Pop 'stache

They say a picture’s worth a thousand words, but that’s true of music, as well. Case in point: Swedish singer-songwriter Sumie’s beautiful, self-titled debut album.

Her soft, acoustic guitar-led folk songs are simple, yet elegant. One strum of her guitar, one croon of her silky voice, captures the imagination just as effectively as a thousand words.

Each song is sung so beautifully and passionately that it will melt listeners’ hearts, and there’s an intriguing air of mystery that makes Sumie’s music more enjoyable.

Her voice is seductive, her songs like lullabies. Her music is warm and fuzzy; it seems like she’s serenading each listener, sitting casually on the floor while looking straight into their eyes.

Sumie’s lyrics are cryptic, yet full of imagination. For example, you want to believe “Midnight Glories” is a love song, but Sumie’s lyrics are so abstract that it doesn’t exactly fit into that peg. But though the message is hazy, her heavy figurative language paints a vivid image as she sings, “Midnight glories of walking stories that rust in daylight to drown/Midnight glories of walking stories that burns in star lights… to shine.” Sumie’s lyricism forces listeners to let their imaginations run wild.

If Sumie’s lyrics keep her listeners guessing, so does her tone in each song.

Unfortunately, this is the low point in the album.  Sumie’s vocals remain static and devoid of any emotion. The album’s most popular song, “Show Talked Windows” has a haunting vibe to it; the music sounds eerie and creepy.

The song is carried by Sumie’s pretty voice, but her soft, soothing vocals don’t carry much weight. It would be interesting, and more dynamic, if she sung more forcefully from time to time.

Fortunately, it’s not a major flaw on this album. Rather, it’s a minor nuisance. Overall, Sumie is a well-crafted and captivating release that lacks any pretension. It’s slow, and it definitely takes patience to let the full weight of the album sink in. But with a little time, this gifted singer-songwriter will seduce listeners with her simple, sweet, and delightful sound.

Sumie – Sumie tracklist:

1. “Spells You”
2. “Never Wanted To Be”
3. “Let You Go”
4. “Hunting Sky”
5. “Show Talked Windows”
6. “Burden of Ease”
7. “Speed Into”
8. “Midnight Glories”
9. “Later Flights”
10. “Sailor Friends”

Next time, instead of popping Ambien, you can just listen to the British band, Lanterns on the Lake’s new album, Until the Colours Run. The mostly slow, soft rock ballads punctuated with electronic, minimalist sounds and folk tunes are beyond slow; they could put listeners to sleep. 

Lead singer Hazel Wilde’s vocals lack energy or any kind of spark. Instead, her singing is at best uninspiring and sounds like a broken record in every song. It’s soft, but erratic, and that’s just the beginning of this incredibly unremarkable album.

None of the tunes are memorable; they blur into one another so that it’s impossible to pinpoint any standout moments. The album’s only striking aspect is Wilde’s voice, which sounds dull, flat, and outright depressing.

If there are any bright spots in this album, they are few and far between. One, the band has talent, at least when it comes to playing—the songwriting is another story.

Wilde does a great job playing the piano, and multi-instrumentalist Paul Gregory has some wonderful moments on the keyboard. The electronic aspects of the music remain soft and sparse.

There is also some shift in dynamics and tempo within songs, but not enough to make the music exciting. For example, the first track, “Elodie,” starts off with a bang. The song mixes quick-tempo hard rock with Wilde’s slow, light vocals as a sound like tap dancing feet rings in the background.

Most of the songs on Until the Colours Run elicit dark, haunting, and political tones.

Arguably the band’s most important song, “Another Tale From Another English Town,” talks about the hard times coming, with widespread job loss and government cuts. The tune is quiet, soft, and haunting. Wilde’s tone reflects sadness rather than anger. She feels everybody in her town is resigned to their fate, and she ends the song singing, “We don’t want to fight/We want a quiet life/Wish our lives away, wish our lives away.”

