age.

Wayser's sound has a wise and beautiful quality that pleads to be heard. Never without melancholy, her voice glides along with the finely placed strings; the two complimenting each other perfectly. As she sings, the cello weeps with cascading sounds of sorrow, adding to the ever present, but never over powering, sadness that swirls in the air. Along with sadness, I hear contentment. Sydney seems at peace with life and all its hardships.

My favorite song featured on MySpace from Wayser’s debut, is the beautiful and sincere “Papa Don’t Worry.” It tells the story of a person who is no longer a girl, but a woman. It’s about breaking free, and becoming an adult. A harmonica blows, announcing its worried presence. Sydney then enters, crooning “Papa don’t worry, I’ll be alright,” as she tries to sooth its upset tone. I hear a question and response between the harmonica and Sydney; perhaps a conversation between parents? Putting the gorgeous and tightly knit orchestrations aside, the harmonica itself adds a completely different level of emotion to the track. It is these simple additions that make songs so attention grabbing and memorable.

The ironic and delightful “Carousel,” showcases Wayser’s French-American heritage. Its whimsical French melody, bouncing up and down on the piano, is slightly offset by the entrance of lyrics that contradict the set mood, as she sings, “Oh misery, stop this spinning.” The acoustic guitar, which can be heard swirling around and around, adds to the visual of an old French carousel. The song stops as the carousel finishes; slowly winding down to the end.

One of Wayser's main self-proclaimed inspirations is the artwork of the Italian born, but French inspired, Amadeo Modigliani. Being submerged in such an array of creative mediums ensures that her music will only continue to grow with time. Her overall artistry and apparent love of life will help her to produce more sweet and melancholy tunes. I suspect Silent Parade has only touched the surface of the deep pool that lies within Sydney Wayser.

Sydney will be playing a show this Thursday at Moomia in NYC along side several other acts, including our featured artist of the week, Will Knox.

Sydney Wayser's MySpace: http://www.myspace.com/sydneywayser

Join the Silent Parade of Sydney Wayser

5/31- CLASSICAL DELIGHTS

a column by 

Kristen Kozub

Eric Whitacre: Cloudburst

When first introduced to the works of American composer Eric Whitacre, it is hard to believe that the creator of such rich compositions and thick harmonic textures received no formal training until the age of eighteen. A mere twenty years later, Whitacre has become one of the most sought-after contemporary composers, by professional and amateur choirs alike. When listening to the most recent addition to his discography, entitled Cloudburst, it is not hard to understand why audiences adore his work, and are left aching for more. This recording has that same effect.

It opens with the majestic "I Thank You God for Most This Amazing Day," a setting of the E.E. Cummings poem. Whitacre seems to match the bold nature of the text with the music he chooses to complement it. The heavy layering of parts and frequent occurrences of what are affectionately known as "Whitacre chords" make this an appropriate introduction to the sound that is distinctly his.Another notable piece is the third track, entitled "Sleep," which has become one of Whitacre's signature and most famous works, and my personal favorite. Not only is the text exquisite, but the music is extraordinarily beautiful, and fitting for its text. The strong dissonances and lush harmonies allow the listeners to enter the dreamlike state that the character in the poem experiences. The piece eerily concludes after its climax with a fade out of the voices, as the poem suggests "surrendering" to sleep. What is interesting about this particular work is that the musical setting was written prior to the text. Whitacre originally intended to write a setting of Robert Frost's "Stopping By Woods on a Snowy Evening," but when the Frost estate forbade its publication until 2038, Whitacre enlisted his friend, Anthony Silvestri, to write an alternative text. Since the work's publication in 2000, it has become a favorite of choral directors and audiences throughout the United States.

The title track of the album, "Cloudburst," is perhaps the most artistic and adventurous work on the disc. With the colorful addition of piano and percussion, Whitacre creatively uses the choir to simulate a rainstorm, using wind chimes, thunder sheets, handbells, and body percussion. His energetic and innovative setting of a short poem by Octavio Paz is sure to surface frequently in the years to come.

