Buried Treasure: Midnight Legs // Marathon Lungs – Aesthetic Medicine

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This is a guest post from Aaron Edwards, better known as Foofer. Aaron has written about music for many years, getting his break on Postrockstar (where he had the weekly column Foofer Fridays), before writing for Echoes and Dust, and now Arctic Drones. He lives in Boise, Idaho with his wife and two young children, and hosted me (Joseph) when I was travelling through America in late 2017. I emailed him recently asking if he would like to tell us about any underrated bands who deserve more attention, so he graced us with his writing to promote Boise locals Midnight Legs // Marathon Lungs.


Midnight Legs / Marathon Lungs - Aesthetic Medicine

First and foremost I would love to thank Joseph for letting me come out of my cave and show him how it’s done. This past year has been crazy in a lot of ways, and I think everyone knows how easy it can be for good releases to slip under the radar or fall through the cracks. Midnight Legs // Marathon Lungs is definitely one of those. 99 times out of 100, a début album from a new band is ignored. And it only gets worse in states where the population is less than the number of cows (or potatoes).

Being from my neck of the woods (which I don’t get to say very often) means that they were on my radar from day one, basically. I went to their album release show, and they were kind enough to supply me with my own copy of their CD. For weeks it was all I could play in the car. Their bandcamp page says “We’re not sad. We’re contemplative.” and it’s crazy how true it is. I’m not usually in the mood for ‘Aesthetic Medicine’ unless I’m already inside my own head, or have a long car drive ahead of me. I cannot and will not ever claim to fully understand lyrics, but I can say that I probably do more thinking due to their words moreso than their music.

There’s something raw about the music that’s so appealing. There’s a very strong Slint vibe in a lot of their sound, but they also have a tendency for sounding very Post-Rock, with their bass-heavy melodies and twinkly guitars. However they don’t fall prey to post-rock pratfalls, how they do more strumming than tremolo picking. It’s a breath of fresh air for someone who’s listened almost exclusively to post-rock this past year. Imagine if Slint had made something a little more melodic and peppered it with screaming, and you’ll be close to imagining ‘Aesthetic Medicine.’

Considering that this is a début album for a local band that’s all DIY, the production is surprisingly solid. It was recorded, mixed, and mastered locally and it still sounds better than some of the local stuff that was mixed and mastered elsewhere. Even the acoustic guitar sounds how it should, I can even play it on my phone speaker and it won’t suck.

Overall, I would recommend this album to all the sad bois out there. Since this release they’ve added a keyboardist, so you can look forward to another layer of depth, and another mind to add to their potential which adds up to more than the sum of their parts. It’s not exactly within my wheelhouse of music, I didn’t even think to write about them until Joseph asked me if there was anything I’d want to bring to attention from this last year. However they’re from my neighborhood. They make good music. And while it didn’t make it to my year-end list on Arctic drones, I appreciate what they’ve made and I’m excited to hear more of it.


Midnight Legs / Marathon Lungs links:

Bandcamp: https://midnightlegsmarathonlungs.bandcamp.com/

Facebook: https://www.facebook.com/midnightlegsmarathonlungs

Album Review: Ranges – The Ascensionist

Ranges - The Ascensionist banner
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I’ve long admired Ranges, the concept post-rock quartet hailing from Bozeman, Montana. I enjoy the thought-provoking concepts that they use to inspire each of their releases (read my reviews of “Night and Day” and The Gods Of The Copybook Headings for some examples). The packaging behind each release is also brilliant [one of the perks of owning a printing press as a side business]. Their last output was a cassette tape that included a cryptic puzzle in the packaging, which revealed the information regarding this latest release – should the listener possess the time and energy to crack it.

Alas, I did not spend the time cracking said puzzle, as it arrived in the post just prior to my leaving home to travel around the United States. However, another writer more intelligent and articulate than I (Aaron Edwards from Arctic Drones) solved it and shared what he found: the track listing and title to the latest Ranges release, The Ascensionist.