While much of the album is similarly cynical, there are moments of optimism. “Green and Gold” reminds listeners that in hard times, love can make them forget about their fear.

Unfortunately, Until the Colours Run does not burst with any huge amount of color or life that reaches out from the darkness. It doesn’t burst with anything, really. For the most part, it simply sounds lifeless. Until the Colours Run might be beneficial in curing someone’s insomnia, but that’s about it.

Lanterns on the Lakes – Until the Colors Run tracklist:

1. “Elodie”
2. “The Buffalo Days”
3. “The Ghost That Sleeps In Me”
4. “Until the Colours Run”
5. “Green and Gold”
6. “You Soon Learn”
7. “Picture Soon”
8. “Another Tale From Another English Town”
9. “Our Cool Decay”

One night, not long ago, singer Kevin Teirnan tweeted “Moving to Brooklyn.” Though he didn’t intend to be taken seriously, it was an act that would prove to be the impetus for five friends to begin a new chapter in their lives.

Donning the confident, edgy guise of a band with a large following, Tall Walker released its impressive debut EP under the same name earlier this month, featuring powerful tracks and excellent songwriting.

The Chicago-based trio strips down and unleashes a dynamic tracklist, starting its career off with a commanding rock album with heaps of energy that will cater to fans of Kings of Leon or The Strokes.

It’s hard to believe this is Tall Walker’s debut release, considering how impressive every song is. Each track hits harder than the last, and the EP leaves a lasting impression.

Along with the consistency of the song quality, these guys have a killer sound. Lead singer and guitarist Nick Bays has an undeniable groove to his voice and guitar work, while bassist Chris Hershman and drummer Ben Johnson hit just as hard in the background. The group meshes wonderfully to create one hell of an inauguration.

The EP starts off with the engaging “Deadbeat,” shifting seamlessly between mellow verses and the powerful choruses and bridge. Tall Walker shows off its songwriting skill, drawing from two opposite ends of the spectrum to make a great, catchy song. The foot-tapping, head-bobbing beat and gorgeous guitar draw listeners in as Bays serenades them for the first time of many. Although every song is unique, “Deadbeat” is a perfect indicator of the remarkable songs to come.

Continuing with the same chill vibe, “Clouds” is another foot-tapping hit with catchy melodies and subtle, but stellar musicianship.

Bays’s voice sounds as velvety as ever, especially during the built-up climax at the end where he repeats, “You lost it into the clouds/You lost it but now you’re found.” As the slowest song on the record, “Clouds” still manages to hold the same vigor as the others, exhibiting the group’s naturally raw and powerful sound.

Tall Walker kicks it up a notch on the last two songs, both of which could beat out the previous tracks for the best on the release. Jumping right into the exuberant “Love Is Alive,” the group comes out with an increasingly intense attitude and commanding instrumentals. Once again, this track proves to be unique and fresh when placed among the others, most evidently in the off-time bridge.

Ending on the epic, bluesy “Stay,” Tall Walker’s debut concludes with the same domineering force that drives the rest of the EP. It encompasses the feeling conveyed throughout, fully expressing the raw, soulful undertones that propel each song. “Stay” is mainly instrumental, or has Bays singing passionately alone with his guitar,

Aside from the music itself, the production quality of this album is astounding. It helps show off the band’s expertise and allows the listener to get the full effect of the music, particularly the loud, authoritative instrumentals and Bays’s impeccable voice.  Credit is definitely due to Stephen Shirk of Shirk Studios, who mixed the record.

Aside from a disappointingly quick ending, Tall Walker’s debut effort is nearly flawless. With only four songs from these prodigies, it’s hard not to long for more. As soon as the EP ends, it’s nearly impossible to keep from playing it again.

Tall Walker – Tall Walker EP tracklist:

1. “Deadbeat”
2. “Clouds”
3. “Love Is Alive”
4. “Stay”

Riding on the same edgy, Neon-Trees-meets-Moostache grooves that drove its debut EP Extended Play, Ula Ruth is set to release its sophomore effort Restless Nights EP in early 2014.

