Saturday, May 23, 2015

Artist: Mystery Loves Company

Artist: Mystery Loves Company
Review by Jessi Roti – @JessiTaylorRO
Album: Rock Symphony Billion
Links: https://www.facebook.com/MysteryLovesCompany
https://twitter.com/mysterylovesco
https://mysterylovescompany.bandcamp.com/

Houston-based Mystery Loves Company describes its second studio album as “a chamber rock album in four movements.” Rock Symphony Billion finds itself somewhere between a concept album and an off-Broadway musical, thematic but maybe not as theatrical or over-the-top. However, it does bring the narrative drama needed for the stories to unfold on stage, whether that stage is in an amphitheater or otherwise.

The first movement includes the tracks “Rambunctious Cowboy,” “Fly,” and “Slow.” Each track plays with the concept of aging and where one should be mentally or stably when they’re young versus when they’re old. It’s abstract, but not necessarily difficult to follow. There are no rules, but rather societal norms and expectations people are expected to fill. Mystery Loves Company doesn’t feel like filling any norms of what’s expected of them.
“Graven,” “Sister When,” and “From the Stars” follow the same southern-tinged, swamp-folk Mystery Loves Company stomped into preceding tracks. Vocalist/cellist Madeline Herdeman sounds almost possessed on “Graven,” like she’s singing as she’s being dragged down to the bayou for an unwarranted baptism. Third movement tracks, “The Island,” “Day by Day,” and “Across the Emptiness” are helmed by a jazz-clarinet and a rushing acoustic rhythm that’s almost samba-like. Maybe the “unwarranted baptism” was a necessary evil/good?

“Fireworks” marks the album’s (and journey’s) end, though it’s unclear if it’s truly a happy ending. If not happy, definitely hopeful. The vocalists build a round into a flood of electric guitar and trumpet akin to the infectious jubilee of the Beatles’ “All You Need is Love.” It’s a grand finale, a celebration that’s worthy of taking a bow.

Storytellers, artists like Willie Nelson, Bob Dylan, and Loretta Lynn, create the scene and the space for their tales to come to life, much like Mystery Loves Company has the skill to do. But unlike Nelson, Dylan, and Lynn – whose songs could stand alone as popular singles or become anthems for a generation or specific genre – Mystery Loves Company’s songs more strongly parallel showtunes. The story, the scene that they’ve set is too big for popular music or even indie. Turn Rock Symphony Billion into a stage play, and you’ve got a hit.

Tuesday, May 5, 2015

Artist: Playing for No One

Artist: Playing for No One
Review by Jessi Roti – @JessiTaylorRO
EP: Cold Light
Links: https://www.facebook.com/playingfornoone
http://pfno.bandcamp.com/album/cold-light

Houston’s Playing for No One won’t be for long – that is, playing for no one. The band’s EP, Cold Light, is roughly 12 minutes of fuzzy, nu-wave drowned out by garage-rock feedback – like a dirty, younger brother of Bradford Cox’s Deerhunter.

“DeathInWaves” and “RedEmma” are driven by a low, bass rumble that seems to echo Joy Division before Christopher Bates’ vocals coldly, vulnerably breathe life into the tracks. While that “muted” affect is there, the band packs a punch lyrically without relying on an in-your-face, explosive sound. The Bates boys howl, “There is no operation / There is no crowd control / There is no situation hypothetical / I just wanna rock and roll!” It’s a rambunctious declaration of mayhem for a band that steadily rides a chilled wave across four tracks.
Self-described as “alternative punk revival,” the group also channels acts like Collective Soul on the understated, indie-rock lullaby “BigMachine.” As the guitars ebb-and-flow against each other, the vocals float above, tired and breathy in the most alive way. It’s like Strokes-lite, but as of 2015, the Strokes would only be so lucky as to produce a song like this.

The EP comes to a close with the band’s most rollicking delivery, “TigerBloodSnowCone.” It’s English sounding, if that makes sense. Like the snide, low-key brattiness the Clash embodied briefly before deciding they were too cool, or maybe Pete Doherty’s Babyshambles. The guitar seems to race against itself before the reckless bang of the drums kick the track into high-gear. The explosive vocals beckon a Bauhaus comparison as it’s the most animated the band appears on Cold Light. Most importantly, it’s memorable – like a great finale should be.

Playing for No One has skillfully balanced influence with identity. The band’s sound is familiar, but isn’t rehashing anything, and while maybe a bit muted, it definitely isn’t boring. If this is some type of “revival” – why did we ever let this sound die in the first place?