Cale Parks and Aloha?...Rekindling TO SWIFT MARS and Indietronica Magic

So in working on the Favorite Songs and Artists of the 21st Century list, which has ballooned to over 500 now (may not ultimately be that many though), I find many names of the past and even reviews and comments from music I was into for awhile.

And I have talked about Cale Parks and the EP To Swift Mars that Brian Jacobs worked on/produced and played on that came out in 2009.

Cale Parks who is best known for his work with the band Aloha, who are a band I knew from Radio K and some sites in the mid-late 2000's. A band I never was able to get into, but maybe I never heard the right songs?

Anyway, I LOVE this EP. There's this beauty and romantic element that I have a huge soft spot with electronic (Indietronica) when composed well. It's sad, melancholic, cinematic and captures that atmosphere and longing both to go back in time (nostalgia), into the future, or into another dimension.

Much like Blood Moon and a lot of other music that I feel so almost inspired-by to imagine being somewhere else, like being younger and back in time, or in a parallel dimension.

Sometimes I can't put my finger on it, the elements or magic that certain moments these songs have in them. And this EP from Cale Parks nearly every track includes at least 1 or more of them.

Maybe it's the dreamy synths that Brian actually plays on, and I suspect he chose the patches.

It's odd how Electronic Rock/Indietronica often does that, but then at times it doesn't so much, even when the elements of the style are present. I think the synth patches used and the arrangement makes a big difference. Also the DRUMS.

I was listening to a band named Mind Cinema earlier today and those electronic drums... just don't work. They kind of ruin it.

But I now kind of yearn to hear more from Cale Parks, who I think does most the vocals on To Swift Mars, but I'm unsure if he does on his other releases. Unfortunately, I don't think Brian Jacobs worked on any of his other music, but that may not mean I wouldn't like it.

And Aloha, the jury is still out, but from reading comments on rateyourmusic, I am wondering if some of their tunes will work for me. Some comments talk about prog and also about Menomena.

Also maybe 2 goals

1) make a list or lists of as many songs that capture that mood/inspiration
2) try and elaborate on a creative level when or soon after hearing them

then again, it goes back to that whole looking for that brilliance/magic. Looking for that obscure band/album that has it, whether it be new, or from the past (80's Scifi music last year), and not finding it. It's almost like great in the-idea-of finding it. Finding gold/that rush when finding it, but I've come to assume it was happening more in the 2000's than in the last decade.

And almost like it's better not to hunt for it, or expect it to show up, and instead I'll just believe I'll stumble upon it at some point.

In the mean time, I am going to have to pick up a hard copy of To Swift Mars soon,



To Swift Mars EP stream on YouTube

Significant Albums: Apes and Androids - Blood Moon (2008)

I knew this would come up eventually.

I honestly don't think I ever found myself so personalized and attached to a single record. And the truth is, I have not even listened to it all that much the last couple of years, as sort of a pattern I often get. Because I know ("because you know"), I came so close to this record for a large duration of time, it became almost like breathing.

So, that's more than enough of the metaphysical stuff for now.

I probably listened to this record 125 times in the year 2008. It was more or less the soundtrack for my year.

But its story, while it was/is documented on this blog and some message boards, I will attempt to abridge it as best I can. And I'm sure the reader and fan in-me will find it not worthy of what it probably deserves, but it's just for now I guess.

It goes back to a blog called "kokoro" that suggested this among some other good records. And at that point, after the amazing year for new music that was 2007, I was still wondering if I could stumble upon some great unknown music the next year (but doubting I'd find as many just being skeptical).

The description said "psych, electronic" and 1 other genre. The cover looked curious, so I checked it out among many records on that blog.

It was odd. They used humor, almost in a theatrical way. I remember my early impressions were of the voice mail of the woman saying "capitalist mother fuckers, and I hate you, all of you" and also the bit "these are all words that won't help you, but they definitely will make you sound weird."

Some of the music was interesting as well, but it fell victim to time and my job. I seemed to never be able to listen to the whole record in one sitting for like 2 months. So, it got to the point, I may have even skipped lunch to make sure I got to hear it all.

