Record Review: The Wright Brothers - You, Me, and the Universe

The Wright Brothers
You, Me, and the Universe
Label: Lightworks Records
For fans of: Muse, U2, Coldplay

If you've never been to Tulsa, Oklahoma, you may not be aware of just how big the sky is.   When there isn't much terrestrial elevation to speak of, and not but a few small clusters of skyscrapers blocking your view, there's horizon everywhere you look, and the vastness of the atmosphere and beyond never escapes your attention.

One of my favorite songwriters, John Moreland, once wrote a song noting the significance of the "Endless Oklahoma Sky."  It's that very sky that must have served as a source of inspiration for The Wright Brothers' EP entitled You, Me, and the Universe.

The six-track offering opens with "Awakening," an epic power-pop tour-de-force boasting far more larger-than-life qualities than you're likely to have prepared yourself for.  Vocalist Jacob Wright soars above an impressive arrangement of wildly  fluttering guitars and synths, only to lightly float back to earth to join in tastefully musical harmonies with his brothers.

After "Awakening," the rest of the record unfolds, each track more grandiose than the one before.   The Wright Brothers have been sure to include all the musical elements that any modern pop-rock fan would be looking for, but have dramatically raised the stakes in orchestrational immensity for the genre.

Never letting go of the idea that this record was inspired by the sky, I couldn't keep from imagining light-speed space travel when I first laid ears on the exciting opening synth lines of the third track, entitled "New Science."   The following track, "The Waltz" momentarily shifts gears with the gentle breeze of acoustic guitars and a relentlessly infectious humming/whistling melody in the introduction.

Now, don't get me wrong - if you enjoy a good pop record, You, Me, and the Universe doesn't disappoint.  However, one thing that is glaringly obvious about this record is that the songs plead to be heard in a live performance setting.  It really doesn't matter how much money you spent on your headphones - they won't do these songs justice.

When you really get down to it, I most certainly would recommend picking up or downloading a copy of The Wright Brothers' You Me and the Universe.  But what you need to do, really, is make a point to catch them live.  

-JR

visit The Wright Brothers' official website
get the record on iTunes

Record Review: Wire Method - The Trying EP

Wire Method
The Trying EP
Label: none
For Fans Of:  Eisley, Copeland, Lydia

When I write a record review, particularly for a new artist,  I do my best not to express any of my own preconceived notions or personal bias.  But in this case, I'm making an exception - because my bias toward Wire Method, as a band, was actually quite negative.  And if I do say so myself, it makes for a pretty good story.

I discovered Wire Method in Atlanta, Georgia, to where I traveled from my home in Tulsa to attend the reunion show of my favorite band of all time, twothirtyeight.   Now generally, I am all in favor of opening bands, and what they add to a live music experience.  I usually hate missing them, but then again, I'm the kind of guy who hates missing previews at the movies.  This show, however, was the one exception.  After driving halfway across America, only to find out that the show started two hours later than the time printed on the ticket - I just wanted the headliner to go on so I could get started home.  

I want to paint this picture as vividly as I can, so that you can understand where I'm coming from.  The show start time kept getting pushed back further and further, and I was exhausted, hungry, and growing more impatient my the second.   The room was over-sold, and we couldn''t move into the venue's larger room because it had been booked by the Morbid Angel tour, whose subwoofers bled through the walls and pulsed in time with my ever-intensifying headache.  So when Wire Method finally took the stage, and I saw that half of the six-piece outfit was made up of teenage girls, my frustrations were reaching their peak:

"what can these children possibly know about twothirtyeight, and why are they here?"

"how could anyone think that I have the slightest interest in hearing nauseating warbling from overly dramatic high school kids?"


I'd like to say that once they started playing, my unacceptably negative attitude was overwhelmed by how great they were.  But in all honesty, I checked out mentally and barely paid attention - both to Wire Method and The Great Book of John, the other opening band, and another artist that I assumed I hated for a couple of days afterward.

Twothirtyeight eventually took the stage, and it was the greatest show I've ever been to.  

