The Colourist Plays Bright and Bold

I have always believed the amount of fun a band has making music together directly correlates to the amount of fun that can be had listening to their music. In the case of The Colourist, I am convinced, after perusing their Purevolume profile, that members Maya Tuttle, Adam Castilla, Justin Wagner, and Kollin Johannsen are the best of friends. Their music perked me up right from the start, and their infectiously happy rhythms provided for a feel-good listening experience.

"Oh Goodbye," from their self-titled EP, improved my disposition towards life instantaneously with its positive lyrics, strong vocals, and steady tempo. The lyrics were the first to catch my attention. "We let the good grow strong" struck a chord with me (musical pun completely intended) because in the case of relationships, that is absolutely true. "There comes times when we're just not happy/We have to say so long" depicts another truth of relationships. The Colourist does an excellent job of juxtaposing the emotions felt when a relationship is good and when it is bad. While all of this love and life insight is being revealed, some fantastic things are happening on the instrumental side of the song. The guitar rips into the intro with a great riff paired perfectly with some fast-paced percussion that continues throughout the song, keeping the energy high. I liked the arrangement of this song because the vocals took turns with the instruments when it came to showing off. Nobody was trying to out-do each other. At 2:24, the piano and guitar join forces to play a lovely little chromatic scale that leads into the power-packed finale. This song kept me interested from start to finish with its great energy.

"Fair Weather Friends," also from their self-titled EP, impressed me because of all the different sounds produced in the song. It starts off with very light chimes that tickle the ear, and then the guitar joins in on the fun. Next a cymbal roll brings in the rest of the band, and crystal clear, melancholy vocals round out the intro. The song has drive, as heard in various crescendos, decrescendos and increasing intensity of the vocals and lyrics. Just when I thought the song was going to explode, everything halted. The lingering tones of the chimes bring everyone back in for one last stand. The lyrics were the stand-out aspect of the song. "You say that the world is crashing down/But who was there for you/Your friends were/Your friends were/Your friends were there" is an example of the honesty The Colourist pours into their lyrics. I felt like I was experiencing everything they were in the song. That is a characteristic I can appreciate because what better way to help connect people to your music than to connect them to what you feel?

"Yes Yes," was the winner for me. Another tune from their self-titled EP, it was the total package for me: perfect arrangement, piano-rock-vibe, hard-hitting percussion, angelic vocals, and lyrics I could relate to. "Yes, yes/They've been jealous/Of the time spent between you and me/They've been talking/Even plotting/Of they way they can steal you from me" is another relationship-themed lyric that everyone who has ever been in a relationship can remember experiencing at least once. I felt like the The Colourist branded themselves as the people's lyricists in this song because of how well they convey feelings common in most people's lives. This might be strange to say, but it makes me want them to write a concept album of my life because I know they would make it sound so good.

I recommend The Colourist to anyone who wants to listen to music that expresses that which they don't know how. Their sound is vibrant. Their sound is unpredictable. They are personal. They are real. I want to hear more from them.

Listen to The Colourist here!

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Photo credit: http://www.purevolume.com/thecolourist/photos/2995009

DESA Underwhelms Me

DESA, an indie alternative five-piece from Oakland, California, left me feeling pretty lukewarm today. Members Ryan, Adam, Barry, Aaron, and Steve play their instruments well, but their generic alt-rock sound failed to blow me away. After three songs, I was definitely ready to call it quits.

"Delilah" was just monotonous. The guitars were trying to do too much during the verses. They could have impressed me had they not lost their way beneath the vocals. The chorus sounded whiny with the percussion and guitar feeling very heavy. Every now and then the guitars grabbed the spotlight with an interesting picking pattern, but overall I felt like I had listened to the anthem for every mediocre alt-rock band I have seen live. "Delilah" could have been much cleaner.

"We Must Be Brave" only had somber lyrics and hushed acoustic guitar to offer me. The vocals sounded strained, which might have been purposeful, but I was not a fan. The instrumental aspect of the song felt like an open mic coffee house experiment. I think I might have heard a muted trumpet at one point, which perked up my ears, but the excitement faded quickly when the vocals came in and did not seem to connect with the tone of what the guitar was playing. "We Must Be Brave" just seemed messy and poorly planned to me.

