From the forthcoming album the opening track and lead single – Damn, I’m Being Me Again – due for release on the 11th of March.
As regular readers know I have an affinity towards voluminous bass and appropriately on Valentines Day – how could I not fall in love with a band who use a double-bass? As to be anticipated by an upright boom-box, BREE have a sound that has you slipping on the red brothel-creepers as the influences of rock-a-billy bounce around the walls, which they blend with indie-rock to deliver a sound that creates its own Pantheon in the world of music.
Damn, I’m Being Me Again, delivers exactly what it says on the tin – while the listener is able to catch snatches of other ideas BREE slow down the pace and inject a booming projection that is distinct for its very similarities.
While I could happily type away for a while about the double-bass, there is far more to the track than that alone. The drums take a pivotal role as they pull on the reigns keeping the sound compacted with double-time beats, while guitar swirls around the room giving Damn, I’m Being Me Again its texture as the distinct vocal which to the ears of a Brit, has a distinct country flavour, rounding out a track of many facets.
I am off to play this once again and maybe even send a rose of affection, when my puppy-love eyes have cleared.
The US alt-rock band The Knitts released the EP Simple Folk on the 13th.
Pulsing into the room Erotic Aquatic, the three-quarter mark on the four track EP, immediately wraps a smile around the face.
Beneath the carefree abandon, that invites the listener to join in, The Knitts hold a tight reign to the combinations of blustering percussion, throbbing bass, excitable guitar and flying vocal to deliver a track that while retaining the conceptual Joie de vivre, threads a balance that playfully jostles the audience into activity, while simultaneously allowing the material to stand on its own merit.
A well established group of players, their experience shines as brightly as does their the sense of joy in creating music for people to appreciate for its intrinsic value – an EP well worth adding to the ‘party mood’ playlist.
A slight line-up change now finds Nathaniel Peirce on drums, other than that the players remain the same, although in Five Golden Rings the style is quite altered, in a track that draws from free-form jazz.
Pitch and tempo changes feature significantly, giving the track a dramatic presence, almost theatrical-poetry in delivery as the inflections underscore particular ideas. The voice challenges the audience with haunting use of unexpected keys, whilst the percussion slips between pace highlighting the disturbance of the lyrics. Guitar and Bass, whilst adding to the drama and always distinguishable, take the role of framing the voice in supportive roles.
There is enough of similarity for those who already know Ricecrackers to grab hold of, while being sufficiently different to prick their ears inquisitively. Although, on a personal level, free-free form jazz is always something I struggle to get to grips with, Five Gold Rings also retains enough grounding for the just under two and a half minute track, which is available on bandcamp, for it to make sense and a track that I do enjoy.
I give credit to Ricecrackers for having the gumption to strike out on a different path.
The US alt-rock quartet Episode were introduced earlier this year.
Those of more forensic critique will know that bands are very rarely featured more than once every two months and as it is only February I must be coming back to Episode early. I have no doubt it surprises you less than it does Julian, who received a full barrel blast of vehemence for his email of this latest track, so why is it happening?
You will recall the previous article, whilst supportive of the music jousted with the track construction and for those who are new to the site, I can argue on the head of a pin if I feel like it. It is with some pleasure that I return to Episode with their latest track, which confounds all previous consternations in a seemingly rambling number that somehow still fits within three minutes, which for its very nature has a more honest and connective tissue with the audience.
Two and three quarter minutes of acoustic-meanderings seem to extend to watching the embers fading on beach bonfire until dawn as Episode elongate the time-piece with vocal slipping in and out of tempo with the accompanying instrumentation and supporting echoes.
This is nowhere near as commercially centred as Swim and for that will suffer radio-play, but that is precisely why this site exists, to explore that which sits out of the mainstream and I thank Episode for hanging out with those of us playing in the surf at dawn.