Audioholic - 2nd Rough Pilot Issue

AUG2010

music news and reviews

AUDIOHOLIC radiohead tv on the radio jackson & his computer band steal this blip p.8

why the break up p.2

interview p.14

www.audioholicmedia.com

‹‹‹ Blips

...give over our lives completely

wHy tV on tHe radio is on Break

Imagine what it must be like to be in TV On the Radio. Everybody loves your music. The name TV On the Radio is name dropped by everybody who knows anything about music. You’re having fun, making music, travelling the globe, playing shows, making more music, playing more shows ...

Which is exactly what lead to the break. It was becoming too much for the band.

“Everybody went into it with the idea that we weren’t going to have to give over our lives completely, but then that kind of happened in a lot of ways for about six years consecutively” said Kyp Malone when speaking to Clash Music.

“Things that took time which were outside of the band had to be put to one side and not dealt with. We need to have time to live our lives, otherwise all the potential joy of that very fortunate work can disappear. It can just be work, and nobody wanted that so it was time to take a break.”

It might be a while before they get back together. Kyp Malone has his Rain Machine project, other band members have their own side projects and studio work for other bands. Plus, they’ll probably need time to pass, just so they can get excited about TV on the Radio and have new ideas again. So how long will it be before they start up again?

Kyp Malone of TV On The Radio is set to release his new solo record this year.

Titled Rain Machine, the LP is due to hit shelves on September 22nd via the Anti- label. The eleven track full-length was produced by Ian Brennan known for his work with Lucinda Williams, Ramblin' Jack Elliot and and Jonathan Richman and it's artwork was hand drawn and painted by Malone himself.

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AUdioholic | sUmmer 2010

arCade fire announCes fall Arcade Fire Tour Dates tour Fresh off Arcade Fire’s magnificent album debut at the #1 spot for The Suburbs is the arrival of new tour dates for the Fall. Tickets are on sale.

They recently streamed their August 5th live performance at Madison Square Garden in New York on YouTube’s Vevo, under the title “Arcade Fire Unstaged.” Check out a video from it above.

It’s been a few years since Arcade Fire have toured the U.S., and now they’re currently playing a number of shows in the states. It will almost be an Arcade Fire/Spoon tour, as they’ll play together for a number of shows.

Arcade Fire will donate $1 from every ticket to Partners In Health.

The Suburbs was co-produced by Markus Dravs (Coldplay, Bjork). It will be the follow up to 2007’s Neon Bible. It’s a CD and double-LP offering, and was recorded in Montreal and New York. This is Arcade Fire’s third full-length studio album.

08-27 08-28 08-29 09-02 09-22 09-23 09-25 09-26 09-28 09-29 09-30 10-02 10-05 10-07 10-08 10-10 10-12

‹‹‹ Blips

Leeds, UK | Leeds Festival Reading, UK | Reading Festival Saint Cloud, France | Rock En Seine Bologna, Italy | I-Day Festival St. Paul, MN | Roy Wilkins Arena Winnipeg, MB | MTS Centre Saskatoon, SK | Credit Union Centre Calgary, AB | Stampede Corral Vancouver, BC | Pacific Coliseum Seattle, WA | Key Arena Portland, OR | Memorial Coliseum Berkeley, | CA Greek Theatre Big Sur, CA | Henry Miller Library Los Angeles, CA | Shrine Auditorium Los Angeles, CA | Shrine Auditorium Mexico City | Palacio de los Deportes Monterrey | Banamex Theater

Try Two for My Chemical Romance’s Proto-Punk After failing once, My Chemical Romance finally succeeded recording its much-overdue follow-up its 2006 concept album. Singer Gerard Way told NME that his band finally wrapped up the follow-up to The Black Parade (review) (Reprise). The band scrapped its first attempt at redefining itself as a proto-punk band, and had to head into the studio for a second try, Way reveals. Either way, it kinda proves the point of that Black Parade review that spawned so many angry (and hilarious) tears back in 2006, doesn’t it?

sUmmer 2010 | AUidioholic

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‹‹‹ Blips

interpol on Bassist Quitting

Interpol drummer Sam Fogarino has recently opened up on ex-bassist Carlos D’s departure this summer: apparently the rigors of touring and not wanting to be committed to playing the bass made Carlos D make a quick exit. The band is currently not on speaking terms with him, according to Fogarino, but he says that it’s mainly because the band is touring so much right now.

kings of leon turned down glee

The hit songs of Kings of Leon won't be heard on Glee anytime soon, as the band rejected an offer from the show to feature their music in a future episode..