"Alarm Clock Screams" was horrendous. The idea of letting a guitar riff and heavy percussion override vocals is just perplexing to me. I feel like a good song should show how well the musicians can blend their talent with each other. Apparently DESA does not share the same beliefs on showcasing talent as me. The fast-paced, sweaty guitar riffs were distorted. The percussion sounded like they were competing with the guitar. The vocals sounded defeated. I should have taken the title of the song more literally I suppose, with how unpleasant it turned out to be.

I personally would not recommend DESA under any circumstances.

You be the judge. Give DESA a chance here.

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Photo credit: http://www.purevolume.com/desa/photos/5813

The Weakerthans Produce Anything But Weak Music

The Weakerthans, a pop punk indie quartet from Canada, came across the interwebs today to serenade me. Members Stephen Carroll, John Samson, Greg Smith, and Jason Tait came together in 1997 and took on the indie music scene of North America. With a live album dropping March 23, 2010, The Weakerthans seem to have established their sound and a steady group of followers. I was anxious to find out what they did to acquire 1,599 fans on their Purevolume site.

First on deck was "Benediction," a song from their upcoming live album "Live at the Burton Cummings Theatre." The intro reminded me of The Eagles and The Allman Brothers, a huge compliment to The Weakerthans. When the vocals chimed in, I immediately thought of R.E.M. I felt like I was listening to every band my dad made sure to expose me to as a child so that I would grow up to listen to "good music." I appreciated this song because I could hear each instrument's part incredibly clearly. I was able to examine each member's immense talent within that song. Another impressive characteristic I noticed was that their lyrics include quite a bit of imagery. "Megaphones and helicopters squeal/Are you okay/The searchlights circle where we lost our way," gave me a visual of the sorrow the lyricist might have had on his face while writing this song. "Benediction" was clean, smart, and emotional, three qualities I like in a song.

"Tournament of Hearts" was next in line, another tune from their live album. I was hooked by the first chord because of the guitars' driving rhythm and tight articulation. I would have liked the vocals to be a little louder because the percussion and guitars buried them in a couple bars, but I was still rather pleased. The lyrics themselves were enough to keep me from getting hung up on the vocals though. "And I know you're out there waiting/ for an answer I can't give" is an example of the many easy-to-relate-to lines I noticed in this song. Though I found some fault with how the vocals did not balanced with everything else going on, "Tournament of Hearts" kept The Weakerthans in my good graces.

I concluded my listening session with "Night Windows," a haunting track from their album "Reunion Tour." I felt a very strong Decemberists vibe from the instrumental parts of this song, which consisted of a romance between the percussion and guitar that seemed perfectly timed, as if the band's eyes were glued to a metronome the entire time. The vocals were very calm and relaxed. I wanted to fall asleep to this song, not because it was boring but because it sounded so soothing. It could have lulled me right into my REM cycle.

I loved listening to The Weakerthans because of how they reminded me of so many bands I already enjoy. After listening to some of their live album, I have a strong desire to see them live, which I think is a testament to how talented they are. The Weakerthans now have 1,600 fans.

Try The Weakerthans here!

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Photo credit: http://www.purevolume.com/theweakerthans/photos/3029673

Phoenix: Parisian Perfection

Purevolume was kind enough today to suggest to me a lovely little pop rock band called Phoenix. French boys Thomas Mars, Deck D'Arcy, Christian Mazzalai and Laurent Brancowitz have had their delicious beats featured in a Cadillac RSX commercial and several movies such as "Valentine's Day" and "Where the Wild Things Are," and rightfully so! Their music is contagious, fun, and energetic. What else could a movie trailer or sports car commercial ask for?

I picked three songs, as per usual, and gave Phoenix a whirl, and what a delightful ride it was!

"Lisztomania," from their album "Wolfgang Amadeus Phoenix," got stuck in my head almost instantly. With a catchy little guitar riff and heavy cymbals, Phoenix had me off of my ass and ready to dance. The vocals sounded intriguingly delicate, which contrasted perfectly with the high energy of the percussion. There is a beautiful marriage of synthesizer and vocals for a brief moment just before the chorus really starts kicking. Around 3:00, "Lisztomania" turns into groove-o-mania, like some lost anthem from the days of Studio 54. The song was like a pint-sized rave party.