Weeks passed, and I came across Wire Method on some social media outlet - frankly, I forget which one.  I remembered the light that I had previously seen them in, and felt some amount of remorse, as if I had personally told them off for being so annoying.  I decided to give them another listen, outside the context of a 14-hour road trip and three hours of waiting in line.  

Hm.  Not as bad as I remember.  

So.  That brings us to the issue at hand, finally: Wire Method's debut EP, starkly titled The Trying EP.  A five song offering that I'm happy to report that I actually enjoyed.  

The record opens with "Anchor,"  a dynamic, dramatic rush of indie-pop prestige that does an adequate job of distracting you from the fact that you're listening to such young musicians.  "Anchor" (like much of the record after it) is marked by meticulously orchestrated guitars and keyboards, stately rhythms, and fluttering, memorable melodies colored with harmony.  From the very beginning of the record, Wire Method is careful not to understate their strengths, without shoving them down your throat, and without giving all their secrets away too early.

The second cut, "Glass," gives us a further glimpse into Wire Method's musical arsenal, with a deceptively cheerful sounding opening minute, before augmenting to a minor key, and the harmonizing Scott sisters snarling "you're like glass, I can see right through you" reminiscent of Sherri Dupree wailing through one of the angrier tunes from Eisley's The Valley.  

"Keep On" is next, and probably my favorite.  A toe-tapping (and fairly danceable, if that matters to you) backbeat is solidly established by drummer Lauren Scott and bassist Jarred Cox, before Wire Method's signature sugary-sweet pop hooks with intricate harmonies burn a melodic image in your head that you won't soon be able to shake.  

The record ends with "The Beginning," a 6/8 indie-pop power ballad, and "Brighter Days" a more than appropriate closing track for a record cut from this sort of cloth, complete with gang vocals. By the time it's over, you realize that the record celebrates its composers' youth, without incessantly dangling it in front of you as if it's the only thing they have going for them.

When weighing out the weaker points of this record, it's important to remember that this is a debut effort, and its outstanding musical merit surpasses that of so many similar artists' later-career crowning achievements.  This is also the time to remind myself just how young these people are.  

With that disclaimer in mind - the record leaves a little to be desired on the originality front. For the most part, it's lacking textures that I haven't heard before on Eisley or Copeland records.  Also, in terms of vocal harmony, I'm more than impressed by Brooklynn and Morgan Scott's abilities, but I feel like some of the especially shining moments throughout the record would have been more impactful if there had been just a little more solo voice along the way to contrast them with.  

Having said that, I can honestly say that it was more than worth it to give them a second go with a less contemptuous attitude.    If The Trying EP is a jumping off point, it's clear that indie-pop and melodic alternative rock fans have a lot to look forward to from Wire Method.  

-JR

Visit Wire Method on Facebook
Buy the record (physical or digital) on bandcamp

Record Review - Wesley Blaylock - self titled EP

It's got to be difficult, being the lead vocalist of a band that's repeatedly being told that its lead vocalist is one of the most defining characteristic of the band's sound.  Especially if you ever had the inkling to release a solo record. The expectations for it would be overwhelming - if, in many listeners' minds,  your voice is what "makes the band," what could you ever do as an artist to separate your solo work from the band's?  Not to mention, you'd run the risk of really exposing yourself as a songwriter - an avid listener, by comparison of your solo record versus the band's records, could deduce exactly which songwriting elements the vocalist brings to the table, and which ones come from the rest of the guys in the band.

These are the kinds of challenges faced by Wesley Blaylock, vocalist for indie-pop outfit Deas Vail, as he recently released his first solo EP.   Deas Vail does indeed have a decidedly distinct sound, and Wes's vocal styling is certainly one of the most important factors in separating the band's sound from lots of others.  The question, then, is whether or not Blaylock's EP is an important enough work to stand on its own, without just seeming like a Deas Vail B-sides record.

The record opens with "Asleep at the Wheel," a 6/8 acoustic ballad that is reminiscent of the very oldest of Deas Vail tunes - brought up to date by the maturity that comes with 7 years of strenuous writing, recording and touring.  Stripped way down from what we've come to expect from a DV opening track, "Asleep at the Wheel" is more musically focused than anything we've heard from Blaylock in a long time, whether that's your thing or not.

