Friday, December 7, 2012

SBSR: Feuding Fathers s/t

Feuding Fathers s/t

<1> “Laws of Equivalent Exchange” – We start with drums and a feedback sounding guitar.  The vocals come in light and fluffy but in a barrage that reminds me of something I can’t quite place but should know.  The guitars in the back are all indie rock mayhem.  It’s so chaotic it’s good.   There is also a hint of Atari 2600 to it.   After the two minute mark we begin slowing down.   Then it just sort of fades out.

<2> “Great Red Elk” – We’re coming in with the noises of robots and then hit some heavy distorted indie rock guitars.  I almost want to call the vocals Hellogoodbye, but that isn’t quite it.  It’s quite remarkable how the music can accompany the light and fluffy vocals so well, but then when there aren’t any vocals the musical portion just sort of goes all haywire.  I still can’t place who these vocals sound like, but I like it even if only for the musical complications. 

<3> “Leeloo Dallas Multi-Pass” -  This actually might be kicking in the heaviest so far and also most like Mars Volta until the vocals come in.  The pacing of this song is great.  If you don’t listen to this song and tap your foot along, you have no soul. 

<4> “Not For Film” – This is reminiscent of the first three songs but not overkill.  These vocals really make me kick myself for not being able to place them.  I need to stop writing music reviews at night when I’m tired and stick with doing them in the day time when my mind is sharp.  I almost had it, but then came up with the wrong answer of Coheed.  Actually, now that I do think about it, and go back to my Hellogoodbye theory, I think what I was originally thinking of these vocals sounding like was Owl City.  I might have been thinking of a different, more obscure indie rock band, but Owl City will work for me.   This is a nice bridge at 2:45.  Or, apparently it was an outro.  Bastards.  Now I’m going to compare that part there to Michael Damien.  Google that one, suckers!!

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