“Black In The Sun Room” is a solid example of a song relying on a pulse to propel itself forward. This pulse is the lifeline of the song, and everything else adds to the character. The first stand-out feature of the song is the horn part, which is almost ingenuous in it’s simplicity. During the verse, the vocals are the only part with a melody, and all of the other parts either texture the song or work on sustaining the pulse. Everything changes during the chorus, and an almost dancey post-punky vibe surfaces. Zoos of Berlin is a Detroit band that seems to have a lot going for them. abrupt end to blog post.
“California” is a prefect blend of simple instrumentation and simple vocal melodies. The song’s strongest quality is that there isn’t that much going on. Toothsome vocals on top of a piano that sounds straight out of some parlor in the mid nineteenth century gives the song a vibe that is immediately strange, yet simultaneously enticing. The Islander knows nothing about Deek Hoi, except for the fact that their name is clever and they are from Knoxville, but we are excited to see what the future holds for them.
Everything about Moses Campbell is quite good. Their shows are beyond fun, and their album, Who are You? Who is Anyone? (coming out on vinyl 9/3/10), is extremely enjoyable from the first song to the last. First and foremost, The Islander has to say if one ever has the chance to see them, it is completely worthwhile. The energy they project is almost unreal, and they sound equally great, if not better live. Who are You? Who is Anyone? is an extremely original album, with familiar songs. Every song on the album is catchy, easy to listen to, but also interesting. Singer, Sean Solomon’s voice perfectly accents the calm yet energetic instrumental tracks. The Islander has learned from various conversations with different members of the band, that their influences range from Nirvana to Television to Weezer. “Overhead” is a awesome song that displays a lot of what the band does, plus during the intro, guitarist Miles Winter plays a saw with a bow. When at one point in time, each and every song on an album has been your particular favorite, then you know it’s a great album, and The Islander has absolutely felt this way about Moses Campbell’s first release.
Gamble House reminds The Islander a lot of Department Of Eagles. They both have punchy interludes and pretty vocals. Where Gamble House strays away from this comparison is that their sound is much bigger. Everything about their sound is large, making use of the entire frequency range and radical dynamic fluctuation. The band uses reverb perfectly, and it accents their sound by adding sustain to some of the choppier guitar parts and blends the vocals into the instrumentation. Bonny Doon starts with a beautiful guitar and vocal into, and twenty seconds in, the song slowly emerges. By the end, one can’t help but hit repeat.