Praise the Twilight Sparrow--Praise the Twilight Sparrow EP

Praise the Twilight Sparrow is an act misted in delicious mystery and intrigue. Playing in the strain of “any truth teller” and imitating the sound of “self-made mythologies,” the DIY vibe practically gushes from the band. Made up of a fluctuating number of members from nations as diverse as France, the Netherlands, and the US—the group’s sextet core comes from Europe and most recently ripped out their other-worldly folk at SXSW. The Texas music-fest is no new ground for Praise the Twilight Sparrow either, the Dutch members played there in 2003 under the guise of Templo Diez, and then in CMJ 2006. Indeed, while Praise the Twilight Sparrow is a new name on the indie scene the faces behind the getup are well-worn veterans. That quality can be felt on their first EP, a forerunner to a promised full-length later in the year. The four-track self-titled EP is graced with eerie spoken vocals, pacing about in the backdrop of ghostly acoustic instrumentals. Pascal Hallibert’s calmly seducing vocals are the perfect crown to Praise the Twilight Sparrow’s style, singing in a near-breakdown cantillation. Even the acoustic twangs in the opening track “Get There If You Can” ring with an ethereal smack, spinning about Hallibert’s half-drunken lyrics. The intergalactic quality of the instrumentals remind one of Brightback Morning Light, which share the dreamy, half-dazed effect Praise the Twilight Sparrow use so brilliantly. A lo-fi, Mountain Goats-like recording style is revisited in “The Ghost Tonight,” which opens with an Armageddon spewing preacher before descending into melancholy acoustic rhythms. “South of No North” and “On Our Way” close the EP, the former more straight-edged country/American tracks in which Hallibert sounds more focused, the latter an acid-trip in itself. Deliciously dark – like an acoustic Pink Floyd hiding a body in the closet – Praise the Twilight Sparrow pull the listener in with the grimy mystique of their sound. Polished enough to hold meaning, yet rough enough to entice the DIY-lovers (and allow much room for improvement), this hodge-podge of European and American artists have crafted something dazzlingly beautiful. If Praise the Twilight Sparrow can further evolve upon this sound, their coming full-length will be a must-own of 2007.

(Published in Soundcheck Magazine)

The Domus

Sweden is the location of the new music gold rush. That much is clear from bands like Peter Bjorn and John, 120 Days, The Concretes…the list goes on. Add The Domus to that list. Named after Sweden’s Wal-Mart (Domus), the quintet comes straight out of Eskilstuna, Sweden. Like a downbeat Hellogoodbye or an upbeat 120 Days, The Domus combine electronica grooves with radio-friendly themes and lyrics, much in the same way as The Postal Service or Broken Social Scene. Interestingly, Domus was originally an acoustic backdrop for vocalist Stefan Juhlins’ song-writing capabilities back during their 2003 genesis. Instead, we’re left with an electronica style that – when combined with Juhlins’ pop-friendly vocals – is deliciously digestible. After this pre-life identity crisis, Domus quickly gained a loyal following in their hometown, eventually play 50 shows in 2005 with the likes of Jettie, We Are Scientists and Karl Larsson. Their recently-released debut Fractures, much like Phoenix or Genesis, tout incredibly catchy tracks like “Pull Your Strings” and “The Observer,” both of which contain an irresistible youthful mood. Awkward romances, summer nights, driving nowhere as fast as possible—the sunny days of youth unfold before the blips and beeps of The Domus. Wonderfully mixed stringed instruments are layered in over the electronic effects in songs like “Arkansas.” Working as-if with a chip on their shoulder, The Domus constantly remind their listeners that they have literally stumbled upon this style, and they are by no means pretentious Europeans. Even if they were, I wouldn’t care. Their music is damnably catchy, no matter what kind of personalities lie behind the angsty lyrics and bittersweet melodies. Relentlessly harsh on themselves, Fractures

is an album of perfection—where every second of every song has been meticulously pondered over. The Domus are a band of hard-working professionals just finding their feet. Get on the band-wagon now, before it gets too crowded—because it will soon enough.