One of the characteristics that separates this project from a DV record is the presence of musical influence.  While Deas Vail makes apparent the fact that they strive to stay as innovative and original as possible, Blaylock as a solo artist reveals that he, like so many of us, actually does listen to other music and lets it influence his own writing.

He doesn't by any means cross the lines of plagiarism, it's just that the presence of musical influence gives us all a little bit clearer, more intimate picture of the real musical world of Wesley Blaylock.   For instance, the second and fifth tracks off of this record ("Burns the World to Gold" and "Sway") feature acoustic finger picking patterns and electric guitar swells that conjure memories of (one of my favorite bands of all time and once touring partners with DV) The New Frontiers.   If you've ever wondered what kind of artists have impacted a guy like Wes Blaylock, it might be worth giving his solo record a spin just to see what you can pick out.

After, "Burns the World to Gold" comes the duets.  On the harmony-rich "Falling into You,"  Wesley shares the limelight with fellow DV-er (and wife) Laura Blaylock.  The tempo variations and melodic flourishes certainly keep the tune interesting, switching from double to half-time, with a snare drum tuned low enough to invoke mental images of a burlap sack full of silver dollars being shaken in time.

The fourth track, "Finally the Truth," may be the highlight of the record, if not at least the track that most separates this record from a Deas Vail one.  The song is a duet with Eden's Edge vocalist and Wesley's sister Hannah Blaylock.  Hannah's background in American country music makes a strong case for this record's decidedly different direction than any of Deas Vail's previous material.  Despite my initial skepticism, this turned out to be my favorite cut from the record, with Wesley adding the very slightest of twangs to his voice to accomodate Hannah's.

The final track, "Sway," brings the short record full-circle, coming back around to the mellow, near-lullaby qualities of "Asleep at the Wheel."  The track finishes off with a distant, lightly distorted vocal harmony, suggestive of a train whistle scuttling off into the sunset.

Wesley Blaylock's solo EP is certainly not going to please every single Deas Vail fan.  The fans who fell in love with DV's sugary-sweet pop hooks and larger-than-life production probably won't fully embrace something this bare-bones.  But for fans who have always loved Deas Vail's pure musicality and maybe needed to be reminded of Blaylock's solid songwriting integrity, I can't imagine something better than this EP.

-JR

download the EP here
get Deas Vail's latest record here
learn more about Hannah Blaylock and Eden's Edge here

Interview with Deas Vail's Wes Blaylock

note:


I did this interview for Substream Music Press.  They chose not to publish it, in favor of publishing my review of the ne Deas Vail record instead,  Read that review here, if you like. 


Wesley Blaylock of Deas Vail
The word "hiatus" seems to be getting thrown around a lot these days.    Bands who can't get along with each other will use that word as an excuse for why they're never all seen in the same room together.   Bands with writer's block, bad record deals, or who are just wanting to move on with their lives will announce a prolonged "hiatus" to their fans to explain their inactivity without committing to a full-on breakup.   
Deas Vail never announced a hiatus.   Eighteen months ago, they were on top of the indie-pop world, filling the most coveted of tour spots and riding the wave of Birds and Cages, their successful first release with Mono Vs. Stereo.   Everywhere they went, you'd find staggeringly long lines at the merch tables, full of wide-eyed new Deas Vail fans abuzz about what they'd just discovered, as well as veteran fans who suddenly found themselves being bumped up a few cool notches for having known about them already.  
Then, without announcement or ado, Deas Vail slipped into silence.   
Fast-forward to October of 2011, when the band released their anticipated follow up to Birds and Cages, tastefully titled Deas Vail.  Eager for fans to hear the band's latest offering, frontman Wesley Blaylock shares some insight on the creative process behind the new record and what's in store for the future. 
   

The year following the release of Birds and Cages was pretty eventful for DV, what with touring with the likes of Copeland, Owl City, and Lydia, among others.  How did all of that affect your writing process?