The concluding track of the disc, "Lux Arumque," is yet another glorious setting of a seemingly simple text, which Whitacre chose to have translated into Latin. He does an excellent job of establishing setting in this one. The mysterious chords in the opening and the way Whitacre layers the voices make it an appropriate conclusion, ending in a way that should leave its audience at peace.

For this recording, Whitacre is joined by the collegiate choir Polyphony, conducted by Stephen Layton, and for the most part, they suit the album wonderfully. My only complaint would be that the soloists did not adequately perform the solos, and that there was not enough depth to them. My feeling is that the soprano was the strongest of the four, and that her voice fit the stylistics of the pieces the best.

Many people have criticized Whitacre for the fact that his pieces sound so similar. I, however, found something distinctly different about each one of the tracks on this disc. The poetry he uses is unbelievably honest and exquisite, and his music follows suit. Although many people believe Whitacre's texts to be heavily rooted in religion, they will find that it is actually quite the contrary. Whitacre has been quoted as saying that he chooses only the texts that he finds, simple, honest, and often quiet, allowing the audience to take what they want from it. Speaking from experience, his music is rangy and painstakingly difficult to learn, but penetrates the souls of its performers and listeners with the onset of the first chord. What is so lovely and different about this work is that, with the exception of the title track, the only instruments used are human voices. There is nothing more miraculous and magnificent. Regardless of whether or not you are a fan of choral music, this is a record that is a feast for the ears and should definitely be given a chance. It will undoubtedly leave its listeners humbled and awestruck.

Track Listings for Cloudburst:

1. i thank You God for most this amazing day (1999, TEXT: e.e. cummings)
2. I hide myself (1991, TEXT: Emily Dickinson)
3. Sleep (2000, TEXT: Charles Anthony Silvestri)
4. Go, lovely Rose (1991, TEXT: Edmund Waller)
5. When David Heard (1999, TEXT: II Samuel 18:33)
6. hope, faith, life, love (1999, TEXT: e.e. cummings)
7. Cloudburst (1993, TEXT: Octavio Paz)
8. With a lily in your hand (1991, TEXT: Federico Garcia Lorca
9. This Marriage (2004, TEXT: Jalal al-Din Rumi)
10. Water Night (1995, TEXT: Octavio Paz)
11. A Boy and a Girl (2002, TEXT: Octavio Paz)
12. Her sacred spirit soars (2002, TEXT: Charles Anthony Silvestri)
13. Lux aurumque (2000, TEXT: Edward Esch/Charles Anthony Silvestri)

Check out his MySpace:  http://www.myspace.com/ericwhitacre

Here is a slideshow to "Sleep":

5/31- CLASSICAL DELIGHTS

Unfold with Marié Digby.

NEW MUSIC REVIEW:

Marié Digby, Unfold

Lindsay Van Osten

As a trained musician, I sometimes have a habit of taking on a somewhat snobbish view

 toward music that isn't over-complicated by orchestration. My brain often needs puzzles to unravel in order to maintain interest. Having said that, I think Marié Digby may have shed some light on this issue for me. I've never quite been able to define "good pop music," but to me this is it. Digby's latest record, Unfold, makes you want to sing along before you even know the words. It's simple, it's lovely, and it's infectious. 

The popularity of female singer-songwriters is raging. It can be intimidating to compete with the likes of Leslie Feist, Regina Spektor, Ingrid Michaelson, Alanis Morissette, Lisa Loeb, Sara Bareilles...the list goes on; but this LA songstress can join the ranks with her head held high. Her voice is gorgeous. She certainly doesn't have the unbearable whine that it seems so many female vocalists develop. (Avril Lavigne, anyone?) Instead her tone achieves a breathtaking beauty, and stays that way throughout the entire record. After witnessing the boom of popularity Colbie Caillat's "Bubbly" received, I have no doubts that any track of this album could easily be a hit.