Though there is no release date, Belle and Sebastian have announced that they are releasing their first album since 2006s The Life Pursuit. They announced on their website that they are releasing Belle and Sebastian Write About Love. Aw! They’re also challenging fans to spread the word via chalk or other nonpermanent messages all over their town.

But it turns out that Glee isn't the only show the band turned down - frontman Caleb Followill added that the Sex On Fire rockers regularly decline deals, including using their songs on Ugly Betty.

"Apparently everybody loves it," said Caleb, before adding to NME: "We had some people call us up wanting to know if we'd allow Use Somebody to appear in the trailer for their next movie, and we turned them down.

"Next day, they called back and tried to put us through to the star of the movie - I won't name names, but he's an incredibly famous actor - to let him try to convince us to agree to do it.

No Doubt back in the studio

I’m having flashbacks of

jumping up on my bed as a preteen lip syncing for my life to “Don’t Speak”: No Doubt will be heading back to the studio to record a new album, the first since 2001�s Rock Steady. The band tweeted: “The 4 of us are 2gethr in Hllywd today- 2 start recording the first batch of new ND songs.” Love it!

"I was like, 'Man, don't even waste your energy.'"

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AUdioholic | sUmmer 2010

‹‹‹ Blips

kele okereke working on solo alBum Bloc Party frontman Kele Okereke is set to work on a solo album, it has been revealed. Producer Hudson Mohawke told BBC Radio 1xtra that he may be working on the record with Okereke. Bloc Party have just completed a UK tour and are set to go on hiatus.

"It hasn't been finalised yet, but I'm doing a bit of stuff for Kele from Bloc Party's solo album," the producer said. "He's doing a record with one of the guys from Spank Rock."

Hudson Mohawke, real name Ross Birchard, also said that he was set to work with Erykah Badu at some point in the future.

Weezer Finally Goes Indie

Nerd rock legends Weezer has let their contract lapse with Geffen

Records, their label for the past 16 years. The band plans to record its own music and there’s talk of them going indie? We’re interested to see how this progresses, since they don’t have to struggle to create a buzz for themselves. All we know now is that the band has lots of schemes, according to bassist Scott Shriner: “We’re always planning and scheming something. We’re always working on some new music. I can’t really go into any detail about that yet, but we’re all writing and working on new stuff.”

marilyn manson pops tHe Question Despite only being back together for a month, shock rocker Marilyn Manson is ready to settle with actress Evan Rachel Wood.

Manson proposed to Wood at a concert in Paris Jan. 5, which happened to be Manson’s 41st birthday. Manson and Wood had a pretty acrimonious break-up, with Manson publicly fantasizing about bashing in Wood’s skull. Yea… so romantical.

We can see why she rushed back.

sUmmer 2010 | AUidioholic

5

tHe piCk PICKING THE EDITOR’S BRAIN | MEW No More Stories Are Told Today,. I’m Sorry, They Washed Away. No More Stories, The World is Grey. I’m Tired, Let’s Wash Away.

92%

60% | First Impressions Aaron is all about first impressions. As all real men are, he is always quick to judge and bases all his relationships on the first 30 seconds of exposure.

Your brain will thank you.

The music within is just as ponderous and epic as the name implies. For No More Stories, the band has dropped the continuous suite style of And the Glass Handed Kites in favor of discrete songs. The album features some tracks that stray from Mew’s usual quiet-to-loud song structure but their trademark epic prog-rock is still the dominant force here. This is the first time that Mew has recorded as a three-piece, since bassist Johan Wohlert left to focus on his family. The band has brought back Rich Costey, who also produced their breakout hit Frengers, to produce this album.

Photo: Travis Torgerson

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AUdioholic | sUmmer 2010

-2% | Your Name Again?

Hey You! Yeah, You. Why the hell is her name so hard to remember? You’ll remember her hips but not a word she speaks.

Empty Brain Space Anyone else notice the amount of empty brain space Aaron possess? Quite an accomplishment; what a numb skull.

32% | Beautifully Dressed Pretty eyes, angelic voice, intelligent and well composed. This could be the making of a love connection.