    
Wesley:   I feel like we drew a lot of inspiration from being around so many great people and musicians while touring last year.  The level of professionalism was really great.  It probably helped us to mature as a band, more than we realize.  Being on the road so much of last year posed some other writing challenges too.  We had to take on the writing of the record in sections.  Whenever we were home, we would be working on songs and if we had to leave for a tour, we would just pick up where we left off when we got back again.
    
I'm sure all the fans you gained through those tours are gald to see that yo'ure playing again.  Have you been getting any feedback from fans about the new music?  If so, how is it being received?

Wesley: The feedback from fans has been amazing.  I can't believe how well received this album has been by our listeners.  We are definitely excited about that.  We try really hard to pour something meaningful into our music, which usually means we are allowing the songs to get somewhat personal.  When people appreciate our music, it means a lot because the songs are analogous of our lives.   All around, we feel like we have the best fans on the planet.
 
Well then,  on that note, have you noticed any difference between the feedback from new DV fans and older ones?
Wesley:   I haven't noticed a difference.  We have so much support from our older fan base and they seem to be excited about the band in the same ways that new DV listeners are.  I don't know how to express the gratitude we have for this kind of sustained support.  We have had some tough times in this band and that has reflected our ability to release music a lot.  Our fans have had to be so patient with us.   Our hats are off.
 
So.   About the record itself.   You produced it alongside Relient K's Matthew Hoopes, which, by the way, rocks.   Some of my best friends are Relient K lifers.  Tell me a little bit about working with that guy. 

Wesley:   Matt was so laid back and easy to work with.  He also has more gear (mostly guitar gear) than anyone I have ever met.  Matt helped us to stay on track during the recording.  There is so much going on, with a five-piece band, that a song can easily get "muddy" or unclear sounding.  He shared our vision, which was to create an album that is tasteful and minimalistic but still has a full sound.  I think we did a pretty good job of keeping the recording "honest" so that if you come to our show you will hear the songs just like we recorded them.  Also, Matt was great at finding the right tones for everything we recorded.  That alone is hard to do.
 
Tell me about some of your favorite parts of the new record. 
 Wesley:  "Desire" is definitely a band favorite.  I feel like a lot of our personalities shine through on that track.    
      I personally love the lyrics to "Meeting In Doorways."  I don't usually do this, but I actually cried while writing that song.  My grandparents, who are both in there nineties and have begun to feel their age over the past two years, inspired the song.  They actually celebrated their 70th anniversary this year!  Meeting In Doorways came from trying to put myself in their shoes.  I was trying to catch a glimpse of what goodbye will be like for them after all these years together.  It may be perceived as a dark idea, but their story is a beautiful one and a wonderful testament to love.  People who know my grandparents are honored to know them (if I may brag on them a bit) and I would say that their life has been full of character, joy, and compassion.  That is why the lyrics to the song are particularly special to me.  The second verse uses the seasonal falling of the leaves as a metaphor for a time of passage.  It is about a time when we leave this world and discover something new.
     

Wow.  Well, I'm sure you guys are more than eager to get this music in the hands of as many people as you can.  What are your plans for touring in support of the new record?

Wesley: We are out on the road through the first of November and then will be back out on the road in December.  These dates will all be headlining shows, which is a new and exciting venture for us.  We are currently planning out our touring schedule for next year starting in January.  It sounds like we will be busy.
 
That's good news.  Well, before I let you go - In what ways have you noticed that the band grown or progressed since you first went to work on the new record?

Wesley:     The band has grown so much in the past year.  I think a lot of the growth came from us being apart for around 10 months.  We recorded the album and then didn't do any touring for the rest of the year.  Some of us did some exploring and a few of us moved from Arkansas where the band started.  All of us did a lot of things we previously hadn't had the time to do.  We were able to experience some of life outside of the touring life, and it was a great change for a while.  We also had to replace our original drummer Kelsey this year.  He decided to get married and head back to college to finish his degree.  He has successfully accomplished both of these things this year and all is well.  This change in the line up led us to ask our long time friend, Wes Saunders to jump on board.  Wes is awesome.  It is an honor to have him in the band.  After our long hiatus, we are back out on the road and doing better than ever. 
-JR

Live Music: Free Tulsa 2011

It was sometime in May of 2010 when I received word that the string of annual, blissful summer weekends I'd been experiencing on account of D-fest was coming to an end.    Sure, there were plenty of perfectly logical reasons why it just wasn't going to work anymore.   But as a young man with a deep infatuation with live music and Tulsa's nearly enchanted Blue Dome district, no amount of explanation was going to make the news bearable. 