And I probably did that 2 or 3 times one week in April, and I started to enjoy it more and more, but also saw them as being almost subtle humor rock. The humor and sarcastic element stuck out more than the music. But I sort of thought, Apes and Androids may be trying to be funny, but in sort of a clever way. They may be funny, but also brilliant in some ways.

Which that ideal held or still holds true about this album. But, there came to be a ton more than just that part of it.

I eventually came to learn the version that I was listening to, the track order was totally out of order.

This is the track list I was listening to it for probably 2 months:

1 And Now...
2 Bad Kind of Wetness
3 Blood Moon I
4 Golden Prize
5 Hot Kathy
6 Make Forever Last Forever
7 Nights of the Week
8 Radio
9 We Don't Understand You.
10 Blood Moon II
11 Doyle Is Dead
12 Imaginary Friends
13 Johnny and Sarah
14 Locked in a Car
15 Riverside
16 Sweetest Secret
17 Trank
18 Will I Live

Here's the real track list:

1 Blood Moon I 1:14
2 Make Forever Last Forever 4:33
3 Golden Prize 3:40
4 Bad Kind of Wetness 1:32
5 Hot Kathy 5:13
6 We Don't Understand You 4:36
7 Radio 4:31
8 And Now.. 1:58
9 Nights of the Week 5:18
10 Sweetest Secret 4:09
11 Johnny and Sarah 4:13
12 Will I Live 3:35
13 Trank 1:54
14 Doyle Is Dead 5:10
15 Imaginary Friends 3:10
16 Locked in a Car 3:02
17 Riverside 5:12
18 Blood Moon II 2:24

Not entirely out of order, but enough so, and especially given the story and narrative of a kind this record presents, the promos were not doing it the full justice it deserved.

However, I was growing so attached to it, at the point I learned of the proper/correct track list when I received my physical copy in the mail, it really didn't matter. And it allowed me to hear it in a new way.

Track dissection:

Blood Moon: very cool intro section hearing what sounds like a ship/spaceship land on a/the moon perhaps.

Make Forever Last Forever: great energetic rhythm. The whole "Riders on the Storm" is repeated and I guess I will never not think of The Doors of course with that lyric. But this song also features some wonderful percussion including what sounds like djembe or some kind of hand drums.

But the trademark Apes and Androids vocal layers, which I have no idea how many tracks or layers they used, but I have often thought they sound so multi-layered to try and create an *android* or digital voice of some kind. I think it's Brian Jacobs, although I really am not certain from song to song who sings lead.But from hearing some of Brian's stuff recently, I suspect he sang more of the leads, and David Tobias played more of the guitar leads. But that is just pure guessing on my part.

This track also includes a voice that I can never make out quite what it's saying. But some part of it talks about a city, and looking back and wondering "if someone is looking back at me." And the voice is almost muffled to the point it creates the sound of a storm trooper or an android/computer.

Bad Kind of Wetness: This is a cool almost backwards synthy segue Did you talk to Betty, did Betty to talk

Golden Prize: This track introduces
"I'm looking at you and you've not got that look in your eyes"

then some peculiar snapping, puckering sounds

"Oh never stay at home and stay"

"I've got a sponsorship by the case load"

La La La La La La La

gawd I LOVE the way the vocals and synths go back and forth. I just fucking love it. Even the way they use like a Fat Albert-like moaning in the background

"the girls' got lots of money, but she still wants her money. In the mood for something tasty. I think you know what I mean"

It's genius. I swear, I just adore how they segued and transitioned the vocals and synths.Such an, escape, the feeling of being taken away on a trip to the moon or some scifi story or movie from the 1980's, that I can totally get sucked in for nostalgia and desire to dream to go somewhere else. I swear the narrative and imagination that I receive when hearing this album is like The Wizard of fucking Oz brilliance. It's like The Martian Chronicles or Night of the Comet or John Carter of Mars or Dune or I dunno, you name any romantic, nostalgic, creative story in fiction or myth, and this in the same ideal and reaction.