Clocking in at  just over 23 minutes, the EP is fresh and deserving of attention. The band has undoubtedly matured since its last endeavor, crafting more complex songs that still comply with its classic upbeat, buoyant sound.

The tinge of angst expressed through a lot of Ula Ruth’s lyrics both complements and contradicts its gung-ho instrumentals, creating an interesting coexistence between the two sides. This dichotomy goes unnoticed unless focus is pointed toward what Nic James, lead singer and rhythm guitarist, is actually saying, neglecting both his cheerful melodies and the rest of the band’s equally bright musicianship.

The album kicks into Ula Ruth’s newest single “Let Down” following an eerie, echoed guitar humming to start things off. From that point, the EP takes off and doesn’t look back, continually keeping a foot-tapping vibe until the end.

The song features characteristically catchy guitar riffs with some killer solos, powerful bass lines, and a bold drum beat.

By far the coolest part of the track  comes after the line, “You don’t even care at all,” when Nic bitterly says, “Fuck it,” as the music stops and segues into one of lead guitarist Andrew LeCoche’s intoxicating solos.

This raw energy juxtaposed with the airiness of the song is what makes this band novel.

The rest of the EP goes the same way, with bassist Kevin Clymer and drummer Luc James backing up Nic’s lamenting lyrics with domineering, stark instrumentals and LeCoche leading the way musically.

A majority of the EP sounds a lot like “Let Down,” which makes for a fun, but slightly repetitive tracklist overall.

Ula Ruth does a great job of taking that upbeat, yet melancholy style and running with it, but a little more variation wouldn’t hurt.

With that said, there are still tracks that stray from the norm. “The End,” which is the second-to-last song, opens with a groovy ’80s vibe, but is contradicted by Nic’s unique vocals.

Ula Ruth takes this classic sound and makes it its own, slowing the tempo and making use of twangy guitar effects to fabricate a toned-down version of the rest of the EP. It’s a nice chance to stop and take a breath, though it still has the catchiness and power of the other tracks.

“Too Late Tonight,” which closes Restless Nights, goes much the same way. Sounding almost like a quicker, more upbeat extension of “The End,” it brings the album to a proper conclusion with the elements that have pushed the album from start to finish: the catchiness paired with the subtle, melodramatic lyrics; the power of the instruments; and the end-of-song breakdown. All of it comes together to give the EP a fitting denouement.

Restless Nights is a solid release that expresses Ula Ruth’s skill and maturation. The EP exhibits a sense of optimism where lyrically none can be found, which is an interesting way to write about such deeply emotional subject matter.

If the group keeps up like this, it shouldn’t have a problem making huge strides in the coming years. Hopefully we will see a full-length from Ula Ruth before too long.

Ula Ruth – Restless Nights EP tracklist:

1. “Restless Nights”
2. “Let Down”
3. “Shake It Off”
4. “Loser”
5. “Runaway”
6. “The End”
7. “Too Late Tonight”

Lost Here, Synkro’s third release on Apollo Records,reconciles the cryptic nature of its title with waves of moody electronica that ebb and flow through a sentimental hyperspace, enveloping the listener in a state of lucid dream-like static that tosses and turns with the mood of this latest EP.

Recruiting the smooth, rounded vocal stylings of Robert Manos for the first half of the EP, the Manchester-based DJ grabs firmly the opportunity presented in this two-song collaboration to highlight a contrast between the organic and the mechanical.

Synkro’s vocal-free vacuum of instrumental music (save for some heavily effected and oft-muffled murmurings) allies with Manos’s gentle lull to forge moments in sound that resonate unexpectedly, stitched together from the synthesized whirs, clicks, chirps, and pops that break up and punctuate the ethereal singing.