Digby puts all of her emotions out on the table, which is really no surprise as she has cited the struggles of young adulthood as her prime inspiration. She has created an extremely autobiographical and relatable record, without forcing 

the listener to dig for the meanings. She does a fantastic job of taking the listener through the most universal human emotions. I have no idea how many times I have listened to Unfold while preparing this review, but the song "Miss Invisible" has made me cry every time without fail. Somehow Digby is able to express loneliness in the music itself.  You can feel her voice breaking during the entire song, and it shoots straight into the heart.  The chords spark tears before the equally touching lyrics even begin. I also love the tune "Spell." It takes away the rhythm section and showcases very simple and gorgeous piano and vocals, for a soothing experience. Digby's album finishes with her rendition of Rihanna's smash hit, "Umbrella."  I've always had a weakness for acoustic covers, and Digby does a great job of incorporating key elements of the original while making it her own.

While I think this is a solid pop record, some people may find this album too bubblegum, or candy-like (unintentional, yet appropriate, reference to Mandy Moore's 2005 compilation). But in all honesty, who doesn't enjoy a sweet aftertaste? I know I do. Go listen to tracks from this delight on Digby's MySpace. Buy it. Own it. Love it.

Before you do anything else, please, come cry with me:

A video of "Miss Invisible."

MySpace: http://www.myspace.com/mariedigby

YouTube: http://www.youtube.com/mariedigby

Marié's remaining US Tour Dates:

June, 1 2008 07:00 PM - The Norva 

Norfolk, Virginia 

June, 2 2008 06:00 PM - The National
Richmond, Virginia

June, 4 2008 06:00 PM - Mercy Lounge
Nashville, Tennessee

June, 5 2008 07:00 PM - Vinyl
Atlanta, Georgia

June, 6 2008 08:30 PM - Jack Rabbits
Jacksonville, Florida

June, 8 2008 07:00 PM - The Social
Orlando, Florida

June, 9 2008 08:00 PM - Orpheum
Tampa, Florida

June, 11 2008 07:00 PM - WorkPlay Theatre
Birmingham, Alabama

June, 12 2008 08:00 PM - Parish at House of Blue
New Orleans, Louisiana

June, 14 2008 08:00 PM - Palladium Ballroom
Dallas, Texas

June, 15 2008 08:00 PM - Meridian Red Room

Houston, Texas

June, 18 2008 08:00 PM - Martini Ranch
Scottsdale, Arizona

June, 19 2008 08:00 PM - Soma (Sidestage)
San Diego, California

June, 20 2008 09:00 PM - El Rey
Los Angeles, California

June, 21 2008 08:00 PM - Glass House
Ponomo, California

June, 22 2008 08:00 PM - Golden Gate Park
San Fransisco, California

June, 23 2008 08:00 PM - The Boardwalk
Orangevale, California 

June, 25 2008 08:00 PM - Big Easy
Boise, Idaho

June, 26 2008 08:00 PM - Big Dipper
Spokane, Washington

June, 27 2008 08:00 PM - Neumo’s
Seattle, Washington

June, 28 2008 08:00 PM - Hawthorne Theatre
Portland, Oregon 

June, 30 2008 08:00 PM - Club Sound
Salt Lake City, Utah

July, 1 2008 08:00 PM - Epic (w/Gavin Degraw)
Minneapolis, Minnesota

July, 2 2008 08:00 PM - Rialto Theatre (w/Gavin Degraw)
Joliet, Illinois

July, 6 2008 08:00 PM - Magic City Music Hall (w/Gavin Degraw)
Johnson City, New York

July, 8 2008 08:00 PM - Crocodile Rock (w/Gavin Degraw)
Allentown, Pennsylvania

July, 9 2008 08:00 PM - Carnegie Music Hall (w/ Gavin Degraw)
Pittsburgh, Pennsylvania 

July, 11 2008 08:00 PM - TBD
Cleveland, Ohio

July, 16 2008 08:00 PM - Bogarts (w/ Gavin Degraw)
Cincinnati, Ohio 

July, 17 2008 08:00 PM - WZPL Radio Show
Indianapolis, Indiana

July, 22 2008 08:00 PM - Club 101 (w/ Gavin Degraw)
El Paso, Texas

July, 24 2008 08:00 PM - Six Flags Fiesta Texas (w/ Gavin Degraw)
San Antonio, Texas