In recent years, members of the band have been busy growing the ever-expanding screen printing/merch/distro/record label/business that is A Thousand Arms. They’ve also released the aforementioned tape, Prelude, and their first vinyl 7″ record, And The People Cried Out For A King. On top of this, A Thousand Arms has compiled and released a number of free post-rock compilations (including Open Language and Hemispheres). Despite all this work filling their schedule, Ranges still managed to find the time to record a new record in time for the inaugural dunk!USA festival in Burlington, Vermont.

Ranges the Ascensionist second pressing


This is music for adventures. Grandiose, epic soundtracks for brave feats. The album title – The Acensionist – and the band name – Ranges – both allude to the mountainous region of Montana where the band lives – references to the environment that inspires the respective members of the band.

Suitably enough, the first time I listened to the album was during an adventure. I had just rented a car in Phoenix, Arizona, and was making my way north to Montana to meet up with the band. New Zealanders drive on the left hand side of the road, but I thought I’d got the hang of American driving when living in Maine a few months earlier. Turns out driving in the low built-up wilderness of Maine doesn’t equate to the hectic five lane roads of Arizona’s biggest city. I freaked out.

I swear the album played at least four times on repeat as I drove from Phoenix to Sedona. I was too terrified to take my eyes off the road to change music, and there aren’t many suitable spots to pull over on the freeway. So The Ascensionist soundtracked my adventure, accompanying my journey through the vast deserts and arid cacti-flecked landscapes.

I revisited The Ascensionist  now and again during my week-long drive north. Passing immense gorges in Colorado, finding fossils and cave paintings in Utah, cruising along smoky mountaintops in Wyoming, and winding through geothermal hotspots in Yellowstone National Park. Epic music for epic times.

I held off reviewing the record though. I try to give music a thorough listening to when I review it, which can “kill” the appeal of the music if I overdo it. I listened to it during that trip, sure, but didn’t pick it apart and analyse it.

On tour, I heard the same set night after night for two weeks. I’m not sick of those songs, but I’m glad I didn’t listen to them too much before the tour either. It was nice going in fresh and picking up the nuances in a live context.

This review may as well be redundant. The album has been out for a few months now, so anyone who was inclined to listen to it would have already formed their own opinion by now. And Ranges don’t need my review for promo purposes – they sold out of records within a week – both US and EU editions. In fact, their second pressings came on sale on Black Friday. But I still admire the work, and I regard the members of Ranges as close friends, so I feel I owe them my thoughts on paper.


When it comes to Ranges, the music is only a component of the overall package. Concept and delivery are also paramount.

Most Ranges albums are concept albums – revolving around a theme that inspired the music. This time around, in a weird meta move, their concept is about themselves. Slightly pretentious, but at the same time neat to see the depth that they delve into with their art. Each track references a previous release. So if you look at track nine, and some of their merch, you may get insight into their next album theme…

And of course, the packaging is something else. Guitarist CJ Blessum and Ranges art director Wilson Raska co-own A Thousand Arms, a merchandising company. So their t-shirts, album covers etc… are all a step above.

The deluxe edition of the record came in 2LP 180g gatefold vinyl – different variants for the US and EU markets. The band made recycled paper with which to create custom booklets containing liner notes. They screen printed album covers and slipmats.

They also collaborated with local brewing companies to come up with special release Ranges coffee and beer. And bass player Jared Gabriel handmade clay mugs to go with the coffee.


 

I’ve written so much already without even touching on the music.

Blustery winds greet us on the opening track, setting the scene. I can picture a lone adventure scaling a peak, buffeted by the winds, slowly trudging through the snow. Soft guitar and mellow bass set the mood, before a swift transition into “Seven Sisters” provides us with harder hitting content that demonstrates how to make an opening statement.

When Ranges play this live, they combine the first two tracks and use a spoken word sample of Howard Simon’s poem I Choose The Mountain. I can’t hear the song without the sample, which is a shame. I think that the delivery sets the mood so well, and adds so much. By the same logic, I feel that excluding the sample from the recording detracts from the potential impact. Not that you’d know if you had only heard the album version… The embedded video above gives you an idea of how it sounds live [and I feature briefly at the 10 second mark].

