Skip to main content

Man Called Noon - Everybody Move (2017)



OFFICIAL: http://mancallednoon.com/
FACEBOOK: https://www.facebook.com/mancallednoon/
TWITTER: https://twitter.com/ManCalledNoon

Written by Frank McClure, posted by blog admin

Taking their sound to the next level, Chicago’s Man Called Noon add new members and unique directions to their latest EP, Everybody Move.  Heightening their attention to melody and meticulous vocal arrangements the band explore fresh ground and further their experimental sonic approach on the three tracks all told here.  While the feelings communicated on the album are good natured, fun and positive they never dip into the realm of cheese and because the instrumentation flat out rocks Man Called Noon manage to transcend the bad karma that sometimes comes with getting labelled as “pop” or “indie rock.” 

The band works up a noteworthy sonic sweat across the title track’s frolicking 4+ minutes of engaging happy go lucky rock music.  Swift, agile drumming pumps plenty of life into the winding guitar riffs as melodic vocal crescendos spire upwards.  Anthony Giamichael’s skyward pitched vocals are coupled to the diamond sharp harmonies of back-up singer Erin Piortrowski.  It’s almost insulting to simply label Erin as a back-up singer and be done with the whole affair; Piortrowski’s honey coated melodies are essential to the musical curveballs that Man Called Noon are throwing into their patented boogie woogie groove.  New member Nathan Crone sprinkles piano and 80s-tinged synthesizers into the background and foreground of the song and his addition to the band is quickly making a major impact.  These songs are equally built for the established members of the band as much as they are to Crone’s tuneful layering and the increased importance being placed upon vocal harmonization.  “Kiss Kiss Bang Bang” is a well-suited companion to the opening number applying a rock n’ roll foundation to swirling keyboard-centered pop music with Crone’s pitch-shifting, low-tuned keyboard melodies jumping into a very prominent position within the song’s framework.  Equally important to the synthesizer rumble is the rhythm sections unwavering heartbeat.  Bassist Dave Aitken colors in the area around Anthony Giamichael’s rhythm riffs with vibrant, sonically pleasing bass textures while Josh Fontenot lays down a popping, cracking beat that really gives the ear-pleasing poppy choruses a real deal jet fuel jolt.  Curtain calling cut “One Last Ride” trades some of the dance-oriented songwriting of the previous two tracks for a four on the floor punk rock bludgeon rife with ripping rhythms, hard-hitting guitar figures and roughhewn vocal belting where Giamichael’s pipes strut some gruffer, greasier melodies.  Erin contributes wailing r & b vocal wails and soft harmonies for a push/pull tactic where her varying tones always work to the song’s advantage.  The riffs strike with some serious venom and Josh’s bone-breaking percussion slams down on some tribal tom-tom bubbling and full-throttle punk rock timekeeping. 

There’s great instrumental variety and fully-formed songwriting all over the three tunes heard on Everybody Move.  No matter what direction Man Called Noon take their songs down you are always guaranteed an advanced melodic sensibility and powerful instrumentation that hooks you in from the get up and go.  Pop music is rarely this catchy and crunchy in the same breath but Man Called Noon have a mastery over a lost musical art form and it’ll be exciting to see where this new direction in sound will ultimately lead them to. 
Labels:

Comments

Post a Comment

Popular posts from this blog

Yam Haus - Stargazer (2018)

OFFICIAL : http://www.yamhaus.com/ FACEBOOK: https://www. facebook.com/yamhaus TWITTER: https://twitter.com/YAMHAUSBand Written by Raymond Burris, posted by blog admin Yam Haus’ debut album Stargazer begins in rousing fashion. The title song opens the album with a short flurry of synthesizer sounds before shifting into stomping guitar and drum driven verses. The slashing guitar work gives the song a great deal of bounce while the drumming contrasts that with straight forward power and Lars Pruitt’s smooth, gliding vocal tone provides the finishing touch for the track. The lyrics don’t remake the wheel or aspire to poetic excellence, but they are a cut above typical fare in this style. “West Coast” has a much more retro slant than the title song, definitely recalling the 1980’s moreso than recent history, but it never looks back to that music too reverentially. The production distinguishes this song, like it does the album across the board, and has a physically engag...
Post a Comment
Read more

The Suburbs - Hey Muse! (2017)

OFFICIAL: www.TheSuburbsBand.com FACEBOOK: www.facebook.com/thesuburbsband TWITTER: www.twitter.com/thesuburbsband Written by Scott Wigley, posted by blog admin 37 years ago Minneapolis, underground new wave legends The Suburbs released their debut In Combo on Twin/Tone Records.   They built up a dedicated cult following but could never really break it big like some of their scene luminaries.   Since their formation they have released multiple singles and 6 LPs.   Their 2013 return with the album Si Sauvage reestablished the band   and, four years later, The Suburbs present their latest recording; Hey Muse!,  an even stronger album than their last. It's packed with expertly written and produced songs that are from another time.   This could have come out in New Wave’s golden era with nobody batting an eye.   The title track is a swirl of synths, reverberating clean guitars, thick rhythmic textures and smoky melody vocals that m...
Post a Comment
Read more

Julia McDonald - Gravity (2016)

OFFICIAL: http://www.juliamcdonaldmusic.com/ FACEBOOK: https://www.facebook.com/juliamcdonaldmusic Written by Jay Snyder, posted by blog admin A 6-track indie/pop/dub spectacle is the fruit of Julia McDonald’s hard musical labor.   The songstress writes her own material and, at 19, is chasing and reaching her artistic goals with immense hunger.   This sweet vibration emanating from these six songs definitely have the pop hooks to catch a lot of ears, but those who listen closely will hear some other sounds developing in her arsenal that sets her apart from the crowded pack.   The title track is all about feeling and how to build on it; beginning as a lone keyboard/vocal arrangement that benefits from an acoustic interjection or two, as the structure of the song congeals digital beats push the chorus to great heights and everything settles into place. It showcases McDonald’s talent for wringing all that she can out of a vocal melody or musical arrangem...
Post a Comment
Read more