Hot Kathy:
"She's standing on the platform holding bags with a glass flower in her soft hands, hands
"I'm melting in the wood waiting for the train holding with a dollar that a peasant couldn't save
"Breath blowing from a saint in a cave like he's sending her a message like he needs to be saved."

"Hot Kathy Hot Kathy ...choppers."

"She's looking straight ahead..
There's a magic wand
Breathe blowing
Look at her bags, look at her neck Am I this lonely, this lonely, this lonely...woooooo..wooo woo woo woo"

this is another favorite that I'll fully admit, I don't know all the lyrics because they were not included in the cd nor online I don't recall.

The Queen -like falsetto vocal lines again totally stand out and sound wonderful hear. I often would mention Apes and Androids name to people and have to bring up of Montreal, but I would say, one of the differences with AandA and of Montreal is, Apes and Androids can really sing.

I also love the synths in this song to bits, including the solo towards the end.

We Don't Understand You: This song is incredibly catchy and energetic. Some have said it sounds like an anti-drug song with the chanting chorus "Put Your Hands Up" and some vocal effects after.

"You can go to bed"
"Everyone you're gonna get fucked up"

I think how hard the words they are singing are to understand is intentional per the title of the song, lol And even the story and characters perhaps. An android or species not understanding another? And the puzzle or mystery is I suppose to try and understand some of them beyond the "Put Your Hands Up"

The crying out vocal refrain in the middle is dreamy as hell. Another point the music creates a mood and illustrates and story or character even. Nice brief guitar solo, which then leads to repeating the chorus and adding tracks of more vocals and synths. I always love how it creates this theme for the song with the repeated chorus.

I always thought it could have been on the radio if not for the profanity. It's just so catchy and almost dance-able.

Radio: This song features a great what sounds like lead bass, or synth bass.
The gradual build with the fuzzy synths and basslines and vocal chanting just creates such a great mood for this song.

"Lay me down with the radio and I'll tell you more if you wanted to know, what you wanted to know"


And Now...: Jermaine Dupree and the DJ bit. Which then they bring in the slowed voiced part about "these are all words that won't help you, bu will definitely make you sound weird" which is preceded by something about ejaculating I believe. I sometimes think of those sexual instruction recordings, sort of like the parody in Kentucky Fried Movie. This bit is almost like Hitchhikers Guide to the Galaxy meets the thing in KFM, lol. And it provides nice comic relief.

Nights of the Week: If  "We Don't Understand You" didn't make the radio, this song I found also could.
So bloody catchy

"There's a night in the week, where the freaks all meet
and the girls get into flashy clothes
you got a drink in your hand you're looking to party
but you feel that nobody knows

this temporary meaning doesn't reach an end until you find the special one
the drama's the same, the bills are insane, and the irony burns your tongue

These are the Nights of the Week when you force yourself out of bed.

There's a place up town where the spirits are down but nobody admits a thing
A toned down place ..Where Happiness is king, but tragedy has a better ring
There's the boy you kiss and the girl you sexed
I wonder if they know you're there..
Just drink 12 shots  and forget-me-nots and nobody really cares

so get my coat little darling, I think that it's time to go
let's sneak out through the back door because nobody can know

I wanna be in the bedroom where the time never seems to pass
I want to lay down in my bathroom and feel okay at last.

Oh Oh Oh Oh...these are the nights of the week

that verse or line where they talk about laying down in the bathroom (or bathtub) I always get goosebumps. It goes back to feeling nostalgia and sad or sad/scared/depressed or needing an escape.

On this track, I also love the vocoder build at the end and the guitar solo just works on so many levels. Brian May and David Gimour. David and Brian were big fans of Floyd and Queen and it seems to show up in such great ways throughout this record. Lyrically, I almost am reminded of Floyd's The Wall..the whole laying down, needing to relax and not think about stressful things.

It's sort of fetal-position like. I also seem to picture a movie or story about someone in trouble, but they hide out in this party and then seek the comfort of relaxation and safety of being in a bathtub. Or just someone whose feeling sick, injured or something and that escape is like their therapy of their mind and body.