July, 25 2008 08:00 PM - Lakewood Theatre (w/ Gavin Degraw)
Dallas, Texas

July, 27 2008 08:00 PM - Warehouse Live (w/ Gavin Degraw)
Houston, Texas

July, 29 2008 08:00 PM - TBD (w/ Gavin Degraw)
New Orleans, Louisiana

July, 31 2008 08:00 PM - TBD (w/ Gavin Degraw)
Atlanta, Georgia

August, 1 2008 08:00 PM - The National (w/ Gavin Degraw)
Richmond, Virginia

The official music video for "Say It Again":

Unfold with Marié Digby.

FREE ITUNES- WEEKLY DOWNLOAD

This week's free iTunes download is "Blind," by a band called Hercules and the Love Affair.  I'm not one to knock a tune, let alone a free one, but I don't completely understand what Hercules was going for with their track.  It downloaded into the "dance" section of my iTunes, so why am I not moving?  The song vaguely reminds me of one played by a rejected band in The Wedding Singer (1998).  No, who am I kidding?  The image is a vivid one.  Usually I try to find something to like about all music that infiltrates my ears, but this just feels so cheesy and dull to me that it's almost impossible.  The bass line is pretty hip, but it isn't strong enough to make up for the combined weakness of the other elements.  Maybe they meant to call it "Deaf"?

You can still go ahead and download it if you feel so inclined.  It's free, and you can always delete it... or turn it up and put it on repeat to torture your enemies.  Or you may like it- apparently a lot of people do.

Click here.  The link will open your iTunes and give you the option of downloading.

Other tunes can be found on their MySpace.  I'll admit...they start to grow on you.  I actually really like some of their other stuff.  I sometimes think iTunes has a secret goal of providing negative first impressions.  As for "Blind"...after a few listens you do start to bop a bit- and I don't think it's from seizures either: 

http://www.myspace.com/herculesandtheloveaffair

FREE ITUNES- WEEKLY DOWNLOAD

The Walkup: A match made in...New York.

NEW MUSIC REVIEW:

The Walkup, Down on Pacific

Jenna Avery-Lawyer

Prepare to rock with The Walkup! This New York based group does not bring to mind visions of shining skyscrapers, but instead evokes scenes of sunny beaches crawling along the Pacific Coast. Their aptly named debut album, Down on Pacific, features ten tracks with a consistent quality throughout, setting the group up for a bright future.

Their debut album is the result of a unification of tastes among band members. Lead vocals are sung by Alex Koch; reminding me of Morrissey, but with a sunnier disposition. I can hear a smirk on his lips as he sings with a moody and pleading tone. Joining Koch's lead vocals and guitar are Sean Finnigan on lead guitar and vocals, Michael Petrucelly on drums, and newest member, Christopher Ayoub, on bass. These four have managed to capture a sound that is so popular these days, and turn it into something they can call their own. Vocals, enhanced by a slight echo effect, create the illusion of a live recording. These vocals are accompanied by chord progressions that straddle the line between East and West coast alternative rock. The album's opening track, "My Youth," does a great job of getting my feet tapping and head banging. It sets the tone for the rest of the record, as it is followed by more up-tempo tunes to keep the mood up in the room.

Creating a cohesive album is difficult, but essential. A thematic rhythm resonates throughout Down on Pacific, creating a sound I associate exclusively with the Walkup. They are successful in keeping the songs uniform, but not identical. The funky bass intro to "The Long Hours," done by Christopher "smooth as silk" Ayoub, screams for my attention immediately. The song continues to do so as the chorus begins. I find myself singing along with the catchy-as-hell

hook; rockin' out and banging my head like the rag doll they speak of.