Conceptually, Lost Here blooms on the title track, as its tone is illustrated in the pinging of looped pleas and queries from Manos: “Catch me when I fall/Move me when I freeze this time/Chasing dragons in my sleep.”

Acknowledgement of deviating from the course, personal awareness of flights of fancy, wishes to be remembered fondly, and hopes for acceptance arise from the meshing of the two artists’ offerings.

“I got lost here,” the singer admits, and the words float away and degrade in a sea of cascading, robotic machinations.

The celestial groove of Synkro’s music juxtaposes with the nostalgic and melancholy lyrics to make the team effort on these first two tracks the standout feature of Lost Here.

“Nights of Pleasure,” the first of two instrumental tracks that make up the latter half of the EP, paints a crystalline backdrop with a twinkling build-up to a hi-hat laden second act.

The composer layers spaced-out samples with labyrinthine percussion to create a sensation of motionless falling that passes the torch to the pulsing beat of closing track “Fading Lights,” which morphs from tribal-sounding polyrhythm to the clean, cold machinery of Synkro’s programmed drum maps.

Alternating between harried, pulse-quickening moments of imminent arrival and tripped out drawls that mosey from one end of ambient atmosphere to the other, Synkro has offered his followers a brief but well-rounded and otherworldly transmission.

Though some of the landscapes navigated over the course of Lost Here tend toward too stark or too busy, this release provides further evidence that Synkro’s style is evolving and his catalog is expanding in ever more interesting ways.

Synkro – Lost Here EP tracklist:

1. “Lost Here (feat. Manos)”
2. “In My Arms (feat. Manos)”
3. “Nights of Pleasure”
4. “Fading Lights”

Every so often, an album will surface that reignites an otherwise stale discourse of music, offering a vivid portrayal of how an album is supposed to be constructed.

Such is the case with Love’s Crushing Diamond, the elegantly crafted EP from Mutual Benefit—otherwise known as Jordan Lee. Charged with a natural buoyancy and graceful splendor, the seven-track work is both intricate and beautifully simple.

Marked by rhapsodic harps and calming orchestral sweeps, Love’s Crushing Diamond is accompanied by the soothing vocals of Lee, and each track drips with his gripping vulnerability.

His touching and often heartbreaking lyrics offer a an incredibly wistful portrayal of love and optimism.

The EP’s opening and closing tracks, “Strong River” and  “Strong Swimmer,” respectively, appropriately juxtapose one another as a bridge through the entire body of work. As “Strong River” opens Love with faint echoes of Lee’s voice, it gently lays the groundwork for the rest of the record.

Amid a symphony of haunting chimes, Lee’s voice softly sings, “I clear my mind of joy and sorrow/River doesn’t know tomorrow.” And in seamless transition, the song elegantly fades into “Golden Haze,” one of Love’s shining tracks. Backed by intricate violins and enchanting organs, the song ‘s strength lies in the fragility of the lyrics and Lee’s voice. With heartbreaking candor, he sings, “I could see a piece of what you broke in me/We weren’t made to be this way, we weren’t made to be afraid.” In a similar vein, “Advanced Falconry” plays on Lee’s heightened emotion, and over a sweeping piano and string medley, he gushes over the object of his affection.

The album’s ending track, “Strong Swimmer,” demonstrates the lyrical depth Lee is capable of.  A sweeping and emotional ode to someone—or something—that provided him an illusory sense of strength, the song hints that perhaps the strength was within him all along—like The Wizard of Oz in the form of a softly flowing ballad.

At only 30 minutes long, Love’s Crushing Diamond’s only disappointment is that it isn’t lengthier.

The emotion Lee invokes throughout the album leaves the listener in awe and naturally wanting to explore it further. Each track is exquisitely produced and finely tuned, and the lyrical maturity Lee displays is impressive for his mere 25 years of age.

This is the kind of work that foreshadows major things from a rising talent, and alludes to great promise. Delicately crafted and honestly delivered, Love’s Crushing Diamond quietly demands attention.