Sweetest Thing: This was one of the songs I liked but not at the same level as many of the others. This record starts out with track-after-track that are outstanding. Great energy, synths, lyrics, guitar, percussion, and "Sweetest Thing" kind of halted that momentum, I felt initially. But I eventually grew to love it and see it more or less on par with so many of these other incredible songs.  The epic nature of it really with the repeated line "all of thahhhhhhhhhhhhht tiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiiime gone toooo waste"..and the chanting and percussion. It was sort of depressing but maybe in a sympathetic way.

"Climb through the hole in the fence and that's when Momma said..all of that time, gone to waist"

"take my hand Brian take my hand Brian do you have a sell

"and she dug her little fingers into his neck until he choked. You could tell what was happening because his finger tips were growing white....
he looked so bright."

All of that tiiiiiiiiiiiiiiiiiiiiime, gone to wayyyyyyyyyyyste. All of that time, gone to waste"

I have often wondered if "Brian" was referring to Brian Jacobs in some metaphor or based on a real experience. I mean I don't question the lyrics, what I can make out of them, are still within the concept/story.

The outro has some really tight drum work. I forget, but it may have been played by Matt Mahaffey aka sElf. I know he played on a couple of tracks and did some mixing on this record, which the mix is absolutely pristine.

Johnny and Sarah:
I absolutely LOVE this song. It may be my favorite on this record.

Great post-punk opening riff

Johnny was a thorough chap
He worse shirt tucked into his slacks

He wore his name nailed onto his back

Sarah was a lovely lass
with charm working to pass
well Johnny asked her out one day after class
now her boyfriend wants to kick his ass

Johnny's anger started to bubble
it's gonna get him in a lot of trouble

desperate souls with nothing to lose A story of trouble and a path we choose
Oh shit that's right.

Johnny had to think of a plan
So his plan really began
He knew he couldn't fight 
He spent the night
figuring it out on his own

And he died and he cried?

woo hoo hoo!

Love the synth part that follows which  then leads to one of the greatest guitar solos ever coming in. It totally fits the energy and tone of this song. Sort of brooding and dark but with the right amount of extension or kind of climax.

Lyrically, I always think of this song as being like Bonnie and Clyde. A couple traveling through towns and either robbing people or just getting away from the law or trouble. In the story perhaps the Androids are enforcing the law, and Johnny and Sarah are with a resistance or just defying and dodging the law.

edit: well in seeing more of the lyrics per an online lyric site, perhaps the Bonnie and Clyde comparison might have been off. But I suppose that kind of thing might happen to them eventually, if Johnny doesn't die.

The pounding intro and main riff just owns so much. It's so tight and so ballsy.I don't think I could ever get sick of this song.

Will I Live:
She had a (bustle?) on her dress...makeup on her face... dressed up like a raccoon...
I suppose it's just another song about a foool
la la la la la la la la la la la la lahhhhhhhhh
lie lie lie lie lie lie lie lie lie lie lie lie lie
die die die die die die

Very odd piece, but a grower like many of the last 1/3 of this record. It continues to add imagination of the story or plot.

I always wonder what the solo string part playing towards  the end is. A violin or cello? It's a very calming movement.

Trank:
This is an ambient, soothing mellow synth solo piece, which often sounds like the sound of something moving in slow-motion; the tempo is so much slower than most of Blood Moon. And it transitions really well into "Doyle is Dead"

Doyle is Dead:  (The Untimely Death of Dr. Richard Lancelyn Green)

The thick, slow, dark synths in this song do make me think of the movie Night of the Comet. the mysterious element that something will be revealed rather soon.

Can anybody save anybody save anybody?
Can anybody save anybody save anybody?

So my husband found the way in the biblioteque? 
Little pieces had....
I can see your silhoutte on my basement stickers?
I hear your thoughts dancing in my head, quickening my pain
And as the footsteps get louder
I can feel your shoestring caressing my neck
I'm ready to untie this knot in my neck, I'm ready I'm ready I'm ready I'm Ready I'm Ready I'm Ready

Can anybody save anybody save anybody?
Can anybody save anybody save anybody?

