Entry tags:
Twenty.
You get two albums today because I honestly couldn't decide. Don't get used to it, though. There are no more ties.
Deas Vail's last album, 2009's Birds & Cages, has become over the past couple of years something very important to me. It is an emotionally-charged pop tour de force so, naturally, I was expecting a lot from its follow-up, perhaps ultimately more than the band could possibly match. Still, I feel I am justified in being slightly let down by their self-titled third album. The problem with the songs here is that they don't push far enough. Birds & Cages was memorable for the sheer power and force behind many of its tracks but nothing on Deas Vail ever quite reaches a similar peak. These songs are also very simplistic structurally, adhering to a traditional verse-chorus format so strictly that they often feel half-written; the absence of substantial bridges or any sort of emotional pay-off is apparent and the album suffers for it. Even Wes Blaylock's voice, which is capable of reaching spectacular heights, often comes off as uninspired and restrained. Despite this, Deas Vail is a highly enjoyable listen. The fact remains that even the band's most lackluster melodies are still very catchy. Songs like "Quiet Like Sirens" and "Wake Up and Sleep," despite never really going anywhere, will quickly get caught in your head. But, unsurprisingly, the most memorable moments are the less predictable ones. Opener "Desire" is almost too good for this album, setting an impossibly high bar with its intersecting and overlapping vocal melodies; in this instance, the repetition works. "Towers" is most akin to the building intensity of the band's best songs but never quite matches them - still, it is a commendable effort. Then there's "Common Sense," a mostly acoustic ballad which showcases Blaylock's flawless falsetto and is the album's emotional core: earnest, plaintive and truly affecting. For the most part, though, Deas Vail seems an uncertain, transitional step for the band. Hopefully, by their next release, they'll have sorted out the kinks and come to terms with the kind of band they want to be, because I know they have it in them to create something far more impressive and lasting.
Maria Taylor isn't particularly known for taking risks but with her fourth solo album, Overlook, she does take a few - though, of course, following the inoffensively beige LadyLuck, most anything would probably sound like a risk. Still, though it doesn't come close to standing up to her wintry, electronic-tinged debut, 11:11, it's the most refreshing thing she's released in years. It's also her most subtle and taking that into account, along with the fact that it's barely thirty minutes long, Overlook can seem, at first, deceptively slight. However, the album has a lot more to offer than is immediately apparent. Those risks I mentioned are most obvious in Overlook's first two tracks, "Masterplan" and "Matador," both of which place Taylor's effortless, airy vocals over a bed of edgier, louder instrumentation and melodies that are a bit rough around the edges. Later, the playful "Bad Idea?" shows off Taylor's slightly twangier side. Though these brief experimentations are fun, it is still quiet, ethereal introspection that Taylor does best. "Like It Does" is more rooted, almost soulful, and Taylor's vocals are forceful in an achingly restrained way. Near the end of the album, "Idle Mind" and "Along for the Ride" float along soothingly, not unlike 11:11 if it were simplified and less spacious. Maria Taylor may not be the type to constantly reinvent herself and Overlook may not be a very innovative or exciting listen but you can't blame a girl for sticking with what she does best. Though she does not veer far from her comfort zone, she resists falling into the more generic and syrupy traps that marred LadyLuck, and the results are pretty damn beautiful.
Deas Vail's last album, 2009's Birds & Cages, has become over the past couple of years something very important to me. It is an emotionally-charged pop tour de force so, naturally, I was expecting a lot from its follow-up, perhaps ultimately more than the band could possibly match. Still, I feel I am justified in being slightly let down by their self-titled third album. The problem with the songs here is that they don't push far enough. Birds & Cages was memorable for the sheer power and force behind many of its tracks but nothing on Deas Vail ever quite reaches a similar peak. These songs are also very simplistic structurally, adhering to a traditional verse-chorus format so strictly that they often feel half-written; the absence of substantial bridges or any sort of emotional pay-off is apparent and the album suffers for it. Even Wes Blaylock's voice, which is capable of reaching spectacular heights, often comes off as uninspired and restrained. Despite this, Deas Vail is a highly enjoyable listen. The fact remains that even the band's most lackluster melodies are still very catchy. Songs like "Quiet Like Sirens" and "Wake Up and Sleep," despite never really going anywhere, will quickly get caught in your head. But, unsurprisingly, the most memorable moments are the less predictable ones. Opener "Desire" is almost too good for this album, setting an impossibly high bar with its intersecting and overlapping vocal melodies; in this instance, the repetition works. "Towers" is most akin to the building intensity of the band's best songs but never quite matches them - still, it is a commendable effort. Then there's "Common Sense," a mostly acoustic ballad which showcases Blaylock's flawless falsetto and is the album's emotional core: earnest, plaintive and truly affecting. For the most part, though, Deas Vail seems an uncertain, transitional step for the band. Hopefully, by their next release, they'll have sorted out the kinks and come to terms with the kind of band they want to be, because I know they have it in them to create something far more impressive and lasting.
Maria Taylor isn't particularly known for taking risks but with her fourth solo album, Overlook, she does take a few - though, of course, following the inoffensively beige LadyLuck, most anything would probably sound like a risk. Still, though it doesn't come close to standing up to her wintry, electronic-tinged debut, 11:11, it's the most refreshing thing she's released in years. It's also her most subtle and taking that into account, along with the fact that it's barely thirty minutes long, Overlook can seem, at first, deceptively slight. However, the album has a lot more to offer than is immediately apparent. Those risks I mentioned are most obvious in Overlook's first two tracks, "Masterplan" and "Matador," both of which place Taylor's effortless, airy vocals over a bed of edgier, louder instrumentation and melodies that are a bit rough around the edges. Later, the playful "Bad Idea?" shows off Taylor's slightly twangier side. Though these brief experimentations are fun, it is still quiet, ethereal introspection that Taylor does best. "Like It Does" is more rooted, almost soulful, and Taylor's vocals are forceful in an achingly restrained way. Near the end of the album, "Idle Mind" and "Along for the Ride" float along soothingly, not unlike 11:11 if it were simplified and less spacious. Maria Taylor may not be the type to constantly reinvent herself and Overlook may not be a very innovative or exciting listen but you can't blame a girl for sticking with what she does best. Though she does not veer far from her comfort zone, she resists falling into the more generic and syrupy traps that marred LadyLuck, and the results are pretty damn beautiful.