The Walkup's music is heavy with sounds of their well-known, self-stated, influences. When "Conversation" came on, I thought I had accidentally started playing "London Calling," by the Clash. For me, sounding like the Clash is never a problem, as long as an original sound is still established. I was pleased to hear that the similarities did not carry through the entire tune. A heavy beat is sustained throughout the verse by the simple down-stroke strumming of one chord, and the steady, fast paced drumming of Petrucelly. The chorus enters; leaving that steady strumming behind, and instead developing into a heartsick alternative rock melody. Another surprise is the sudden appearance of a synthesizer, helping to build the song up to its climactic end. This is one of my favorites from the album, because it separates itself from the rest without losing uniformity.

The Walkup was able to establish their style and skills perfectly through their debut album, "Down on Pacific," helping them make their way into the spotlight. If they continue to release albums of this caliber, they will have cemented themselves into the music scene for life. The combination of the Beach Boys' party-time attitude, with the Smiths' moody and broody ways, is a match made in New York.

You can check out their music by visiting their myspace:

The Walkup MySpace

The Walkup: A match made in...New York.

Fleet Foxes: An Indie Land of Fairytale Enchantment

NEW MUSIC REVIEW:

Fleet Foxes, Fleet Foxes

Lindsay Van Osten

Close your eyes.  Picture that it's a summer afternoon in late August.  You find yourself on top of a large hill in the countryside; lying in an open field of fresh green grass.  The sky is clear, and you can feel the warm sun caressing your skin as a gentle breeze provides sweet relief on this hot and tired summer day.  As you gaze up into the storm free skies you slip away into daydreams and wish this day could be preserved and relived indefinitely.  

Well, it can.  Fleet Foxes have captured the essence of the perfect lazy summer day in their self-titled album, Fleet Foxes.  As I listen to the record I am happily transported to a time of simple pleasures.

Coming to our ears from Seattle, Washington, Fleet Foxes is the brainchild of Robin Pecknold and Skye Skjelset.  The pair started writing music together in high school on guitar and vocals.  When their music began to thirst for additional elements they teamed up with Casey Wescott on keys, Christian Wargo on bass, and later Joshua Tillman on drums.  Each player is vital for the music to survive, as maintaining the ever-weaving orchestral motion provides oxygen for the songs.  They have since expanded their instrumental artillery even further to include woodwinds, the mandolin, and of course the ever present tambourine.  The tambourine may not be a new experiment, but my what a presence it has!

With tunes self-described as "Baroque harmonic pop jams," Fleet Foxes do not fall short when blending these genres together to create a mystical musical experience, though I would argue that their sound is more Renaissance influenced than Baroque.  Their self-titled album is reminiscent of early 1960's folk rock with elements of bluegrass mixed in.  Their thick layering of vocals creates a haunting hymn-like experience, which reaches perfection when coupled with the lush orchestration used throughout the album.

Fleet Foxes achieved a unified feel for their record without falling into the trap of monotony.  One of my favourite songs on the album is "Blue Mountain Ridge."  It begins with mandolin heavily influenced by late-Renaissance/early-Baroque music and introduces matching vocal harmonies before launching into a much edgier modern feel.  Well, as edgy as folk rock can be!  Japanese influences can be heard as well through the perpetual use of the pentatonic, which creates a delicious combination for hungry ears.

The final track of the record, "Oliver James," takes a step back from the heavier instrumental elements and ends with a single voice.  This is a brilliant decision because it leaves the listener feeling fresh as the album ends.

Fans of Iron & Wine will enjoy this band.  While Fleet Foxes has a brighter sound, the two bands evoke a similar sense of peaceful freedom through themes of simplistic natural beauty.  After listening to this record it is clear to me that the members of Fleet Foxes do not simply play music; they are musicians.  Their attention to detail and intelligent orchestration, as well as their seamless combinations of contrasting stylistic elements, make them quite a respectable musical force.  I can only hope we will be taken along for more of their creative journey in the future.

Check out the Fleet Foxes myspace for tour dates and catch a show in a town near you:

Fleet Foxes Myspace

Their record will be released June 3rd by SubPop Records:

SubPop Records Website

Fleet Foxes: An Indie Land of Fairytale Enchantment