The extended title refers Dr. Richard Lancelyn Green:
 Dr.Richard Lancelyn Green was a British man who was fascinated by Sir Arthur Conan Doyle I guess, and died in the early 2000's. The mystery of his death involved his opposition to an auction of Sir Arthur Conan Doyle papers. per Wikipedia

Lancelyn Green suspected that the Conan Doyle papers being auctioned at Christie's were part of a collection that Dame Jean Conan Doyle, the author's daughter, actually wanted the British Library to have.[2] He attempted to stop the auction, but was unsuccessful.
In the weeks before his death, he told friends and journalists that an unidentified American was following him, and that he feared his opposition to the auction could endanger his life. His behaviour became increasingly erratic, and once he insisted on speaking to a visitor in the garden because he said his apartment was bugged.
During the night of his death, his sister, Priscilla West,[3] telephoned his apartment, obtaining only his answering machine, which had a new message with an American voice (this was found later to be the standard message tape supplied with the machine). Her worries about this resulted in the discovery of Lancelyn Green's body, face down on his bed, garrotted with a shoelace that had been tightened with the handle of a wooden spoon.

Murder was suspected, and there was some newspaper gossip. Because the CID was not called at the start, any evidence that might have been useful for a murder enquiry had been disturbed or removed during the course of dealing with the body. The Coroner returned an open verdict. Many of Richard Lancelyn Green's best friends thought it was not in his nature to commit suicide. However, some thought the death to have been an elaborate suicide, intended to seem like murder, in order to cast suspicion upon one of his rivals. This replicates the plot of one of the last Sherlock Holmes mysteries, The Problem of Thor Bridge, in which a woman commits suicide in a manner meant to implicate the woman with whom her husband had been flirting.

This is a track I think has revealed maybe more than many others on this record. The reference to this guy Dr. Richard Lancelyn Green and his connection to Sir Arthur Conan Doyle. The lyrics may be just what the Apes and Androids guys speculated how he died, the thoughts running through this Doctor's head at the time. Perhaps based on some news stories. It really is rather fascinating.

Musically, it is another appealing side to this record that while is still a contrast to many of the energetic tracks on the 1st 2 acts per say, I think it complements them and the concept incredibly well. A slower, darker, ballad of sorts shows another great side to the Apes and Androids sound and songwriting approach.
Even the vocal harmony chants on the outro add something.

Imaginary Friends:  Another stripped down, acoustic piece which is sort of singer/songwriter sounding for the 1st minute. But then we get more slight Brian May-like guitar refrains for a bit.
We're skipping stones again.

Yaye Yaye Yaye Yaye now....woo woo woooooo

Oh My Friends, we've reached the end?
We will never meet again
I'll cover my hands.

Lyrics on this song is kind of telling the story is close to ending. Rather sad, but still about the right time. Within the story? I sort of picture humans or Apes thinking this about the Moon or something. Whether the Moon or the planet they are on will blow up, or something more along the lines of thinking it's the end of the human race, being wiped out by technology.

Sort of pre-apocalyptic in a way.

But then again, it also might be just referring to the approaching death of someone.

Or all of that could potentially apply to the Androids as well.

Questions that are I still find worth pondering about it, which is maybe how Blood Moon has so much intrigue. There is a story or 2 or 5 here, and even for the fact the lyrics are not anywhere to be found, the mystery is one part of why I kept going back to this record.

Locked in a Car:
My best friend is locked in a car...

These walls expand on
forever until the room becomes done
I'm still holding awwwwwwwnnnnn
We're still holding onnnnnnnnnnnnnn

The slow guitar bridge is unusual but definitely grew on me. I came to hear it like another featured Brian May refrain(s) or something.

Another slow, sad, stripped down piece that doesn't last too long. But like many of the preceding tracks, is dreamy.

Riverside: In some ways the crowning piece on this record. It starts out with an acoustic guitar intro.

Passing fields in a car
There's a grim walking down by the riverside
And she wore her head up tall, in case the tears fall
bah-ah bah-ah bah-ah bah-ah
Then sometimes she thinks, I had it all, when I was small

Skies getting wide the countryside
Light getting dim from above
I miss the sun
Watching all the trees
Feeling like a bed locks made of bees
An old man and his wife
sitting up reading books through the night
And they know that they know that's something wrong
everyone's gohhhhhhhhhhn

As they held eachothers hands
the trouble supsides

I am the sun!
Nothing's wrong Nothing's wrong oh no!

