Category: Reviews
Fanfarlo: ‘Let’s Go Extinct’
Fanfarlo’s 3rd album, Let’s Go Extinct took me through time and never let up the energy. The London-based band started in 2006. Their first album, Reservoir (2009) seems more solemn with a less technological sound, while their most recent album, Rooms Filled With Light (2012) has a similar experimental sounds as its follow-up, Let’s Go Extinct (releasing February 11). However, the vocals and overall style have remained the same throughout, with echoes and soft melodies that can sometimes hypnotize the listeners, when it’s not causing them to tap their feet.
The album opens upbeat with “Life in the Sky.” The piece starts with what sounds like humming and eerie synthesizers, but the mood lightens with harmonizing vocals. Synthesizers seem to be a main characteristic of this album, in comparison to the two previous, and can sometimes sound futuristic or 80’s like.
“Cell Song” follows with a dream-like melody, accompanied with a tambourine. I couldn’t help imagining a 70’s roller skating rink.
“Myth of Myself (A Ruse to Exploit Our Weaknesses)” slows it down to sweet sounding tune. The sound of (maybe?) a ticking clock brings about the experimental sound of the album. And who can resist a little flute action?
Then, “A Distance” combines a saxophone melody and an 80’s synthesizer sound. “We’re the Future” features surf-like guitar chords and “Landlocked” invokes a tribal dance. It’s amazing how Fanfarlo is able to maintain a specific sound and also combine so many musical styles. “Painting With Life” really caught my attention; it’s the first piece that starts with only vocals, “This is where it happened. We used to go here all the time,” and then cue the distorted keyboard and violin. It really sets the sentimental tone of the song, which the violin really just heightens.
The sensual saxophone returns in “The Grey and Gold”, and a piano is introduced in the hypnotic “The Beginning and the End”. Fanfarlo combines all these instruments, which aren’t normally associated with each other, and makes a uniform and beautiful album.
“Let’s Go Extinct” is the embodiment of this beauty. The song lasts close to 6 minutes and is slow and lullaby-like. It was hard not to just lay down and listen peacefully.
Fanfarlo…please don’t go extinct.
North American Tour Dates
3/24/14 San Diego, CA @ House of Blues
3/25/14 West Hollywood, CA @ Troubadour
3/26/14 San Francisco, CA @ Great American Music Hall
3/28/14 Portland, OR @ Dante’s
3/29/14 Vancouver, B.C. @ Venue
3/30/14 Seattle, WA @ Tractor Tavern
4/1/14 Salt Lake City, UT @ Urban Lounge
4/2/14 Denver, CO @ Larimer Lounge
4/4/14 Kansas City, MO @ Middle of the Map Fest
4/5/14 St. Louis, MO @ Duck Room at Blueberry Hill
4/7/14 Minneapolis, MN @ Triple Rock Social Club
4/8/14 Madison, WI @ High Noon Saloon
4/10/14 Chicago, IL @ Lincoln Hall
4/11/14 Columbus, OH @ Skully’s Music Diner
4/12/14 Millvale, PA @ Mr. Smalls Theater
4/14/14 Detroit, MI @ Shelter
4/16/14 Toronto, ON @ Lee’s Place
4/19/14 Cambridge, MA @ The Sinclair
4/22/14 New York, NY @ Bowery Ballroom
4/23/14 Brooklyn, NY @ Rough Trade
4/25/14 Philadelphia, PA @ Underground Arts
4/26/14 Washington D.C. @ U Street Music Hall
Children of The Stones: ‘Extended Play’ EP
Mark Van Hoen (of Black Hearted Brother, Seefeel, Locust, Scala) and Martin Maeers are set to release two EPs (second is yet to be named) and an LP in the coming months for their new project, Children of The Stones.
Joining them on their upcoming LP, The Stars And The Silence (coming March 25th) are Rachel Davies (Esben & The Witch), Neil Halstead (Slowdive, Black Hearted Brother, Mojave 3, solo) and Al Forrester, plus Angus Finlayson, amongst other friends.
