Drunk Lil Guy
TBR: 3rd September
Chamber folk meets contemporary story-telling as the traditional arc of romance is left for the birds and made realistic. The jagged-edge presentation of homely and deeply-rooted musical style brings son of a therapist and an acting coach Noah Kite closer towards his pinnacle. A stunning LP of ten expertly written tunes, each performed live by a full band in Noah's employ, is waiting to greet us at the start of the coming month. Showcasing the billowing talents of Colin Corner on the upright bass, Laura Gershman on Oboe/English Horn, Alan Cook on Percussion, and Esme Schwall providing cello plus backing vocals, the album was produced by the world-renowned Sebastian Rogers and mastered by Adam Gonsalves at Telegraph.
A groove laden drumbeat reveals the album, subtle orchestrations rise in the heat of the mixture and vocals enter on a white horse. Human elocution dances a ballet on the pitches as a jazz inspired flux of melody lifts in emotive bars. Carrion Birds ripples with sonic charm as motifs and progressions radiate with progressive motion. The music focusses and greets a powerful edge that's sharpened by frantic harmonisation within loosely struck boundaries.
Violin and guitar push through a mist of memory as the build-up sinks into track two. More poetic lyrics fathom a path through the overgrown garden of human intention. Scored and cinematic backdrops frame a dramatic volley of impassioned song. A dual meaning with delicate notes mingled on powerful thoughts, like a winter flower the cold wind saps away at its fragility. Hair Ties brings so much meaning into such a simple ornament.
It's followed by Our Friends which opens on a pretty acoustic guitar. Noah Kite opens in song with warbling emotions, choreographed feelings swell and squash as pressures of living subtly caress the painful areas. Wind instruments buffet the winds like washing on the line, its clean scent aroma filling the surrounding air. A meandering progression laps the river's edge on prancing maypoles as the story continues.
Next, a sudden imprint of heaviness pushes the lines a little further out. The big-band sound muses behind the rock n roll time that levitates the jazz prettiness into stage-light. Rummaging in the shadows, harmonies and melodies decorate with spectral intuition on formations of long-forgotten postures within sound. Despite All Of This slows down, where it began on a roar, the energy falls and reveals what perhaps lay behind the mask of vigour worn so vividly. As it culminates, a certain stronger and more balanced sense of ambition raises its head before close.
The title track follows, it shines with an orchestrated introduction in which the whole group sway with one voice, pushing fractions of the whole with individual forms. The vocal begins, forlorn lines reflect like faces in the water with each passing description. The musical aspect of the story moves with directed ballast, weighing down the fluttering song as the stormy gales of reality tear at its blanket of comforting thoughts.
The vocal continues, as no music fills the space, and a melody from before rises with a refreshed and positively attuned outburst. A playful and sporadic feel jumps into the stillness as the lyrics continue with familiar feels along the new sense of joyous affirmation. Take Me To Your Room lodges like that moment when everything works and the chemistry fits the equation. A verse and chorus structure is more apparent, and the music had a radio sensibility to it.
It's Right Again that follows, strings sweep up a plucked guitar melody that creates a jig like reel. The foundation stone of rhythm and key allows branches of violin and drum to expel various internal apparati in internally guided whispers. The vocal provided by Noah Kite, bounces and glimmers in fascinations and spells. Female voices chorus beneath in a spongy texture of vibration and charm. A shift in the direction of music reveals a sudden drop of colour and majesty as the magical timbres escape their shade.
Guitar begins talking to us in a classical mode and subtle drums and string waver within a capsule of paragraph and memory. Buoyant phrases mirror heavy weaves that rest in loose and choppy waters. Oboe and violin compare notes on silken blankets where jealous eyes occasion to fall. This Body is perhaps naked, insecure, yet feigning complete confidence.
Bass and guitar work in unison to bring a choppy and moving melody. Violin crests on the edge of sound with vibrationary harmonics. Voice once more strides into the scene, casting his magic with each word. The eloquence of the lyrics is buried deeply within the fertile ground of super-competence in the composition. Orchestral and fantastical countermeasures in sound describe everything a lyric cannot touch in qualitative quests for truth. Corvallis leaves us feeling entertained and serenaded.
The final track features Catherine Feeny, called Shoreline, the intro melody remarks of traditional folk and vintage animation. The lyrics dip and climb with tidal impetus, and the duet of male to female voice allows a wholesome and purified layering to the already clearly defined atmosphere. Novel edges to the tonal journey knit starlit fireplaces together with friends and superb tenets of togetherness.
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