 

Enter Free Tulsa, an intended D-fest after-party that was forcibly thrust into the Oklahoma music-fest spotlight mere moments after the Greens announced the hiatus of D-fest last summer.   Now, in 2011, and only in its second year of existence, Free Tulsa brings more to the table than anyone could have expected.   Two days packed with upwards of 175 Oklahoma-based artists, complete with food, art, and scorching heat.   How much more "Tulsa" can you get?

 

I arrived early to load in, being a performer myself on the McNellie's indoor stage.   Parking, even at six in the evening, was brutal.  As I made my way upstairs with my drums, I immediately began seeing familiar faces.   Hank from the Red Alert and Damion from The Savage Young were both enjoying plates of McNellie's famous sweet potato fries.   After my third or fourth elevator trip, I began the process of scoping out the grounds.   Already, I could hear the strains of a Beatles cover coming from the Dilly Deli.  I decided to meander in that direction.  

 

After working my way through a seemingly endless herd of people that I needed to high-five, I navigated my way through the various skateboard ramps in front of Dilly Deli,  before deciding to go inside and have a sandwich.  While enjoying my very own creation between bread,  Kelli Lynn approached my table and gently placed a temporary tattoo bearing her band's name next to my basket, and invited me to come see her show.  How rude would it have been to say "no?"  After I scarfed down the rest of the sandwich, I ran outside to catch Kelli Lynch and the Skillet Lickers.  For those of you unfamiliar with the Skillet Lickers, they offer a very entertaining blend of cabaret and rockabilly that turned out to be a perfectly acceptable way to kick of Free Tulsa 2011 for me.  After a few songs, I set back out with This Land Press's official artist lineup to get my fill of Oklahoma original music. 

 

I couldn't help but notice that in comparison to D-fest, Free Tulsa was lacking in organization, but exceeding in ownership by the artists.   Boasting set times that were fifteen minutes longer than D-fest's, I had a lot less stressful of a time catching bits and pieces of bands' sets than I did in the past.  Oh, and before I forget to mention it, Free Tulsa 2011 was FREE.  

 

So now, let me point out a few of the musical highlights of the weekend.   The Savage Young never disappoints, with their powerful fusing of atmosperic indie and aggressive blues rock.   If you haven't had a chance to catch them, do yourself the favor.  

 

Scales of Motion celebrated their tenth anniversary on Saturday night.   It's like clockwork - the few parts during Scales' set that you can look around at the audience members and see laughter of disbelief because of the amazing display of musical prowess they just witnessed.  "Are you effing kidding me?" read the text message I received from a buddy of mine a few feet away after Scales tore through "Signal," a memorable track from their second record.  

 

Rumor had it that Panda Resistance brought Fassler Hall down, but I had to miss it on account of my own performance with the Lonelys at McNellie's.   Right before I played, though,  I was able to catch a few songs by Tulsa's garage rock heroes, Rude Amps, as well as a few songs from my old friends in Milo's Fare and Baron Von Swagger.   Between those three bands, I got a nice, healthy dose of booty shaking rock and roll.  Also, I was finally able to catch Oilhouse, which is a collective of the best alternative style hip-hop artists that Tulsa has to offer.   Inside Dwelling Spaces, I was lucky enough to catch a few minutes of Roger Jaeger plucking away at his sitar.  

 

Possibly the most lasting impression, for me, was And There Stand Empires' Saturday night slaughtering at Fassler Hall.   Think Explosions in the Sky meets the Vince Guaraldi Trio, performed by guys with backgrounds in funk and metal.   I hadn't had the chance to see them since their recent addition of a six string electric guitar, and, honestly, I feared that it would deter from their ultimate coolness.  I was more than happy to be proven wrong, though, as I watched Empires shake the walls of Fassler hall and rattle the stomachs of what must have been the nearly three hundred music lovers in attendance.