-6% | Awkward Silence It’s like going on a blind date and those awkward pauses happen. Is she interested or does she just not have anything to say?

sUmmer 2010 | AUidioholic

7

By Silkie Killian

Chords crash and a thousand dazed attentions snap into one.

The music is thick and lush, nourishingly familiar.

H

ere I am like some awestruck 16-year old, crammed into LA’s Greek Theater with 6,161 others who are lucky, famous or able to donate$300-$10,000 on eBay for the scalpers’ relief fund. There’s just moon enough tonight to register the phosphorescent eyes of dozens of ticketless fans who’ve illicitly climbed up 90-degree angle dirt cliffs behind the theater; they’ve clawed their way up into treetops and they flutter now like nervous birds poised for the first killer chord – damned if they’ll miss a single drumbeat from one of only two sold-out “Kid A” tour dates Radiohead will play in 2000.

A drunk blonde grinds anorexic booty to the annoyance of everyone in butt-range; someone’s yelling “Dude! You’re! Blocking! My! View!” A wavering set of freckled twins shriek in duet falsetto, “Play CREEP!” and “Napsterrrrrrr!,” while struggling to rekindle a beer-sogged joint.

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audioholic | summer 2010

STEAL THIS BLIP STEAL THIS BLIP STEAL THIS BLIP

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audioholic | summer 2010

“People wanted to hear this record and they figured out how to get it early, word-of-mouse."

I’m cold. No comforting beer, no boyfriend, no joint. But as the packed theater goes black and the first note of “National Anthem” smacks the hysterical crowd, I know why I’m here.

Chords crash and a thousand dazed attentions snap into one. The music is thick and lush, nourishingly familiar. My bones are buttered into heaps of hot mashed potatoes smothered with music as liquid as opium, better and more satisfying than Christmas gravy and I can nevere I am like some awestruck 16-year old, crammed into LA’s Greek Theater with 6,161 others who are lucky, famous or able to donate$300-$10,000 on eBay for the scalpers’ relief fund. There’s just moon enough tonight to register the phosphorescent eyes of dozens of ticketless fans who’ve illicitly climbed up 90-degree angle dirt cliffs behind the theater; they’ve clawed their way up into treetops and they flutter now like nervous birds poised for the first killer chord – damned if they’ll miss a single drumbeat from one of only two sold-out “Kid A” tour dates Radiohead will play in 2000.

A drunk blonde grinds anorexic booty to the annoyance of everyone in butt-range; someone’s yelling “Dude! You’re! Blocking!

My! View!” A wavering set of freckled twins

shriek in duet falsetto, “Play CREEP!” and “Napsterrrrrrr!,” while struggling to rekindle a beer-sogged joint.

I’m cold. No comforting beer, no boyfriend, no joint. But as the packed theater goes black and the first note of “National Anthem” smacks the hysterical crowd, I know why I’m here.

Chords crash and a thousand dazed attentions snap into one. The music is thick and lush, nourishingly familiar. My bones are buttered into heaps of hot mashed potatoes smothered with music as liquid as opium, better and more satisfying than Christmas gravy and I can nevernevernever get enough. Each note evokes a fresh barrage of emotional texture, alternating lyrical lullaby with hard-drive chrome train slam.

Suddenly we get both polarized textures at once but all of them fit perfectly, they belong to me, they’re part of me—and it’s over.

Those of us inside stumble out reluctantly; those of us in the trees catapult down to dry, loose, earth that pours down the cliffs in treacherous streams… I wasn’t always a fan.

I was a listener and an admirer. But I lost it somewhere along the way. I snapped. Blame it, in part, on blips.

summer 2010 | auidioholic

11

“Kid A” was roundly celebrated as having broken new musical territory. Radiohead’s approach to promoting the Capitol Records release was similarly innovative. The band collaborated with longtime Radiohead cover art creator Stanley Donwood; with animator, filmmaker and videographer Chris Bran; with digital entertainment collective Shynola (comprised of multimedia artists Jason Groves, Gideon Baws, Richard Kenworthy and Chris Hardin); and producer Dilly Gent; issuing brief 10-to-30 second films backed by sonic snippets from the new album. The blips resemble impressionistic ads more than traditional rock videos; purpose-built to be distributed online and by e-mail.

Which brings it all rushing back. My downfall… which came first? Pre-release Kid A bootlegs?

