Review: Touché Amoré - Parting the Sea Between Brightness and Me

Appears at http://www.nationalunderground.org/news/must-have-albums/412-touche-amore-parting-the-sea-between-brightness-and-me

Parting the Sea Between Brightness and Me documents an entire cathartic experience in a mere twenty-one minutes. In spite of the brevity, however, the record is ultimately fulfilling. It is passionate, awe-inspiring, and a testament to the dedication and collaboration of five talented musicians and one equally talented producer. “There is weight in the words we’ve said, too heavy to carry in our heads,” remarks singer and lyricist Jeremy Bolm on “Face Ghost.” Parting the Sea Between Brightness and Me is certainly a capsule of once bottled-up emotions. More than anything, it is a release in the sense that it comes clean and confronts these emotions.

Contrary to the sentiment of “The Great Repetition” in which Bolm notes his ongoing struggles with the recurring mundanity of his environment, the record itself avoids saying the same thing twice. While a singular theme is consistent throughout, Bolm communicates introspection without relying on a chorus or more than one or two refrains.

There is truly a sense of urgency pushing the music, with each song transitioning seamlessly into the next, often without pause. “Uppers/Downers” ends with Bolm frantically screaming, “You said,” which are also the first two words of the following track, “Crutch.” The intense three-part sequence climaxes with “Method Act,” a heavy, confessional recollection of fears and anxieties.

There are several quiet moments, but they are trimmed down to the most essential components. The opening notes of “Face Ghost” initially indicate a post-hardcore ambition in the vein of Envy, but the song quickly picks up, weaving through a few dynamic adjustments in under two-and-a-half minutes. “Condolences,” comprised solely of piano and haunting screams, is an effective, unique ballad and the perfect bridge between the much harsher “Wants/Needs” and the more melodic tour anthem “Home Away From Here.” The phenomenal closer “Amends,” as well, demonstrates a shift in tone. While the first forty-five seconds are characterized by relentless blast beats and driving guitar work, the final minute eases off the ascending tension, as a somber, quiet guitar riff culminates in Bolm’s most vulnerable moment: an honest apology.

Parting the Sea Between Brightness and Me is a much more melodic record than its predecessor, but the intensity and the raw emotion remain apparent, if not magnified. With its intricate guitar work, speed and catchiness, the well-placed “Pathfinder” may be this record’s “Nine,” while opening track “~” is easily as powerful as “And Now It’s Happening in Mine.” There are some thematic similarities as well, but there are also significant differences. ...to the Beat of a Dead Horse was a record of isolation and hopelessness. Parting the Sea Between Brightness and Me essentially picks up where the debut left off, though, this time around, the album is notably concerned with making reparations, and the journey is structured as a linear progression from dwelling on hostility and shattered friendships to promising to do one’s best to prevent them.

Parting the Sea Between Brightness and Me is dark and emotionally exhausting, but it is also sincere and incredibly moving. It is clear that the entire record was approached in a thoughtful, meticulous fashion, as evidenced by the remarkable musicianship, the devastating lyrics and vocals, the excellent production by Ed Rose, the flawless track sequencing, and the terrific artwork done by guitarist Nick Steinhardt.

Review: Bright Eyes - The People's Key

Appears at http://www.nationalunderground.org/news/must-have-albums/379-bright-eyes-the-peoples-key

Knowing that the era of Bright Eyes was coming to a close, one might anticipate a four year absence to result in some epic, cathartic goodbye that somehow comes full-circle, providing an undeniably satisfying sense of closure. With these expectations, The People’s Key is not going to please everyone, but it proves its worth on its own merits. This is simply an excellent album, regardless of its position within the Bright Eyes catalog.

The band’s past two full-lengths, not counting the electronic-based Digital Ash in a Digital Urn that was released simultaneously with I’m Wide Awake, It’s Morning, have hinted at an evolving preference and gravitation toward elements of bluegrass and alt-country. The People’s Key refrains from contributing to this pattern, instead embarking upon a new, final chapter. While this new sound is most comparable to that which characterized Digital Ash, the parallels aren’t obvious enough to indicate a conscious revisitation of former musical exploration. The People’s Key does contain the use of programming, synthesizers, and vocal effects, but for the most part, the album carries a distinct, unique vision that distances itself from the entirety of the band’s back catalog.