Mutual Benefit – Love’s Crushing Diamond tracklist:

1. “Strong River”
2. “Golden Wake”
3. “Advanced Falconry”
4. “That Light That’s Binding”
5. “‘Let’s Play’/Statue of a Man”
6. “C.L. Rosarian”
7. “Strong Swimmer”

bEEdEEgEE is the moniker for the solo project by Brian DeGraw of Gang Gang Dance. The debut album SUM/ONE is a kalidescopic blend of instrumentals, each piece shifting throughout the album.

SUM/ONE also features occasional vocals from the likes of Hot Chip’s Alexis Taylor and Lovefoxxx of CSS. The album is an interesting break for DeGraw compared to Gang Gang Dance’s constantly improvised music, but it isn’t entirely as successful as one might hope.

Each track is bizarre and made up of elements that seem like they shouldn’t work together, but somehow do. It’s as though DeGraw took what typically makes up a song and switched up the ingredients to make unexpected, but surprisingly pleasant music.

“Bricks” swirls around with a low-pitched, womping, dubstep-like bass drop, distorted pop vocals, staccato drums, chimes, and a string and possibly flute sample, and that is perhaps only a third of the identifiable sounds that create the somewhat danceable beat.

But even though each track on SUM/ONE is quite distinct, the similarities in structure quickly become repetitive.

SUM/ONE occupies a strange sonic space where Diplo, Animal Collective, Neon Indian, and DeGraw’s own Gang Gang Dance all collide—a sort of dumping ground for unwanted samples.

It is disappointing that DeGraw stays within what could be called his comfort zone, even if his comfort zone is another man’s experiment. In a way, SUM/ONE doesn’t sound like a solo project; it sounds like something Gang Gang Dance could have created.

“F.U.T.D. (Time of Waste)” features Alexis Taylor and is one of the stronger tracks on SUM/ONE. At times, the combination of sounds and ideas overwhelms the production, but in this case it’s just enough.

The album suffers from some poor execution—it seems as though DeGraw didn’t fully think through how his many ideas would come across to his audience.

It’s possible he simply doesn’t care about accessibility, but most of the tracks, while intriguing and multifaceted, overwhelm rather than resonate.

The transitions within tracks, as well as between tracks, could have been smoother at times, too. Indeed, there is intentional chaos and juxtaposition, but one can hear where the rough edges were less intentional: the track “(intellectual property),” a creepy little instrumental number, and the circus-like, digital clusterfuck “Helium Anchor.” And “Flowers” is enough of a straightforward, sunny pop song that it sounds out of place on SUM/ONE; it doesn’t sit right in the melee of other sounds.

SUM/ONE makes for interesting tunes, but isn’t very attention-grabbing. The very chaos that is supposed to make the music stand out simply makes it unclear and unimpressive. SUM/ONE is certainly interesting, especially because of each track’s composition, but DeGraw’s ideas aren’t fully translated; he should have pushed himself in a different direction and tried to avoid the clutter.

bEEdEEgEE – SUM/ONE tracklist:

1.  “Helium Anchor”
2. “Like Rain Man”
3. “Empty Vases”
4. “Overlook”
5. “(F.U.T.D.) Time of Waste”
6. “Bricks”
7. “Flowers”
8. “(intellectual property)”
9. “Quantum Poet Riddim”

Because The Internet, the second studio release from comedian-turned-rapper Childish Gambino (aka Donald Glover), is an extension of his best moments as a musician.

He is funny yet critical, experimental with new sounds and barplay. He spits lyrics full of self-reflection and honesty, and the flow of the album itself is atypical, which is characteristic of ‘Bino.

His most recent projects, the debut album Camp and mixtape ROYALTY, both have a faint presence on Because The Internet, yet are distinct Gambino projects of their own accord.