Can see me I'm got flowers
Can breathe me I've got power
Got I've Got I've Got!

...

Syntax from the flood
Extend to the clouds above
All our dreams pulling them up
and their hearing this song!

oh yes!

Skies ride by the countryside
Light shooting down from above
I am the Sun!
Nothing's wrong Nothing's wrong Nothing's wrong oh no

The trumpet and then the happy synth/guitar solo I for some reason think of Muse, although over time, I suppose many other groups have used that tone. I also like how they say "oh yes" right before it hits.

Such an uplifting song. It goes from sad, depressing to uplifting. This song really wraps up what is such imaginary trip or story and exploration in sound and layers. From the vocals, many different layers of keys.

Blood Moon II: And it ends with the ship leaving and the sound of animals (apes or monkeys?) and sounds of nature (crickets?) along with what almost reminds me of a piece of software or device's intro or outro sound.

In summary:

I may find myself adding more to this, but I just can say for now, this record is as astounded as I may ever get with music. It was likely quite a long, ardous making for many years after Brian and David changed the name from Call Florence Pow. They likely spent 5 or more years making it, and it shows.

Do many of the vocals have lyrics you can't understand? sure, but I don't mind really, as it adds to the mystery, even with the story. It's almost like something Yes does with vocals being a texture or sound rather than words made for singing clearly.

I guess I also have and always will feel a very personal connection with this album, like many of these significant albums, in that I sort of found it 1 day and grew attached to it. And the mainstream never did, nor did many really online. Here and there, but I have only seen a few other folks who revere it like it's the greatest thing ever made. I'm sure the guys from the band don't quite see it that way, but that's natural, as they are artists always trying to improve and create something better than their past work.

I would love to see any of it performed live, but those odds don't seem likely. Brian at least is still making music, whether it be remixes of songs on his tumblr, or some of the original work he's doing. Those 2 demos were terrific a few years ago. David Tobias? a solo album was mentioned many years ago, but who knows if/when that will happen.

And of course trying to find another Apes and Androids, or something close, has been more or less non-existent. There have been some good ones, like NewVillager a few years back, but with each passing year, I wonder. Although the music is still available, even just on Youtube or Vimeo or wherever else online (grooveshark) or even iTunes, Amazon mp3's and once in a blue moon I'm sure copeis of this record show up on Ebay. I personally own 2, but actually would go for picking a few more if given the opportunity.

But for now, this record still is the landmark work that I grew to see (and hear) it as in 2008. When will I become so enamored by another record like it, and for that matter, a case of a group whose it's their only work? it may happen, but I guess I've come to learn or not expect it really, if ever again.


)

Apes and Androids - Blood Moon artwork tribute of sorts

As someone who frankly, can't get enough of anything and everything Apes and Androids related, I received an email via google blog subscription that lead me to this blog posting













when I 1st saw this, I got kind of excited for it to either be something about them or perhaps even just a musical tribute. Not the case apparently, but so be it. I got to give props to whoever put those together. It's a little bit like what Kim Poor did with some of the Genesis songs and some of her ex-husband Steve Hackett's music.

I'd also be curious what David Tobias and Brian Jacobs might think of them, but the odds of ever finding that out seem slim to none, given their apparent lack of online presence.

Cool visual interpretations. I wonder what it might be like listening to those parts of the album while staring at those, lol.

Apes and Androids - Blood Moon

Apes and Androids - Blood Moon

myspace

Given the time-crunch at this moment, but I want to put this up, I may edit this..add to this, etc. But this definitely is my most played album of the last month, and 1 of my favorites this year. Such a GROWER and original. Sadly, it also may be the most overlooked album of 2008 thus far..reminds me of the classic debut from last year "Live and Learn" by House of Fools. O well..give it a little more time and some more will come in hopefully.