This is not an upbeat record. But I still feel good when I listen to it. Take the title track, for example. “The Ascensionist” sound sombre and slow. It meanders along, slowly gaining layers and complexity. But when the guitar lead kicks in a few minutes into it, and the drums get busy, and the energy jacks up… well, it’s just grand. Sad, perhaps, but with an underlying glimmer of hope. Liken it to the emotions of conquering a mountain – grueling and hard, but thoroughly rewarding.

“Called Not to a New Religion, but to Life” took me by surprise. Programmed drums! Mark the drummer uses a Roland trigger pad to set off the electronic patterns, before adding his own acoustic beats after a few bars. CJ (guitar) is an absolute wizard, and programmed a lighting rig to sequence in time with a click track, so I wonder if the new electronica element arose from his experimenting with stage lighting? I can see it paving the way for more “glitchy” material in the future, like sleepmakeswaves or 65daysofstatic.

One of the standout tracks for me is “Babylon The Great (Part I)”. I remember they played it in Wichita, which completely took me by surprise. It was at a tiny wee bar named Kirby’s that Jared (bass) used to work at when he was at college. For some reason the guys decided to change the set that night, and played this song. It was the first time I’d heard it live. “Guys!” I said, “that track with the thrash beat… why have you been holding out on me all tour? That song kills! You need more of that higher energy stuff!” There’s something primal about the drumming on this song, with Mark just dominating.

But “Seven Veils” is the album highlight. The busy guitar line that opens is far more interesting than moody swells, and Mark’s beat features small flourishes on the hi-hats that add that extra oomph. But Joey’s guitar melody is the high point of the album – the hook that worms its way into your ear and has you subconsciously humming days later.


Listening to this album unearths fond memories. Memories of laughing along with the guys in the van, of late nights packing down equipment, of sharing pizza and budweisers, of driving through a beautiful mist-shrouded autumnal New York state, of making lifelong friends. To me, The Ascensionist sounds like adventures and friendship. And I think that is exactly what the band was trying for.

The Ascensionist is Ranges’ best album to date. It builds upon, and improves each of their prior works. I cannot remove my personal attachment to the music, but in a way that is an affirmation of quality. Great music evokes emotion.

I’m super excited for the next album. Ranges have done well thus far, but I see them on the cusp of a change. CJ has done well to carry the band this far, and has laid a great template. Now time for Joey to add more of melodies lines, and Mark to let his hardcore roots shine through on drums.

Ranges dunk!USA 2017


Ranges links:

VINYL & CD DISTRIBUTION
http://www.athousandarms.com/ranges (US)
https://shop.dunkfestival.com/ (EU)

FOLLOW RANGES
Website | www.rangesmusic.com
Spotify | https://open.spotify.com/artist/1iqjhf6W2YXUWwa2iKMybf
Apple Music | https://itun.es/us/-srd1
Bandcamp | https://ranges.bandcamp.com
Facebook | https://www.facebook.com/rangesmusic/
Instagram | https://www.instagram.com/rangesmusic/
Twitter | https://twitter.com/rangesmusic
Soundcloud | https://soundcloud.com/ranges
YouTube | https://www.youtube.com/channel/UCBJg41ELchEChCEtIRKz4NA

Words and live photography by Joseph James

EP Review: Ryan Beno – Don’t Say Too Much

Ryan Beno - Don't Say Too Much Artwork
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I was given very little information about Perth post-rock outfit Ryan Beno. In fact, I wasn’t even sure if it was the name of a person or a band. But, I guess that is in line with their EP title: Don’t Say Too Much.

Indeed. Why give a self-congratulatory biography when you can let the music say all that needs to be said?

I’ll tell you straight off the bat: it’s a great EP. It’s like good vodka – smooth, chilled and crisp. None of the tired post-rock clichés that leaves me searching for new ways to describe the same things, just solid music.

