x
Artist of the Month
the_deli_magazine
  • local channel
  • local charts
  • studios
  • submit
  • submit

 
deli cover

February 2015
Suburban Living
"Suburban Living
"
mp3
Suburban Living’s self-titled debut LP (PaperCup Music) is a memorable showcase of moody dream pop and lush emotives. The anticipated follow-up to the well-received Cooper’s Dream EP and 2013’s “Always Eyes” 7” single, Suburban Living enhances a sound familiar to fans of Beach Fossils, while channeling the percussive pulse and melancholy of post-punk legends like Joy Division. 

Opening with “Faded Lover,” the album’s first track unfolds with guttural riffs and an unrelenting backbeat that perfectly frames frontman Wesley Bunch’s emotionally wrought yet controlled vocals. The song falls somewhere between the driving tempo of Echo & The Bunnymen’s “Stars Are Stars” and The Cure’s “Primary,” making it a suitable metaphor for willing romantics. A crystallization of everything quintessential about the dissonance of post-punk and the catchy melodics of shoegaze, “Faded Lover” lingers like a ghost with its listener, dissipating into a silence that begs for subsequent returns.
 
“New Strings” impresses with cinematic reverb and percussion that gradually swells into a melodic narrative that proves to be just as upbeat as it is brooding. Bunch’s knack for crafting duality and juxtaposition keeps tracks like it from becoming merely sentimental. The sincerity of Bunch’s diction is one equally fostered by disenchantment and passion alike. As if tapping into the emotional core of what made fellow shoegazers The Pains Of Being Pure At Heart so relatable, Suburban Living’s “New Strings” manages to tug at the heartstrings without playing puppeteer. 
 
“Wasted” kick-starts with beach-y chords and mellow diction that intensifies midway through the song’s duration via shouts that seem to beckon a sense of urgency in Bunch’s audience. With ease, it signals a shift in the album’s tone preparing listeners for the more subdued yet earnest “Dazed,” whose instrumentation embodies the state evoked by its namesake. As if it were a millennial epilogue to the sentiments of Psychocandy, the song proves to be just as pensive in its own rite. With jangly hooks and introspective vocals, it feels synonymous with early cuts by Real Estate or a kindred spirit with the unabashed sincerity of the Stone Roses. Here, Bunch is anything but withholding.
 
The dance-y synth and cadence of “No Fall” perfectly compliments the track’s energy. Suburban Living’s sixth track is a probable favorite for fans. “Hotel Unizo” serves as an instrumental prelude to the album’s closer, “Different Coast,” which is similarly orchestrated in the sense that it captivates. Fashioned by straightforward feelings that confess of vulnerability and modes of coping, “Different Coast” is deliberately constructed to mesmerize its listener towards catharsis. 
 
In the end, it is clear that Suburban Living’s latest release is the beginning of something monumental. - Dianca Potts

Rate the Artist:


Please visit The Deli's full web charts organized by genre and region.


Go to Charts

Cancel

scene blog

Album Review: Ten Stories - mewithoutYou

Album Review: Ten Stories - mewithoutYou

One of the more compelling narratives mewithoutYou’s career has lent itself to is the band’s quest to find solace in its faith. At first, they seemed utterly lost in it; their first two records, [A-->B] Life and Catch for us the Foxes, are feverish, frantic post-hardcore albums characterized by heavily distorted guitars and Aaron Weiss’s panicked poetry on the conflict of faith in a secular world. They revisited this conflict on Brother, Sister, but with a sense of triumph deftly characterized in its final lyric: “I do not exist, only You exist.” Still, this surrender that made Brother, Sister a record of cathartic victory swallowed It’s All Crazy! It’s All False! It’s All a Dream! It’s Alright. The very title of their fourth LP suggests the born-again zealotry that defines it. Drawing inspiration not from conflict but from joy and folk tales, the post-hardcore sound totally eschewed in favor of Jeff Mangum-esque storytelling and vocalizing. It’s All Crazy! was a hugely divisive record, and more importantly, one that seemed to mark the end of an arc - mewithoutYou were no longer mewithoutYou as we knew them.

Which brings us to Ten Stories, and also begs the question: What will mewithoutYou do having now escaped this narrative that has defined the band for their entire career? Nothing too crazy - Ten Stories finds them as they always have been, playing upon their past without bowing to it, the result being a record that sounds both distinctly theirs and unlike anything they’ve done before. The opener, “February 1878,” is a riff on one of the classics in the band’s back catalog, “January 1979,” but though mewithoutYou have given specific songs sequels before, “February 1878” isn’t a sequel. It has verses with Weiss’s once-prominent wild-sermon delivery, but its riff is lighter; its chorus more demure. “January 1979” details a car crash Weiss witnessed, and the apathy he couldn’t escape from feeling. “February 1878” is about an elephant in a circus train. The link between them is analogous to how Ten Stories fits into mewithoutYou’s catalog. The sound on Ten Stories bears traces of mewithoutYou’s more aggressive roots but is too light to truly align with that phase in their career. At the same time, it’s also nowhere near as insistently folksy as It’s All Crazy! What we have is a wedding between the two eras, a little rugged, but also a little inspiring as Weiss’s intricate lyricism is brought out not over chugging rock or campfire songs but gentle, mostly straightforward indie rock.

And about those lyrics: Ten Stories is what it says it is, a collection of fables populated by animals and Weiss avatars, and though the stories themselves are confusing to make sense of without the aid of liner notes, they’re too well-orchestrated and articulated to glaze over. There’s a dense record here you can make sense of with a little extracurricular effort, but there’s also a powerful one you can simply hear and get. Exemplified in the cyclical closer “All Circles,” Ten Stories is a record whose strength lies in its catchiness. Weiss sings of many things on Ten Stories, but he signs off with one triumphant realization: “All circles presuppose they’ll end where they begin, and only in their leaving can they ever come back round.” It’s a simple message that resounds over the preceding record and is almost too explicit to not apply to the band itself. As mewithoutYou have entered a new phase in their career, “All Circles” reminds us that though they may have arrived at one answer in their journey, they aren’t done searching. And though Ten Stories is packed with worthy additions to mewithoutYou’s catalog (particularly on its wilder second half), Ten Stories is defined by the future it promises. Itmay not be as drop-your-jaw stunning as Brother, Sister or [A-- >B] Life, but it is good - very good, actually. Enough to make you believe that with this new sound, they can create something of that caliber again. Until then, enjoy Ten Stories for what it is. It will reward you. The album is available for purchase HERE. - Adam Downer

|
|

aom

New Poll Coming Soon!

[sponsored by]




aps


- news for musician and music industry peeps -