And Now... - unusual intro with a british accented radio dj signing off..then a tm fat-synth with a voice-over like a comedic soundtrack "these are all words that won't help you, but will definitely make you sound weird"..like a radio transmission picked up in space

Bad Kind of Wetness - flowing from the fat-synth segues well

Blood Moon I - 1st part of a story or theme being illustrated, kind of a suite or to-be-continued. Sounds like in space-scifi like on a ship

Golden Prize - Harp lead..with fat-synth with a dialog from a voicemail from an ex-gf or something that may not have got along with her ex from the East Coast (and she's from the Midwest "I don't think you understand what girls from the Midwest are all about")..later transitions to a fun, catchy, layered melody..glammy..vocal layers almost like Queen.

Hot Kathy - melody reminds me of some classic rock..Bowie perhaps....more great CHOIR vocals in the chorus. A melody you can't get out of your head..the energy and vibe as it builds sets a great mood.

edit: I would add conceptually, I think Kathy may be meant to a prostiture or dancer..maybe a callgirl..or at least a girl who earns her living in a working-class job..blue-collar. Some socio-economic struggles or challenges at least.

Make Forever Last Forever - "Riders on the Storm" it leads to..but the lead melody is fun, infectious..electronic and bassline-led..they know how to use vocal doubling/tripling really effectively in the studio..the vocal arrangements as well..totally work

Nights of the Week - very 80's sounding..almost like Talking Heads..NICE CHORUS "these are the nights of the week where you force yourself out of bed"..futuristic story?..like the computerized vocals over the keys..almost like Buggles or something

album's concept could be like some 80's scifi story, movie, in then future on some other planet..space traveled possibly

Radio - lead-bass again...layered vox again with the 1st verse..SINGER SOUNDS LIKE mIKE bAKER FROM sg ON THIS 1 MAYBE MOST.."LAY ME DOWN WITH THE RADIO AGAIN..AND i TELL YOU WHAT YOU YOU WANTED TO KNOW"..GREAT BUILD TOWARD THE END..

We Don't Understand You..catchy chorus..more falsetto and fat synths..contemplative lyrics..do they want to get high, or go to bed?..repetitive chorus

Blood Moon II..chirping birds interlude..later sounds like a spaceship arriving or taking off..then an organ

Doyle Is Dead..Doyle a character in the story? Maybe Doyle knew Kathy?..they left Doyle in the hospital to die and took off?.."Can anybody save...anbody save..anybody?"..'I'm ready to untie this knot in my neck..i'm ready I'm ready"..synths remind me of those used in late 70's/early 80's Scifi soundtrack music.

Imaginary Friends..Ballad..vocal harmonies. Hallucinating? Brian May guitar parts..'oh my friends, we've reached the end"

Johnny and Sarah..energetic..guitars sounds kinda post-punk...vocoder..narrative..vocal layers and synth..the build rules on this song..so does the guitar solo.

Locked In a Car..slow acoustic ballad.."my best friend...locked in-a-car"..middle goes into Brian May kind of harmonies..echoes

Riverside awesome song!..builds..dynamics..layers..proggy..the rhythm from the horns work really well..add a jazzy or ethnic element.."rides from the countryside..rising uo from above..I am the sun!"..more falsetto and multipart vocal harmonies...uplifting song.


Sweetest Secret..more of the Thomas Dolby synth-driven 80's pop sound on this one...'ALL OF THAT TIIIIIIIIIME..GONE TO WASTE".."LEAVE ME ALONE..WON'T YOU LEAVE ME ALONE"

Trank - mellow synth interlude

Will I Live - like someone whose lost and wondering if this is the end for them, or just a transition..nice strings at the end.

I love the melodic themes in this album.."Hot Kathy" for one has a melody that sticks in your head. "Make Forever Last Forever" and the lyric "Riders on the Storm" is another..As much as there are similarities to other artists, I really don't think there is anything quite like this band.

Concept/Story: 2 factions perhaps on the Moon? or a Moon maybe. The Apes or Organic life, and the Androids or Mechanical/Technological/Artifical Life..some of it metaphor..a class struggle. The vocals sound computer/synthesized intentionally at times to perhaps illustrate how the Androids would talk or sound. The whole Man-and-Machine story.

4.5/5