Don’t Say Too Much feels smart. There is an air of sophistication to it, even if I can’t articulate exactly why. Maybe it’s the slight jazzy feel to some of the tracks? Although I’m no jazz lover, and wouldn’t call this record pretentious.

The drums feel rather samey throughout the EP, but 18 minute running time is short enough that you don’t tire of the same beat. This guy has a set style: steady, busy and syncopated. His light touch and smooth groove does everything he needs.

It’s a cohesive EP, stamped with a distinct mark. But at the same time, there is some pleasant diversity throughout. My personal favourite is the track “PS6”, with 8 bit tones reminiscent of playing Zelda on Nintendo. It’s just brilliant – too short, if anything.

Then we have “Ulterior Motives”, with smooth bass lines and that jazzy syncopated beat. “Black Dragon” feels darker, and less in line with the upbeat vibe of the rest of the tracks. Are they playing minor chords? (I couldn’t say) It’s just a shame to end a stellar EP on a more sombre note.

This is a worthwhile EP. A marked improvement from the band’s 2017 début, Full Moon Thai, with great feel and clarity. Sure, it’s repetitive and sparse, but it’s done so damn well that I could happy listen to more of the same.

Oh, and Ryan Beno, call me when you’ve finished the new Zelda soundtrack. I’m dying for more!

Ryan Beno. Image: Kieran Gibson-MacFarlane

Ryan Beno. Image: Kieran Gibson-MacFarlane

Ryan Beno links:

Bandcamp: https://ryanbeno.bandcamp.com/album/dont-say-too-much

Facebook: https://www.facebook.com/ryanbenoband/

 

Joseph James

 

Album Review: Beneath The Roots – Chasing Light

Beneath The Roots Chasing Light cover
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Beneath The Roots is the psyedonym of Brandon Enderson of Manchester, New Hampshire. Enderson teamed up with local sound engineer Zach Zyla to record this début acoustic pop-punk album, Chasing Light.

This is a truly raw recording, done in Zyla’s home studio. Not to say that it is poor quality, but you can really hear the steel strings of the guitar hum and vibrate as Enderson strums. It soudns intimate and close. Chasing Light is mostly a standard singer/songwriter affair of one man with a guitar, but each track adds something new to the mix.

We could use more of these small extras. Initially, it just takes switching up the strumming. During “Digging Myself Out” Enderson changes to high-pitched strumming, punctuated with a lush fingerpicked tail. Other moments, like delay pedal accents in “The Cross You Bare”, and the keyboards in “Whiskey Song” also help to make the songs shine.

The simple style works well, but when we hear drums come in during the fourth track it sounds so much better. And a fully fleshed out fifth track makes you wonder if they should have done the entire record as a band. I’m undecided about this. On one hand, the evolution that progresses throughout the album is nice, but on the other hand, the tracks with more production are easily superior.

One of my main gripes with pop-punk is the whiny nature of the vocals. Sure, I like Blink 182 as much as the next guy, and Into It. Over It. can do no wrong, but it’s not a genre I can tolerate too much of. That said, there are some vocal highlights interspersed here. The harmonies in “We Are Divinity” strike a good balance between passionate shouting and musical prettiness.

Some of these tracks remind me of A Day To Remember’s more stripped-back material. Good pop sensibilities, slightly whiny vocals, and calm yet enticing delivery.

Beneath The Roots have done well with this début album. Polished enough to sound good, raw enough to boast guts, and good, simple songwriting that offers just enough technical flourishing to stand out.