The first EP, Extended Play, is scheduled for release on February 18th and includes four tracks and two remixes of the single “The Stars & The Silence.” This debut release is a transcendental spacey voyage evocative of melodic early 80’s synth. Themed, or perhaps plagued, Extended Play conveys a dysphoric bleakness centered around love’s emotions.
“The Stars & The Silence” is mystic lullaby that hypnotizes the listener into a dreamlike state. This first track and single breathes a lighthearted vibe into the otherwise melancholy EP. As expected, the two remixes found on the EP transform “The Stars & The Silence” into slightly more upbeat renditions without straying too far away from the original edit.
The downtempo soundscape of Extended Play continues with “Your Storm” and its plea to save and be saved by, of course, love. The haunting distress that is “Guiding Light” is underwhelming at best. Although most likely intended, the tempo and vocals seem rather disjointed with low monotonous vocals and overpowering electro beats. “Saudade” follows the same trend as “Guiding Light” with a focus on spacey downtempo sounds taking precedent over dull lyrics that will have listeners straining their ears to understand.
Aside from the first single, “The Stars & The Silence,” for me personally, Extended Play falls short. If it wasn’t for the small number of tracks, it would be hard to tell the other songs apart due to too many droning similarities. Although these other tracks didn’t quite do it for me like “The Stars & The Silence,” I can appreciate the technological approach and the creative use of sounds to make this EP.
Extended Play will be released on February 18th.
Bayside: ‘Cult’
Bayside reminds me of my “sk8r grl” phase (refer to bio), although their first album, Sirens and Condolences, came out in 2004; I was in the 4th grade. However, if I had known of them in my teenage years, I’m sure they would’ve ranked right up there with My Chemical Romance and Good Charlotte (refer to bio). I hope that is not offensive; I really liked MCR and GC. Bayside consists of Anthony Raneri for vocals and guitar, Jack O’Shea for lead guitar, Nick Ghanbarian for bass, and Chris Guglielmo for drums. Bayside’s newest album, Cult, is similar to Sirens and Condolences in its natural and coarse sound. Cult is full of angst and rebellion, very nostalgic of the early 2000’s for most of their listeners. Bayside has come 10 years since their first album and has somewhat become a cult of their own in that the quantity of their followers has greatly increased. And for long-time Bayside fans, this album fits perfectly into their discography.
Furthermore, Bayside is a perfect example of that punk-pop sound listeners must have an “acquired taste” for. Bayside is currently touring with similar styled bands as Four Year Strong, Daylight, and Mixtapes in the Great American Cult Tour. Dates below.
Cult opens with a drum roll and a vengeful guitar in “Big Cheese”. The guitar riffs seem to be specific to Cult, especially in this piece. They are sharp and swift, and somehow remind me of Power Rangers… Interestingly, there are group lyrics, similar to gang chanting. This definitely brings about the “cult” feel of the album, as if Bayside is starting a revolution. It seems an appropriate piece to open. Raneri sings, “I love to be wanted, but all I want is to be loved. Is that so much to be remembered, never swept under the rug?” Bayside makes a comeback and wants their followers to know it, although I don’t think they ever forgot.
Raneri’s rough voice carries the rebellious sound of the album throughout, and the gang singing continues to make his voice seem more powerful, as in “Time Has Come”. Angst is obvious in the lyrics as Raneri sings in “Hate Me”, “We’re perfect as perfect can be. I hate you and, baby, you hate me.” There continues to be a sense of opposition throughout the album, whether it is against the subject of the songs, authority, or time.
“Transitive Property” is a slower melody and somewhat melancholy, but not to the point of depression. Bayside’s soft side comes out when Raneri sings, “You’re my rock, if I’m still yours”. It is a relaxing piece compared to the high energy of the bulk of the album. “Objectivist on Fire” continues the solemn atmosphere with solo vocals.
The album ends with “The Whitest Lie”, which opens with the guitar riff that we hear in “Big Cheese”. Here is the most prevalent use of the gang singing, and Bayside suddenly seems like an army. Bayside isn’t just a cult with a following; it is a voice for the angry and the hurt. They embody grit and heartbreak, and the album ends on an empowering note.