The album is lengthy at 19 tracks, four of which are instrumental interludes that connect suites within the album. While the album is broken up into five sections, it flows as one cohesive, sometimes ephemeral project that is united by the artist’s impressive musicality.

As always, Gambino is full of humor, snark, and biting commentary.

“IV. Sweatpants” highlights his beautifully crafted lyricism; it’s a strong, yet hilarious critique of white wealth. Gambino raps, “Got a glass house in the Palisades, that a-k-a/White hood, white hood, (okay-kay-kay),” referencing Socrates, with a pause to recognize his own Fiskar (the expensive brand of electric car, not the scissors) mid-reference, making the track particularly spectacular.

It’s not just the lyrics that make the music; “IV. Sweatpants” has a beat that bumps. The first few tracks of Because The Internet have a Top 40 throb to them, particularly “II. worldstar,” which is most reminiscent of ROYALTY.

However, the moods on the album vary suite-to-suite. The adorable “Pink Toes” features Jhene Aiko and captures an odd romance between a drug dealer and his girlfriend, who’s riding along. “Flight of the Navigator” is Frank Ocean-like as Gambino sings solemnly, “Who would have thought this/We almost lost it/When you lie inside darkness it’s hard to see/And we sleep in tradition/Keep them off in the distance/To tell you that I haven’t been.” Near the end of the album, the tracks pick up; “Earth: The World’s Oldest Computer” has a house feel to it.

Because the Internet’s technological theme is complete with lyrics about Twitter followers, #gpoy (gratuitous photo of yourself), and lines such as, “And I’m out of this world like Tang, nigga/That’s a space bar, man, I hate y’all,” among numerous others. The internet theme is most evident, but there is a deeper meaning to the album.  

There is an emptiness and loneliness to each track. Gambino’s debut album Camp addresses similar insecurities lyrically, but Because The Internet is lonely sonically, as well. It feels somewhat hollow, especially on the interlude “Playing Around Before the Party Starts” and the tracks “I. The Party” and “II. no exit.”

While the album feels cohesive, it seems like the pieces are somewhat disconnected. They fit together, but not in a way that makes sense initially. That’s what the screenplay is for.

The weather is getting colder, but that doesn’t mean your music has to. The jangly, warm indie-rock trio Daytona’s self-titled LP will keep you company through these chilly times.

The band hails from North Carolina and presently resides in Brooklyn, but makes good use of rampant tribal drum beats and rich harmonies that take listeners away to a warm beach in the height of summer.

It snags inspiration from across the board to make a delightful release teeming with creativity. The band members all come from other groups to form a stellar lineup of experienced musicians. Hunter Simpson of Wild Yaks, Jose Boyer of Harlem, and Chris Lauderdale of the Siberians came together for this album, ultimately embodying a sound entirely alien to their other projects.

Daytona excels at amping listeners up and freeing their minds of worry; it creates an atmosphere to get lost in, in which one can escape the dreary things that bog down the mind.

It’s strange to hear such a light album come from musicians who have habitually released fuzzy, disgruntled garage rock jams, but Daytona pulls it off better than most. When comparing Daytona to last year’s debut release, the Storm So Long EP, it’s clear the band has abandoned its past.

The new direction these musicians have taken is somewhat unexplored, combining harmonies à la Fleet Foxes with instrumentals that mimic the youthfulness of Naive Thieves.

From the start of “The Road,” the first track and the single for the record, the trio already has you dancing along. The jolly, vivacious guitar is joined by an equally lively bass line and sporadic drum beat to set the stage for the chorus of odd vocals that heighten the cheerful vibe.

This feeling of exuberance is carried throughout the release, especially on songs like “Honey Honey,” “Old Friend,” and “Metropolitan.” All of these are particularly jovial in nature, and the latter two have singable, crooning choirs that make it impossible to refrain from dancing and belting out along with the lighthearted tracks.