(Published in Shut Up! Magazine)

The Lonely Hearts

The oh-so-twangy snap in Will Holland’s voice says it all: The Lonely Hearts are pure Americana. Complete with squeaky sliding acoustic instrumentals and bittersweet-with-a-smile themes, this Nashville four-some are straight-shooting guitar pop. Originally dubbed Holland, the group played a pop-version of emo melodies in their 2003 release Photographs & Tidalwaves. While fans struggled to classify the blended sound (with descriptions as far reaching as Foo Fighters to straight-up nada surf), Holland switched monikers to The Lonely Hearts. Their Lonely Heart debut full-length, Paper Tapes, was released last year filled to the brim with earnest wistful pop melodies delicately complemented by Holland’s stereotypical Southern drawl. Just about everything composing The Lonely Hearts is stereotypical really. The vintage guitar effects, the sunny light lyrical content, not a lick of The Lonely Hearts is unique or brand-new…and frankly with a vast pool of other acts throwing new tricks into every other second of their music, it’s refreshing and relaxing to stumble across a band who stick to what’s tried and true. Paper Tapes is as tried and true as they come, featuring songs like the blistering country-track “Love Comes Quickly” and similarly styled “Good Intentions.” Much like The Wallflowers, Neil Young, or the Gin Blossoms (and Bob Dylan when Holland’s voice hits a particular cracked-twang), The Lonely Hearts play a well-worn version of Americana/country-rock, and come out smelling like daisies. Christian themes found throughout their music have also gained The Lonely Hearts a considerable church-rock following. While their self-comparisons to Neil Young and the Beatles may be farfetched, its clear The Lonely Hearts do deserve some credit for chasing after their influences ruthlessly, and sounding damn good in the process. They may be no Beatles, but the summery melodies and twangy guitar instrumentals make The Lonely Hearts a damn good pick.

(Published in Shut Up! Magazine)

The Killing Moon

Not quite ska, not quite emo, The Killing Moon edge the lines of genres—choosing to dip their toes into a variety of pools instead of committing to a swim in just one. Most obviously post-punk, the quintet from Hampton, Maine also adds in flavors of brass effects such as trombone (supplied by Dan Lafayette) and baritone sax (Chris Michaud). With slices of screamo vocals here and there as well, The Killing Moon clearly dabble with ska within their tracks. However, A Message Through Your Teeth – an EP teaser from Fearless Records released last year – has much more of a classic punk-pop feel. The songs are more accessible, and Ryan Hannan’s vocals keep the screaming to a minimum—preferring saddened angst ridden lines instead. Rousing, smooth, and passionate, The Killing Moon offer a delicious blend of ska and emo threads, with the punk influences dominating their melodies—much like Dynamite Boy, Less Than Jake, or No Doubt. For this, The Killing Moon comes off smelling strongly of mainstream post-punk. If weren’t for their injection of brass instrumentals, their tracks would explore over-trodden territory and come off dull. That said, the brass section tends to be left behind. Too often in songs like “Subject A” and “Postcard from Los Angeles” does the trombone and sax feel like afterthoughts, added in after the rest of the song was completed. Instead, the rousing guitars and Hannan’s despairing vocals take the show. And is that so bad? Well, if you’re looking for a scything ska experience, it is. If not, then The Killing Moon remains a vibrant and melodic experience in the spirit of Senses Fail. A Message Through Your Teeth was released March of 2006, with promises of a full-length later that year. Still no word from the Hampden rockers on that front, but fortunately they’re on the road playing occasional shows across the country. Let’s hope The Killing Moon get some new material out soon—there is a heap of potential within the tracks of A Message Through Your Teeth, and The Killing Moon have a chance to become a major name. (Published in Shut Up! Magazine)