The Great American Cult Tour:
3/5 – Cleveland, OH @ Beachland Ballroom
3/6 – Pontiac, MI @ The Crofoot Ballroom
3/7 – Milwaukee, WI @ The Rave
3/8 – Chicago, IL @ Concord Music Hall
3/9 – St. Louis, MO @ Fubar
3/11 – Denver, CO @ The Summit Music Hall
3/12 – Salt Lake City, UT @ Club Sound
3/14 – Seattle, WA @ El Corazon
3/15 – Portland, OR @ Hawthorne Theatre
3/16 – San Francisco, CA @ Slim’s
3/18 – Pomona, CA @ The Glass House
3/19 – Las Vegas, NV @ Hard Rock Live
3/20 – San Diego, CA @ House of Blues
3/21 – Los Angeles, CA @ House of Blues
3/22 – Tempe, AZ @ Club Red
3/24 – Dallas, TX @ The Door
3/25 – Austin, TX @ Mohawk
3/26 – Houston, TX @ Warehouse Live Studio
3/28 – Ft. Lauderdale, FL @ Revolution
3/29 – Orlando, FL @ Beacham Theater
3/30 – Atlanta, GA @ The Masquerade
4/1 – Carrboro, NC @ Cat’s Cradle
4/2 – Baltimore, MD @ Baltimore Soundstage
4/3 – Philadelphia, PA @ The Trocadero
4/4 – New York, NY @ Best Buy Theater
4/5 – Worcester, MA @ The Palladium
Lydia Loveless: Somewhere Else
I spent the majority of my time listening to Lydia Loveless’ new album, Somewhere Else, fighting an angel and a devil on each of my shoulders. The angel whispered, “Wow! This sounds a lot like Neko Case or classic country badasses like June Carter Cash!” Just as quickly, the devil urged, “I don’t know. Her voice kind of reminds me of Jewel.” By the end of the record, though, the angel ultimately won.
This 10-song, February 18 release seems to center mostly on love and relationships. Not surprising coming from an artist with an old-country sound. What makes this album – Loveless’ third – a bit more three-dimensional are the different angles from which she attacks the topic.
Of course, there are the more conventional love songs. “To Love Somebody” explores the meaning of love to a rather twang-y guitar backdrop, while “Really Wanna See You” is all about lusting after someone from your past. But Somewhere Else’s final track, “They Don’t Know,” really stole my heart. It’s a simple, sweet song of adoration that reminds us a lot of, yes, Johnny and June.
The songs that make this album a knockout, though, are the more complex ones, the tracks that shed a new light on relationships. “Head” is about – well, I think you can guess. Loveless’ guitar solo, paired with the rest of the instrumentals, proves this song to be the closest the release gets to an indie-pop sound. Similarly, “Verlaine Shot Rimbaud,” our favorite track, shocks the listener. From the words sung to the notes played, this song is painfully honest, laying Loveless bare to her audience.
All in all, Somewhere Else is honest, catchy, and classically country. I only wish the tracks had sounded a bit more distinct – by the end of the record, I could barely remember one from the other. Loveless has certainly perfected her sound, but should remember to tweak it every once in awhile.
A Review of Inside Llewyn Davis with as few spoilers as possible…basically none.
If it’s true that no man is an island, then the Coen brothers have at the very least created a small, compact archipelago in their latest character, Llewyn Davis. The most recent Coen brothers venture, Inside Llewyn Davis, finds them tackling the pre-Bob Dylan, Greenwich Village folk scene circa 1961. Thanks in large to breathtaking performances by Oscar Isaac, Carey Mulligan, Justin Timberlake, and an apricot-colored cat, Inside Llewyn Davis is a highly enjoyable movie that is deeply melancholy and riddled with humor.
Loosely based on Greenwich Village folk legend Dave Van Ronk’s memoir, The Mayor of MacDougal Street, the film finds Llewyn Davis at an unfortunate time in history. A time where Folk music had neither the respect nor the allure that it gained shortly after Bob Dylan arrived. John Goodman’s character, jazz musician Roland Turner, expresses the popular sentiment about Folk music when he asks Llewyn what he plays. “Folk songs,” Llewyn replies. “Folk songs? I thought you said you were a musician,” taunts Goodman’s character.