 

What is there left to say about Jacob Fred Jazz Odyssey, who performed the entirety of their Race Riot Suite on Saturday night?   A cornerstone of Tulsa original music, JFJO reminded all of us why they are held in such high regard.  

 

Here's the bottom line, folks.  Free Tulsa is not D-fest.  It's not as streamlined, not as large-scale.  It's also not as expensive.  But is it as worthy of our attention?  Without a doubt.  If you've missed the last two years of Free Tulsa, cross your fingers for the 2012 edition, and make plans to be there for it!

 

-JR

check out some of the artists mentioned here:

Scales of Motion

And There Stand Empires

Jacob Fred Jazz Odyssey

Oilhouse

REVIEW: Mike Dee - The Sound of REDemption

REVIEW: Mike Dee - The Sound of REDemption

 For fans of: Lupe Fiasco, the Roots, murs

Let's start by being up-front.  It's a rough time to be a rapper.  Stop, rephrase.   It's a rough time to be a legitimate rapper.   Infectious rhythm, intelligent rhymes, and general artistic merit have given way to substance abuse-related speech slurring, incessant generic grunting, and barely coherent ego-inflating.    If those are the things that are going to sell hip-hop records, then Mike Dee's latest offering, The Sound of REDemption, is a risky venture indeed. 

Mike Dee (not to be mistaken for Beastie Boy Mike D.) wants to be the artist to show us that good hip-hop isn't a thing of the past.   His six-song EP contains more of the memorable, grin inducing one-liners and head-bobbing rhythmic shake-ups than you're likely to hear on an ipod full of current top 40 hip-hop.   

Five of the six songs on REDemption were produced by John Moreland, an accomplished punk, metal, and Americana songwriter.  He tries his hand at beat-making, and to no one's surprise, knocks it out of the park.   Mike Dee has had talent swelling up inside of him for some time now, as if he was waiting for just the right vessel to carry it to the masses.   Moreland's unique musical sensibilites and interesting perspective on hip-hop music might be just what Mike's been waiting for.  Moreland's relatively laid-back beats contrast beautifully with the unwavering strength of Mike's voice, weaving together a complex, interesting blend of "chill" and "in-your face" (better terminology escapes me).

The record's fifth track, "Off my Chest," is the only song not produced by Moreland, though he lends his voice to the song's choruses.  It's the closest thing to a real hip-hop ballad I've heard since Bone Thugs realeased "Tha Crossroads."  Mike Dee took the wheel on this one, writing the beat and telling a wreckingly painful story of lost love.   Mike Dee's emotional commitment to "Off My Chest" is very apparent, perhaps even more so than the rest of the record. 

The highlight of the record, for me, was the fourth track, entitled "Kaplow."   "Kaplow" proves Mike Dee to be one of the few rappers that have something real to say.  Let's face it.  The hip-hop artist with any sort of conviction is truly a difficult one to come across.   The Christian hip-hop artist is dead, having abandoned his faith for  more marketable lifestyles, or else being so angry at everything that he finds himself unable to focus on changing the world.  The sympathetic and charitable street-raised rapper is almost dead too, having been swept away by appearance and a busy schedule.  Mike Dee, though, in "Kaplow," takes an urgently strong stance for a few of the things he believes in.  With a quick wit and loud roar, Mike Dee denounces many of the wicked things of the world that lead to breakdown and suicide, including drugs, deadbeat dads, and promiscuity.  Having known Mike for a few years, "Kaplow" was the song I was waiting for on REDemption, to send the chill up my spine and put the lump in my throat.

With some artistic contribution from other reputable Tulsa rappers like Sur'Ron and Algebra, Mike Dee's The Sound of REDemption fulfills a part of what I think the world is looking for in hip-hop.   It's not quite enough to change the world, but it's a step in the right direction.  I've come to expect a lot from Mike Dee (he wrote a song called "S on My Chest" three years before Lil Wayne did).   He's got a lot to live up to.  But with REDemption, I'd say he's doing a pretty good job.\ -JR

Check out Oilhouse, a hip-hop collective in which Mike Dee participates. 