Watching blips on my laptop after reading listserv posts on how cool they were? It doesn’t matter anymore. I was a goner. During those heady days of free-love filesharing and pre-Bertelsmann/Napster ennui, it all just got to me. According to Rob Gordon, Capitol Records VP of Marketing, the blips were entirely the band’s idea. “They were in charge of the creative process with their creative team from day one.” In promoting the release, Capitol created mini-websites, serving up exclusive content to fan and partner sites like heavy.com, mtv.com and amazon.com. Other elements included print-on-demand postcards and a Kid A “listening party” where fans could hear the album in entirety weeks before release.

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audioholic | summer 2010

“People wanted to hear this record and they figured out how to get it early,” said Capitol’s Director of New Media Robin Bechtel.

Radiohead fans are notoriously active online, so fan “word-of-mouse” became the driving force. “We knew the entire album would end up on the Internet anyway, so we wanted to be proactive.”

“What I hate about what I do is that the pictures don’t move,” says Stanley Donwood, the artist responsible for Kid A’s cover art and much of Radiohead’s imagery since its 1994 My Iron Lung EP. “ I have ideas about what’s happening in them, but then I have to stop at a certain point.”

Stanley met Radiohead frontman Thom Yorke back in college. The two brainstorm regularly.

“We drink a lot and then argue,” Stanley explains. “Kid A is a very agoraphobic record.

The music makes shapes and colors that I tried to use… I like old paintings of battles where the armies look like jewels scattered on mud, but close up, they’re performing a ballet of atrocity. The paintings were started during that horror in Bosnia.”

Radiohead’s death-bear icon has roots in a bedtime story Stanley once told his daughter; red swimming pools are a reference to Alan Moore’s graphic novel on CIA atrocities, “Brought to Light,” in which cold-war casualties are measured by the gallons of human blood it takes to fill a swimming pool. An ominous stick-monster owes aesthetic DNA

Fan-created continues

art based to explode

to Stanley’s admiration for the work of British artist L.S. Lowry.

One blip starring a panicked death-bear alone in the forest seems to reference an earlier pop culture phenomenon…

Bear Witch Project?

Before Kid A’s street release, one of the Capitol/EMI web servers hosting yet-unreleased blips was hacked open, to the horror of many involved in the project. “I fucking loved it,” says Stanley. “EMI reckoned they had a secure server – there’s no such thing. As far as I’m concerned, once we finished the blips, they were free to genetically reproduce wherever they liked… There should be no copyright on the net. It’s our last and latest free place. Steal what you like and use it to make great things.”

“The blips were made to be stolen, copied, thrown away, collected, ignored.... whatever people want to do with them,” says Radiohead blip co-collaborator Chris Bran. “When you see a painting for the first time it takes a few seconds to digest the colors and shapes. Then, hopefully, you get a rush of thoughts and emotions. After 30 seconds you start examining it technically, the brush strokes, the detail... but that initial reaction is the most important.”

Chris first met Stanley while helping Radiohead produce a webcast from the band’s studio in Oxford, England.

on Kid A online at

imagery random,

with a load of photos and scans of his paintings and drawings, and a tape with a couple of early blips he did with Chris Bran. He talked for a while about what his paintings were trying to say, and what they hoped to do with the blips. Amazingly we were allowed to use any part of any song on Kid A to go with our animation.”

The official blip count remains a mystery: Chris Bran remembers creating between 25 and 30, Shynola estimates a similar number they created made it online. Radiohead’s 5th album, Amnesiac, is due for release in Spring, 2001. While there’s talk of a more extensive US tour, everyone’s hushed about future online projects.

“I’m working maniacally on the art for the next record,” replies Stanley when asked about work in progress. “[and] something else that I won’t mention because that’ll jinx it… it’s a book.”

Fan-created art based on Kid A imagery continues to explode online at random, then implode back into pixel obscurity just as fast.

But that’s just the nature of big bangs, rock stardom, and blips.

“Around [that] time, we were all playing around with animation and video on our Macs, creating things we could play during the webcasts. I took some of Stanley’s artwork home with me one night, and created a few looped animations. Later, I was asked to edit 7 or 8 short clips using footage from the webcasts… I added the blinking bear logo on the end. They developed the idea and encouraged me to make more. Shynola, who prefer to speak collectively, agree that the creative process surrounding the blips left plenty of room for experimentation.