The lonely stage is set in the first scene for Llewyn Davis as he sits solo, singing a sad ballad called “Hang Me, Oh Hang Me” (a Dave Van Ronk song). Not only does Oscar Isaac set the tone for the film by performing the song in its entirety, but he is actually playing and singing live, making the moment and the movie that much cooler. This traveler’s tune and the song that follows, “Fare Thee Well (Dink’s Song),” foreshadow the circuitous journey that the Coen brothers create with Llewyn Davis.
As Llewyn, the hapless hero (if you can call him that), stumbles through a week in his unfortunately sad and hilarious life, it is hard to ignore the strikingly atmospheric world that the Coen brothers bring to life. For those of us who have only lived in the 60’s through pictures, music, and album covers, this movie breathes life into the images, sounds, and emotions that once lived only in our minds.
In order to bring both a musical movement in history and a very internalized character to life, the Coen brothers needed an actor who possessed dramatic flare, dry humor, and real musical talent. Their search for a leading man saw auditions from Bright Eyes front man Conor Oberst and Scott Avett of The Avett Brothers before they finally landed the perfect man for the job, Oscar Isaac. Isaac’s ability to express Llewyn’s internal distress, loneliness, hopes, and fears with few words and usually nothing more than a somber look is award-worthy. Isaac embodies pure melancholia for the entirety of the film, while still managing to make Llewyn a character that audiences can empathize with. It’s impossible not to root for Llewyn, despite his obvious flaws, which are constantly spit at him by Carey Mulligan’s character, Jean. Each element in the movie, from the soundtrack to the cinematography, works together to create an immensely melancholy world that is both funny and smart. Watching Llewyn Davis try to navigate his way through a bitterly cold New York during the 60’s without even a winter coat is an unforgettable movie experience.
This film, for me, seemed to capture everything that I love about the Coen brothers. There were moments that reminded me of O, Brother Where Art Thou, A Serious Man, and countless other films made by the duo. I rank Inside Llewyn Davis in my top 3 Coen brother films (and that basically means it’s also in my top ten movies overall). As Llewyn utters the film’s final phrase, “Au revoir,” and brings the story full circle, I wasn’t ready for the movie to end. I think that’s how most great movies are, though. They allow you to continue living in the story even as you walk out of an overcast day in 1961 and into a sunny parking lot in 2014.
For any fan of Folk music and/or the Coen brothers’ genius, the film is not worth just one watch, but many. If you haven’t seen it yet, go. You won’t regret it. I’ve seen it twice now and recently bought the soundtrack, which is a must-have for any Folk fan. The film perfectly captures a musical moment in history through remarkable characterization and an intriguing narrative. Honestly, it’s just a really cool movie. While there’s still much to be said regarding Inside Llewyn Davis, the film speaks for itself. If you don’t believe me, then make your way to a theater, turn your cell phone off, and listen to Llewyn.
Be Forest: ‘Earthbeat’
Balance is key in Be Forest’s sophomore album, Earthbeat. The members, the sounds, and the technique all share some element of balance. Similar to nature, the pieces come together to create an elegant whole. Whether or not that’s what Be Forest was going for is unknown, but the listener, no doubt, feels wholesome and fulfilled. The listener envisions forest grounds and can almost smell wet leaves while listening to the album, for it is the essence of nature. Costanza Delle Rose on bass and vocals, Erica Terenzi on drums and vocals, Nicola Lampredi on guitar, and newly added member, Lorenzo Badioli for synth/atmosphere make up the four members of an evenly distributed assemblage from Pesaro, Italy.
Be Forest’s first album, Cold from 2011, embodies winter and is…cold, at times. Still Be Forest maintains their light sound with soft vocals, as in Earthbeat.
Earthbeat opens with “Totem”. The opener is a crucial and interesting piece of any album. It’s a preface of what’s to come and sets the mood. “Totem” is an instrumental piece with tribal drumbeats, which are prevalent throughout the album and create the wild atmosphere that makes the listener feel the need to break out in a rain dance.