Then there are songs like “Maria,” which plays around with interesting time signatures and otherwise unused sound effects to add a fun, quirky element to the music. It transitions seamlessly from the group’s typical fast, uplifting verses to the slow chorus and acoustic-driven bridge near the end, showing off the members’ versatility as songwriters.

“Ought To Be Law,” is a quick, supple tune that shows Daytona’s reach on the album. The soft, acoustic song still has the warmth of the others, but is a refreshing and mellow break from the overt bullishness of the rest. The drastic change is more than welcome, helping to keep the album in bloom.

Daytona comes to a close on another catchy song, “Oregon.” Though it is more toned down than most of the preceding tracklist, it fits the band’s roster well. Daytona still makes good use of the characteristically erratic guitar it uses throughout, as well as the pretty harmonies. It’s a fitting end to a great album.

Daytona successfully created a world of its own, throwing listeners right into the beautiful scene for the entirety of its 40-minute debut album. The warm, summery tunes make one yearn for more summer days and more Daytona.

Daytona – Daytona tracklist:

1. “The Road”
2. “New Foundation”
3. “Honey Honey”
4. “Lighthouse”
5. “Ought To Be Law”
6. “Maria”
7. “Old Friend”
8. “Metropolitan”
9. “Raincoat”
10. “Oregon”

Upon listening to the opening of Audiences’ new album Roam, the first thought that might come through your head is that there are too many Kings of Leons in this world. It’s a true statement, sure, but take another listen—it doesn’t apply to this band and its first full-length.

Roam is a collection of passionate, lonely, and heartfelt tracks that lace through weepy distorted guitars, heavy drums, and raspy singing from frontman Billy Jesus. And while the group has established itself throughout Chicagoland, with Roam it has an appealing product for a wider audience.

Roam is a perfectly fitting title—it does a lot to imply the sentiment of the album and in many ways his it right on the head.

There is a certain wandering, airy, roadside cantina, elemental vibe to the whole work.

Yet the group’s execution and philosophy toward its own music is far from wandering; the album flows smoothly with direction and purpose, and feels both complete and on course.

As stated, Audiences’ own melodic and stylistic ebb and flow is impressive. Just the right amount of each member’s talent is placed together, where musical highlights are placed effectively, none ever overpowering where they needn’t be. “Fifty” shows the musical ability of the group with a concise and attention-grabbing rhythmic sequence and a simple yet recognizable melodic chorus.

The album’s featured track “Get Like This” is quietly jarring, summoning  aura of perhaps Boy era U2, not so precisely in sound, but definitely in spirit. At its strongest, Roam’s post-rock sentiments shine through in a very Explosions in the Sky-like manner, like with the musical shift and breakdown in the middle of album highlight “Drunk Man.”

Audiences, though, flirts a little too closely to rock’s most weathered stylistic choices, including a little too much liberty with guitar flanger and reverbed, out-on-the-dusty-road solos. “Refraction” sounds like the theme song to a Miami Vice spinoff that takes place in Tucson; it’s one of the few completely disposable moments on the album. Otherwise, Audiences has created a solid, thorough collection of tracks.

Sure, there are moments when Roam may be a bit cheesy, or a bit cliché in the pseudo-vagabond way, but if you take that in with a clear heart, then Roam is actually a well-structured, sincerely delivered album.

This more conventional nod toward post-rock has largely been left out of the indie spotlight for some years now (forgive the writer for not paying attention to Mechanical Bull), but it still breathes fresh air through the headphones when a work like Roam comes through. There is definite potential for a band like Audiences and a spot there that can be filled. Audiences, in forsaking its album’s title, know exactly what it’s doing, and its brand of alternative and post-rock is headed straight to bigger things.

Audiences – Roam tracklist:

1. “Intro”
2. “Get Like This”
3. “Roam”
4. “We Wanted More”
5. “Fifty”
6. “Show of Hands”
7. “Missouri”
8. “Drunk Man”
9. “1000 Nights”
10. “Refraction”
11. “Devil’s Son”