“Early on in the project, Stanley came around to our place summer 2010 | auidioholic

13

interView witH JaCkson & His Computer Band 14

AUdioholic | sUmmer 2010

Paris-based Jackson Fougeraud is currently being tipped as one of the major talent to have come out recently. With a devastatingly clever and infectious first album, Smash, which follows a series of promising EPs, he explores a wide range of genres, ranging from classic techno to funk and electro. Here, he talks about how Smash was patiently assembled, working with his mother and four-year-old niece and creating definitive music.

sUmmer 2010 | AUidioholic

15

Jackson, what have you been up to today?

Went out on the train, walked, had lunch… I am just checking my emails now, which is going to take me the whole afternoon probably. Like every week…

With Smash just released, you must be quite in demand. How do you deal with the media attention, and have you been trying to find out what the press is saying about the album or are you ignoring it all?

I don’t want to be in this position like “oh it’s a nightmare” as I’ve mainly been chatting with people passionate about music and interested in what I do. There are worse jobs. I did quickly go through what’s been written on the album on the Internet.

It’s fun, especially the bad stuff. I’m pretty laidback about it as I’ve had good response from people that are important to me.

I’m also pretty sure that the most important thing with a record is how it works in the long run. It took me a while to like some awesome records. So, if my record’s crap, everybody will forget about it.

Can you tell me about your background? Where do you come from, how did you start playing music…

I started playing drums as a teenage in a band. I was very into rock, funk and gradually got swallowed by the rave gabba thing when I was 15. My mom had an Atari computer, so I started doing some tracks with it and met this friend of my older sister who was just starting a new label called Pumpking. I did two EPs with them. They showed me how to produce and around the same time, I starting using a Roland 909 drum machine, and a 303, a Moog synthesizer and a sampler…

There are loads of different styles and ambiences on your album, ranging from funk to techno to electro... Who/what are your main influences?

Herbie Hancock, Funkadelic, Hendrix, and everything that I hear, from the background noises in a gas station to a Mario Bava vampire movie soundtrack.

The press release mentioned that it took you about four years to complete the album, and that you spent a lot of time re-recording tracks. How did you work on it?

With no proper method, trying to reach the most dramatic tension or psychedelic elasticity. Starting from synth lines or chaotic MP3 collages. I lost complete notion of time doing this, I didn’t really care. My entourage was freaking out.

You originally released music on French imprint Sound Of Barclay. How did you come to work with Warp for the album?

Piers Martin (Vice magazine) sent me an email mentioning the possibility to work with them. I was overjoyed.

You’ve enrolled part of your family on Smash, including your mother, folk singer Paula Moore, and your four-year-old niece. How did you get the idea of getting them to participate, and how did they react?

My mom was a little bit nervous, but she ended up liking it. I think she likes some of my music. It was very easy for me this way, very natural, and it seemed pretty cool. It was trickier with my niece. I had to barter with her, promising her soda so she would say what I wanted her to say. I had to record three or four words at a time.

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audioholic | summer 2010

You are about to play a few live dates. What can people expect to see, and will it be very different to the album?

New music, work in progress… I’m growing as I tour. There are little bits of the album in the live show. It’s a pretty low profile laptop experience. It’s super new for me, very different from the studio rat work I did with Smash.

In addition to making your own music, you also regularly DJ. What are your sets like? What do you tend to play?

I kind of gave up with that as it’s something I don’t control. The sets I’ve done were super messy. A few of them went OK, but I never managed to repeat them. Going from the Ronettes to Gabba to DJ Assault to Cameo… Hard to handle and to keep the energy of the crowd going. Some people are very talented with this…

You are said to already be working on the follow up to Smash. Do you have a clear idea of what you want it to sound like yet?

Are you intending to work with other people in the future, and if yes, is there anyone in particular you would want to work with?

I’m not in a hurry to work with vocal artists, I feel like there’s a lot to do with instrumental music. It’s a very challenging form. I’m using production as a writing tool; it gives a lot of options.

You’ve produced remixes for an incredible variety of people, ranging from Femi Kuti to Air and Vanessa Paradis to Jean Jacques Perrey and Luke Vibert. How do you choose to remix a particular track or artist?

It depends on my need of the moment. Artistic, financial… I’m not so exited about doing remixes. You have to deal with expectations and you’re supposed to do something precise, it doesn’t really fit with what I want to do. I started doing remixes because I wanted to understand how a track was made, which meant listening to the different tracks separately.