After one pleasant experience with Phoenix, I was begging for another. "Long Distance Cal," from their album "It's Never Been Like That," was reminiscent of 1980's Billy Joel and Steely Dan. CAN YOU SAY WIN? With a cymbal-riddled intro, "Long Distance Cal" shined with a jazzy chorus and sassy but simple verses. I was compelled by the urge to dance again, at which point I decided to dub Phoenix's music as the most dance-worthy jams out of all the music I have reviewed thus far.

I listened to "Too Young" next, a wonderful finale for my rendezvous with Phoenix. A friendly synth/keyboard beat supported the airy vocals and steady percussion. The lyric "everybody's dancing" sums up every second of the song. I felt like I was at some hipster, 1980's themed prom, and I was okay with that.

Phoenix epitomizes energetic pop music. Nothing in their instrumentation overpowers anything else going on in their music. They maintain a balance among all of their instruments, while keeping it playful and inviting. If you like fresh, fun music, Phoenix might be your musical soulmate.

Have a listen here!

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Photo credit: http://www.purevolume.com/wearephoenix/photos/2946713

All is Fair in Good Old War

Purevolume gave me Good Old War today to try on for size, and they fit me better than my favorite pair of jeans. Acoustic folk rockers Keith Goodwin, Daniel Shwartz, and Tim Arnold give Philadelphia's music scene a great name with their Simon and Garfunkel-like grooves. Goodwin and Shwartz both do vocals and guitar while Arnold sings and keeps the beat with some very in-the-pocket drumming. During the three songs I sampled from their self-titled album, I could not help but tap my feet and wave my arms like a Woodstock hippie.

"Good" was a simple guitar-picking driven intro with golden "oohs" and "ahhs" filling in the spaces between strumming and drumming. In the song's 58 seconds, I was able to imagine flying over the Serengeti in a hot air balloon, band in tow. Yes, the harmonies were just that majestic.

After I came down from that musical high, I tuned into "Here are the Problems," a lyrically mature jam that reminded me of a beach bonfire sing-along with lots of alcohol. A love song begging for "the one that got away" to come back, it showcased Good Old War's ability to make any lyric sound stellar with each boy's slick "ahhs" that reoccur in many of their songs.

This song in particular proved to me Good Old War really knows how to write some delicious folk rock. The chorus jived so well the percussion because of the contrast between the vocals' smoothness and the drummer's solid-as-a-rock rhythm. Every instrument melted together like butter. "Here are the Problems" was refreshing and youthful.

Last in line was "My Own Sinking Ship," another sing-along kind of track but with a more somber tone. I was getting a our-relationship-is-not-working vibe with the repetition of the lyric, "It's the last time we'll fall in love." Quiet strumming and a laid-back beat let the heartbreaking lyrics take the spotlight. I felt like I was losing a significant other, which is exactly what I want from emotional songs. I want to feel what the band feels. Very well done.

Good Old War is an excellent choice for those who enjoy a peppy acoustic pick-me-up that has an occasional dark side. For fans of Simon and Garfunkel, these guys are definitely the perfect fit.

Give Good Old War a listen here!

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Photo credit: http://www.purevolume.com/goodoldwar/photos/3092684

Cities and States: Sexy. Sophisticated. Solo.

Purevolume delivered a wonderful package to me today in the form of a one-man band called Cities and States. Multi-instrumentalist Josh concocts relaxed melodies on his computer in Salem, Massachusetts. Josh's alternative/indie/acoustic repertoire consists of vocals, piano, guitar, bass and drums. With 23 songs for my listening pleasure, I shut my eyes and selected three songs at random to taste Cities and States' scrumptious sounds.

First on deck was "Crosswords" from his album "Post Card Demos." The vocals sounded far away, as if Josh was singing to me outside of my window, trying to get my attention. He definitely succeeded.

The simplistic picking pattern of the guitar was the perfect backdrop for Josh's soft, melancholy vocals, which belted thoughtful lyrics that revealed an uneasiness about the past, present, and future. I really appreciated the clarity of his voice because it made every lyrics decipherable. That characteristic made the song all the more effective. I used the instrumentation to figure out what Josh was feeling.