“Captured Hearts” follows with deep guitar chords and ethereal vocals that mimic the wind. This happens often, the blending of opposing sounds, specifically dark and airy, but it harmonizes beautifully. Woodwinds in “Captured Heart” and, faintly, in “Airwaves” bring about that earthy, natural beat that the album claims.
“Totem II” acts as an intermission with the reoccurring rhythmic drumbeats and faraway guitar riffs. Intermissions are just as important as the opening. It can act as a break in lively albums or a period to reflect and relax.
The intermission seamlessly transitions into the slower second half. “Colours” follows at a steady pace and creates a languid atmosphere for the second half. The album is capable of using synthetic instruments but creating a raw sound, which becomes meditative. At no point does the album leave the listener feeling restless or weary. In fact, it had a profound effect accompanied with vivid imagery, for me, of nature.
The album is out February 4th.
CYMBALS: ‘The Age of Fracture’
Inspired by a poem and truly very poetic indeed, CYMBALS’ debut album The Age of Fracture takes the listener on an introspective journey without compromising its ability to make us bob our heads and dance to the disco beats.
Lending its name from a work by Princeton scholar Daniel T. Rodgers and inspired heavily by British poet Joe Dunthorne, this album layers spacey instrumentals and hard-driving beats with thoughtful lyrics to create an intergalactic disco.
Hailing from the UK, CYMBALS recorded this album with producer Dreamtrak (Swim Deep, Chad Valley, Hot Chip) in his Hackney studio carefully putting each beat, melody, and word in place for a bright, polished, sophisticated sound dripping with deep thoughts and positive energy.
“We can hear the passing of time” sings Jack Cleverly, coolly, wafting over the pop beats, reflecting on the inner indecisiveness and over-complication of our generation on “The Natural World”. The Age of Fracture is abound with interesting comparisons, sweetly singing in the track, “You Are”, “I won’t forget you running down the stairs like it’s the end of another age.” Other tracks, like “Empty Space” feel like Andy Warhol paintings come to life to whisk you away to a party in Greenwich Village. Funky electronic melodies go hand in hand with the dance pop beats to create a lighthearted and fun musical experience.
The album matures as the listener progresses with more dreamy tracks such as “The 5%” and “The Age of Fracture.” CYMBALS continues to explore the idea of our generation not being able see the world in a simpler light, lamenting, “it’s more complicated than that.” When talking about the album, Cleverly writes “It hit me that I often feel paralysed by the feeling that everything is ‘too complicated’, and that many people I know feel that paralysis. I realised that this way of thinking can be traced through these songs.”
The album progresses to more hard-driving beats and funky guitar riffs with “Like An Animal.” Simpler, mellower grooves take over with the focus shifting to the musicality but never forgetting its purpose of exploring the human condition, remarking “you are life’s delicate child” but reminding us “nothing can be solid as a rock.”
“Erosion” and “This City” are pure fun tracks, and the album comes full circle with the track “The End.” Speaking in French over delicate beats, Cleverly adds depth and interest to the music. This track feels like an album hangover, but not in a coffee, sunglasses, and ibuprofen way. This track leaves us buzzing in the warm afterglow of the album, contemplating the ideas CYMBALS has presented us over the course of their work. “You’ve been dancing too much,” Cleverly croons, “you’ve got to turn on the lights”.
The album ends on a positive note, but not before leaving us with one last cool instrumental groove on “Call Me.” The slower, meandering jam is different than the rest of the album but leaves us basking in the ambiance of the album we have just listened to.
Overall, CYMBALS has made an album that makes a profound statement about our generation without neglecting the fun dance tunes drives the indie electro pop genre. You can enjoy this music in the morning with your coffee, at the beach, or on the moon.
You can catch The Age of Fracture when it comes out on Feb. 4 via Tough Love Records and when CYMBALS performs at South by Southwest in Austin, March 11th through the 16th.