It’s growing… I have lots of ideas but I still don’t know where I’m going in general, witch is fine for me. I want to keep it out of any particular direction.

How did you see your music evolve in the next few years? You are quoted on the press release for Smash saying that you want to make four totally amazing albums. Then what?

I said that because I had no idea what to say. I hope I‘ll still be obsessed with giving meaning to the contradictions of individuals when I’m 80. If not, than I’d love to make music for people that live in peaceful sunny areas.

Once you’ve finished this interview, what is next in your diary?

Finish deleting spam emails and finish going through the rest, and then do some music tonight hopefully.

No-one seems to have given a go at remixing your music yet. Why do you think this is?

Because I want things to be definitive. I’m not for this “global material” summer 2010 | auidioholic

17

tHe dump Brother, Sister

Bands grow and change.

Sometimes it is a wild, unpredictable leap (Exhibit A: Sufjan Stevens’ A Sun Came to Enjoy Your Rabbit), sometimes it is barely discernable (Exhibit B: Switchfoot’s The Beautiful Letdown to Nothing Is Sound), but most frequent it is the gradual change (Exhibit C: Starflyer 59’s Leave Here A Stranger to Old), which allows a band to be themselves while expanding their horizons to something new and exciting.

None of the sequences are free from criticism. Any of them can be spun by a dissatisfied listener into nothing more than trying to make a lot of money and sacrificing their integrity to do so. For example, see if any of these phrases ring a bell, “They’re genre-hopping to try and cash in on that new fad,” or “They’re playing it safe to avoid upsetting their current fan base.” Usually, a band will only hear one of those with any given release. mewithoutYou, however, has left themselves open to be criticized both ways with this album.

They still sound like mewithoutYou without any doubt. Yet Brother, Sister is a vast sonic and compositional departure from Catch For Us The Foxes that it will take some listeners aback.

Each listener’s reaction will depend entirely on what they focus on with mewithoutYou. Those who focus on Aaron Weiss’ vocals will not find this album to be too far separated from the mewithoutYou of old. He still half mumbles, half shrieks his way through the songs, making the lyrics feel like something out of a poetry reading at an underground café. Weiss’ vocals seem to be tinted with an element of weariness this time around. Thus, the album feels darker than most of mewithoutYou’s songs.

What mewithoutYou has done is craft not only a career defining masterpiece, but an album that could very well join the scene hipsters, the anti-folk crowd, the post-punk Fugazi faithful, poetry slam attendees, and emo self-depreciators all in one careless sweep.

me witHout you

With Ears to See and Eyes to Hear "Sleeping With Sirens show much creativity and talent on this album."

Originality. That's a word that is usually lacking in the conversation of emerging bands from labels such as Rise Records. It isn't just lacking in the conversation, it's lacking in the music as well. From the generic "chug-chug" breakdowns every five seconds, to the annoying pig squealing, some may think there's no hope for the genre. That is where Sleeping With Sirens come into play. Sleeping With Sirens are a young, five-piece band who know how to write good music. Their debut album, "With Ears to See and Eyes to Hear" displays just that. This ten song album displays so much talent, yet so much potential to take the music world by storm.

On this record, Sleeping With Sirens tend to stray away from metal riffs and breakdowns, but don't cross the line of being labeled progressive. They add their own flair, which is sometimes very reminiscent of Circa Survive or Closure in Moscow, to a genre that is full of dull acts. However, I'm not here to tell you this album is perfect, as there is much room for improvement. There are a lot of very solid tracks on this album, but others make you feel like you'd have been better off without them. The final two tracks of the album (not including "Outro") seem very unnecessary, but the standout tracks still somewhat make up for it.

sleeping witH sirens

"If I'm James Dean, You're Audrey Hepburn" displays the songwriting talent they posses, with the catchiest chorus on the album. The next song, "The Bomb Dot Com V2.0", seems very reminiscent of the band Broadway, while still adding some flair to it. The album takes a break from the distorted guitar on the fourth track, "Let Love Bleed Red", and pours out one of the most heartfelt and beautiful acoustic songs you will hear from a Rise Records band. The vocal talent of Aaron Marsh of Copeland adds to the song even more. In the end, the full band comes in to end it. As soon as the song finishes, the album picks up right where it left off with the next track, "Captain Tyin' Knots vs. Mr. Walkway (No Way)", which starts off with a heavy intro, almost feeling out of place considering the track that came just before it.