"Crosswords" ended with a sweet decrescendo and the lightest la-da-da-daaa ever to hit my ears. Perfection.

Next up from "Post Card Demos" was "Little Face," an upbeat groove with a little bit of country pumped into it. The guitar and piano parts really shined in this one because of the contrast between the music played during the vocals and the music without vocals. The percussion was incredibly even the whole song through. The sound quality of each instrument really impressed me since Josh made all the magic on merely his computer.

Perhaps the aspect of "Little Face," that stuck out the most was the ability of each lyric to charm the pants right off of me. Lines like, "I would wait another decade just to see your little face again," made me blush, while lines like, "I would move into the city, change my name, and get a big tattoo" made me wish I were his very best friend. The song proved to be a lighthearted lullaby complete with catchy guitar riff.

"Two Hearts at Once," from the "Rider" EP, was the last track of my selection, as well as the track that assured me Cities and States had shown my ears a wonderful time.

For some reason the pairing of a banjo and a tambourine instantly warmed my heart. The catchy rhythm was nearly unbearable. Though the same riff is played for almost the entire song, I found it hard to grow tired of it. I just wanted to keep listening.

The vocals had a bit of an echo to them, which sounded great with the strumming of the banjo. Though there was minimal lyrical content, the song stood strong on its joyful chord progression.

Lyrics like, "It takes a lot of energy to feel two things at once" really spoke to me and made me believe I was listening to a genuine guy handing me his emotional baggage, as if he needed help carrying it. I wanted to be there for him.

Cities and States impressed me, cheered me, flirted with me, and amazed me with how well one guy could crank out so many great parts for instruments. I would gladly visit any city and state to see him in concert.

Experience the joyful greatness of Cities and States here!

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Photo credit: http://www.purevolume.com/citiesandstates/photos/3098331

From Sinking...sinks

Today's random profile is Orange County, NY rockers From Sinking. Members Jay, Tommy, Dennis, and Jayrand, explain in their Billboard (Purevolume's response to an "about me" section) that "We're just 4 guys doing the best we can. We promise to put forward everything we have, if you promise to listen." I promised to listen, and unfortunately the end result was me wanting to break that promise.

From Sinking has three songs available in their profile, all of which come from their album "That Sinking Feeling." I kicked off my listening venture with the song "Five Nineteen Oh Four," mainly because mysterious song titles intrigue me. The intro consisted of a sweaty guitar riff joined by rather tight drumming. At first my ears thought, "Hey, this is almost catchy."

Then came the vocals. My immediate impression was, "What an offsetting cocktail of weak lungs and clogged nasal passages!" Lucky for the band, I usually enjoy voices that are not conventionally pleasing to the ear so I agreed to still give the song a chance.

The song continued with spurts of clean drumming and a few bars of expected clapping. The mediocre vocals ended up killing the song for me. I kept praying that maybe the vocalist would reach for a little more air with each belted lyric.

Next came "Turn on Your Skell-a-vision." I was interested to find out what the concept skell-a-vision entailed, so I listened intently for lyrics. I felt pretty underwhelmed after the first two minutes, what with only a lengthy Metallica-esque intro to rouse my spirit.

When the vocals began, I had already lost interest in whatever else they wanted to offer me in the song. The vocalist forced out lyrics I tried to decode with no success because of the ragged screaming that blanketed what could be heard of the vocals. Needless to say, round two with From Sinking did not do much for me.

Third time was a charm though! "That Sinking Feeling," the album's title track, was somewhat reminiscent of the band Taking Back Sunday, which definitely perked up my ears.

The melody was contagious, and the guitarist impressed me with how he played off of the initial guitar riff throughout the song. I also appreciated the lyrical content because I could hear it so well. The tune concluded with fading layered vocals and some flutelike synthesizer sounds that were a real treat. I would definitely listen to it again.

Overall, I felt From Sinking put up much less than a good fight to stay afloat. The percussion was the only aspect that was consistently satisfactory. I commend the members on their efforts, but the sub-par level of rock just does not do it for me.

Want to listen? View From Sinking's profile here!

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