 


Beneath The Roots links:

Spotify: https://open.spotify.com/album/4o71dQEerL6RkFnOdbdG5s
iTunes: https://itunes.apple.com/us/album/chasing-light-ep/1325220194
Bandcamp: https://beneaththeroots.bandcamp.com/releases
Soundcloud: https://soundcloud.com/beneaththeroots
Instagram: https://www.instagram.com/beneatheroots/
Facebook: https://www.facebook.com/beneatheroots/

Joseph James

 

Album Review: Masaki Hanakata – HIPPOPOTAMUS / PORT ELEPHANT

Masaki Hanakata Hippopotamus Port Elephant cover
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Last year I travelled to America, where I worked at a summer camp in Maine. My role was to take groups of young girls on hiking and camping trips around the region. Often this required spending hours driving to and from our destination, due to the remote locations of the hikes. Sometimes the girls would bring iPods so they could listen to music during the drive. Sometimes they didn’t, which means I could play my own music, instead of pop hits.

On one drive to Franconia Notch in New Hampshire, one of the girls was going through my iPod and asked me: “Why do you have a playlist called Toe on your iPod?”, clearly amused.

I giggled. “It’s the name of a band. They’re awesome.”

“A band called Toe?!”

“Yeah, they’re Japanese. It’s mostly instrumental stuff, but sometimes there’s singing, or even rap.”

As you can imagine, this was of great intrigue to these girls, who exclusively listened to top 40, and Broadway soundtracks. “You listen to Japanese hip-hop? Why? Can you understand it? Can we listen to it?”

Most people think I’m weird for listening to music without vocals. But music in another language? Unthinkable!

I played on of the tracks (“Time Goes“, from Toe’s latest album), and then left the album running.

Sure enough, word spread around camp that I’m a weirdo who listens to Japanese music – even though he doesn’t understand it – and it’s actually pretty cool. On the next camping trip some of the girls asked about it, and soon enough they were all chanting “Toe! Toe! Toe! Toe!” so I would play it to them.


Maybe I am weird… Well… Ok, there’s no denying it, But why would you dismiss great music simply because it doesn’t have singing in English?

Case in point, HIPPOPOTAMUS / PORT ELEPHANT, a recent release from Masaki Hanakata.

Maybe it is a dead giveaway that I’m a trained preschool teacher, but Masaki Hanakata’s latest release is the most delightful music I’ve heard in some time. He captures the sound of youthful joy.

The two tracks are softly sung, backed by tranquil children’s’ instruments like bells and whistles.

Jimmy Fallon and The Roots have a series of youtube videos that follows this style [Here’s a version of “Enter Sandman” with Metallica]. And on of my favourite composers, Rhian Sheehan, also uses children’s’ instruments in some of his work.

Now, believe me, that when a classroom of children get their hands on instruments it sounds absolutely horrid. When I let my four-year-olds old loose with instruments they will shake, blow, bang and play the poor things with all their might. I occasionally bring a keyboard out, which soon leads onto a small group crowding around and jamming on the keys as much as possible. I’ve had a child who barely stands as high as my waist destroy a drum practice pad when I gave him some drum sticks. He wasn’t trying to break anything, he just got carried away with excitement.

Thankfully, Mr Hanakata has had more training than my children, and appears to have mastered many of these instruments. I am being perhaps a touch facetious when I say these instruments are for children. I do not wish to belittle this wonderful music. But we do not hear the standard electric guitar, drums, bass… that I deem “normal”. We hear instruments that sound hollow and dainty, that I imagine are brightly coloured. Melodica, ukulele, xylophone, bells and the like…

Part of the allure is that it sounds so innocent. It’s not perfect by any means. There are so many layers of sound that it border on gratuitous, but it’s so charming and fun that if anything the unnecessary layers enhance the feel. It captures the spirit of what folk music used to be about: fun and vibrant.

I recommend giving HIPPOPOTAMUS / PORT ELEPHANT a listen. And while you’re at it, follow-up with his other two albums, Breman soundtrack, and Lentment. I guarantee that it’ll brighten your day.


 

Masaki Hanakata links:

Website: http://masakihanakata.com/

Twitter: https://twitter.com/MasakiHanakata

Facebook: https://www.facebook.com/masaki.hanakata

Youtube: https://www.youtube.com/channel/UCT6NxTrI3UZdvNUSvIWEx3g

Bandcamp: https://masakihanakata.bandcamp.com/

 

Joseph James