Musically, The People’s Key encompasses a dynamic range of styles that speaks of the members’ eclectic pursuits. The frantic between-verse transitions of “Jejune Stars” feature short bursts of punk rock chaos reminiscent of Defiance, Ohio. The back beat and vibes of “Approximate Sunlight” wouldn’t sound out of place on a hip-hop recording. The piano balladry of “Ladder Song” harkens back to familiar Bright Eyes territory, as does the unsettling chord progression of primarily-solo number “Firewall,” which incorporates faint traces of a pedal steel guitar.

Conor Oberst’s resentment and, perhaps, embarrassment toward a former self, is an apparent though understandable force informing these lyrics, not to personally discredit his early material. All songwriters grow, but Oberst has literally documented an introspective examination of his transition from child to adult. Now thirty-one years old, Oberst is no longer concerned with expressing the personal angst from which he acquired a massive fan base of young adults who felt they could relate to the raw emotions communicated by his quivering voice and painfully honest lyrics.

The People’s Key instead centers around the mystical as well as historical names and places, enhanced by the spoken word of a lecturer who guides the themes of spirituality through well-placed interludes. Self-reflection occasionally slips into the picture, though it’s usually in a subtle manner. Lead single “Shell Games” exemplifies this, with Oberst admitting, “I was dressed in white, touched by something pure, death-obsessed like a teenager. Sold my tortured youth, piss and vinegar. I’m still angry with no reason to be.” Lines such as these are few and far between, but Oberst’s indisputable honesty is nonetheless conveyed, albeit in some clandestine phrasings. This makes it all the more rewarding when one stumbles across a particular line and contemplates it as fitting within the context of Oberst’s introspective side. I found myself lingering on those bits and pieces that best reveal his true feelings.

With The People’s Key, Bright Eyes concludes a discography that has highlighted the many artistic aspirations of its members Conor Oberst, Mike Mogis, and Nathan Walcott. Rather than reverting to a crowd-pleasing formula, their final album merely widens the span of the band’s creative endeavors. While it would have been interesting to see a formal acknowledgment of its unfortunate discontinuation in the music itself, it is admirable that the members of Bright Eyes have approached the situation with modesty, as they’ve articulated in the album’s liner notes: “Many thanks to our friends and families and to all who have supported us over the years and continue to do so in spite of everything. We’d be lost without you.” One can rest assured that the gratitude is mutual.

Review: Touché Amoré/La Dispute - Searching for a Pulse/The Worth of the World

Appears at http://www.nationalunderground.org/news/must-have-albums/288-touche-amore-la-dispute-split-review

Touché Amoré and La Dispute, both extremely relevant and acclaimed within their respective scenes, have united to produce a unique take on the split seven-inch format. Though each band carries a distinct, trademark sound based in post-hardcore, there are notable, overlapping similarities, and these are displayed in full effect on Searching for a Pulse/The Worth of the World. While the two titles might indicate separation, this EP is best considered a singular body of work.

La Dispute made a name for themselves with Somewhere at the Bottom of the River Between Vega and Altair, a sprawling, complex full-length. Packed to the brim with a 4,700-word narrative, it probably would have exemplified the term “magnum opus” had it not been, impressively, their debut LP. The Worth of the World immediately brings to mind the angry, heavy side of Somewhere, while offering a glimpse at the band’s unmistakable ability to convey overwhelming desperation.

Touché Amoré, whose full-length ...To the Beat of a Dead Horse can be listened to almost three times over in the time that it takes to listen to Somewhere once, contributes two characteristically short songs. This brevity, rather than being detrimental, only enhances the intensity, propelling the first half with a consistent momentum.

Searching for a Pulse/The Worth of the World is not simply four unrelated, random songs. Besides the language from which they named their bands (although I may be wrong about that), the A and B sides share thematic and conceptual commonalities. More concretely, La Dispute’s lead singer contributes guest vocals to Touché Amoré’s songs and vice versa. These contributions extend beyond mere backing vocals. Each singer donates an additional verse or two to the other band’s songs, creating an interesting dynamic. The song titles, as well, creatively piece together complete ideas. “I’ll Get My Just Deserve” connects to “I’ll Deserve Just That” (a song strikingly reminiscent of Dead Reckoning-era Small Brown Bike) while “How I Feel” connects to “Why it Scares Me.” Both bands successfully communicate feelings of anxiety and trepidation through gut-wrenching emotion.