REVIEW: Scales of Motion - Nocturnes

REVIEW:

 

Scales of Motion - Nocturnes

 

Recommended for fans of: Edison Glass, MeWithoutYou, later-career Mae

 

First, a brief but necessary history.

 

Nearly thirteen years have passed since I first met Chris and Kevin Skillern, the brothers that make up two-thirds of Tulsa alt-rock outfit Scales of Motion.  Back then, they were plowing through some original pop-punk tunes under the name 77 Watts, with a fill-in drummer that was trying his hardest to keep up.   Shortly after, the Skillerns scrapped 77 Watts in order to begin anew under the name At All Costs.  At All Costs (which was seriously a fun band to watch) captured the attention of a few of us with their brand of fast-paced melodic rock, which was dubbed "speed-emo" by a group of their fans.  After a slight adjustment of line-up, At All Costs released their final record, O, Precious Funnel Cloud, with drummer Craig Maricle, before disappearing yet again.  They soon re-emerged once more as Scales of Motion, with a fresh batch of decidedly more sophisticated songs which showed tremendous musical growth and maturity.  

 

Fast forward to the spring of 2011, when I recieved my pre-ordered copy of Scales of Motion's fourth studio record, Nocturnes.  I had just enough time to load the record onto my music player before heading to the aiport to fly out of town.  My flight, luckily, was delayed by an hour, which gave me just enough time to find a nice, quiet corner of the terminal in which to enjoy Nocturnes. 

 

Kevin Skillern's guitar tone hasn't changed much in the last decade.  So when the subdued but interesting opening guitar lines of the album's leading track, "Darkness," made their way to my ears, I couldn't help but grin a little at the familiarity.  The driving, 6/8 ballad-esque "Darkness" opens the record much like a prologue to a good book, hinting at what's to come, without spoiling all the surprises.  It's followed by "Still We Sing," which ends in Scales' own take on a wide-open "Hallelujah Chorus." 

 

The duration of the record effectively showcases a remarkably wide range of musical capability.  Ballads are followed by driving odd-metered numbers, which are then followed by straight-ahead rock tunes.  Nocturnes in certainly for the listener who has an appreciation for real texture and dynamic. 

 

The record's next-to-last track, "Phases," ended up as my favorite from Nocturnes. It opens up with some goosebump-inducing allusions to what has become Scales' signature song, "Make Me Glow," from 2008's Cave Dweller.   "Phases" might be the band's most heartfelt songwriting effort to date, playing tastefully to the sentimental.  It's a perfect example of their ambition to write songs that truly belong to their listeners, with words that some of us have uttered of our own accord, such as the recurring line "teach me to find hope in the darkest times."

 

Lyrically, Nocturnes is in a category of it's own.  The entire record is decidedly Christian, but it lacks the tired cliches and generic religious babbling that's often found in the disconnected Christian artist that writes Christian music because he or she is just "supposed to."  On the contrary, when you hear a lyric like "Help me stand alongside the outcast, the poor, and the small," you can't help but believe that these men write about what they are truly convicted of.  This is particularly commendable for Scales, having been born out of a Christian music scene where most of their peers abandoned the practice of expressing their faith through music as soon as it stopped being the easiest way to gain an audience.   

 

Another aspect of this record that I appreciated is the fact that these guys didn't write twelve random songs and throw them together and call it a record.  The songs on Nocturnes belong together.  Even deciding on the order of the songs has proved to have been an involved, artistic process.

 

Nocturnes was a long time coming.  Chris, Kevin, and Craig poured themselves into this record for a very long time, and it's genuinely something to be experienced.  However, I don't believe that it can be fully appreciated on its own.  I know that a large part of my deep enjoyment of this record is the sentiment.  Therefore, I certainly recommend buying Nocturnes, but I would also strongly recommend getting your hands on a couple of Scales' other offerings, in order to fully understand this latest stretch in their journey.  

 

-JR