CYMBALS TOUR DATES:
03/11 – 03/16 Austin, TX – SXSW
The Written Years: ‘The Written Years’
I recently got a sneak peak (or listen, rather) at The Written Years’ self-titled debut album set to be released on January 28th. With a sound that lands somewhere between Snow Patrol and The National with a hint of Bright Eyes, The Written Years is an album with an infectious sound. The self-titled project tackles themes like nostalgia, loss, and belonging with melodic guitar hooks, honest lyrics, and melancholy vocal vibes.
When I listen to a new album, I generally like to listen to it all the way through in the order that the artist intended. While it’s certainly refreshing to hear an album like this that flows together as a whole, there’s no denying that we live in the age of the single. A time where the album is not often consumed as one dish but received in any number of combinations and doses. While this shuffle psychology tends to isolate one song from the album as a whole, it can also provide the listener with new perspective by connecting tracks that would otherwise be separated by several songs. After listening to the album both in order as well as in a sort of shuffle, I’m convinced that the album’s themes shine through no matter what. This album seems to enter into conversation with this idea as it not only glides from one song to the next, but also contains muddled conversations in “It’s Not Your Fault” and disjointed sounds similar to a scanning radio transmission in “You’re Too Kind.”
It’s incredibly easy to empathize with the words that The Written Years lace their songs with. Thanks in large part to the conflicted lyrics and the inspiring instrumentals, the album managed to make me feel both connected as well as alone (I know,right? Pretty melancholy. Also, pretty awesome). When I was listening to the album I felt both happy and sad. Pure melancholia. It was as if I was seeing an extremely beautiful place for the first and last time, and a part of me knew that this was the only time I’d ever get to see the beauty before me. In this way, The Written Years as an album manages to inhabit the very “cold in between” that lead vocalist Wade Ouellet sings about in “The Station.” That place that feels isolated and alone but is still sometimes called home.
Thanks to Kane Enders’ tight, upbeat drums and Kodie Krogh’s melodic guitar riffs, the album possesses a hopeful sound that juxtaposes the often lost and melancholy moments within the lyrics. The band’s ability to incorporate slower, more-acoustic anthems with soulful Indie Rock songs makes each track unique and endearing. While I feel like I could write for years (insert cheap pun joke) about this album, I’ll conclude with this: The Written Years is a cinematic album that made me bob my head, sing along, stare at my ceiling, smile, and even tear up a bit at times.
Remember, the album drops January 28th! Be sure to buy your copy. You won’t regret it!
Standout Songs: “It’s Not Your Fault,” “You’re Too Kind,” “The Station”
The Coathangers: “Follow Me”
The feisty female group The Coathangers is not here to mess around, especially not with this fast paced banger titled “Follow Me,” the first single of their upcoming album Suck My Shirt from Suicide Squeeze Records.
The Atlanta group formed back in 2006 as a joke, without the knowledge of how to play a single instrument. Yet, their success is no a laughing matter; they have made a name for themselves as a force to be reckoned with in the punk scene of the south-east. The release date for their fourth studio album is March 18, 2014, a few short days after their album release party at Star Bar in Atlanta on March 8th.
The initial jolt of the guitar gives rise to the strong temptation to stand up and start moving to the infectious beat. Despite the somewhat harsh opening chords, this lively tune starts to fully reach its potential at the first chorus which rings out “you gotta follow me follow me follow me, no hope.” The other two female rockers resonate in the background, the intense drum sequence and background chanting giving the chorus a fuller effect that the verses seem to lack.
All in all, a very catchy tune that should make women across America proud. The Coathangers have once again proven that you do not have to be a dude to rock hard. Be sure to catch them while on tour and download the upcoming album, its release set for March 18th.
Tour Dates:
2/1: Green Room – Athens, GA
3/8: Star Bar – Atlanta, GA (RECORD RELEASE)
3/16: Spillover Fest – Dallas, TX
3/17- 3/19: SXSW – Austin, TX
3/20: Pappy and Harriet’s – Pioneertown, CA #
3/21: El Rey Theatre – Los Angeles, CA #
3/22: Burgerama Fest – Santa Ana, CA
3/23: Don Quixote’s – Felton, CA #
3/24: Great American Music Hall – San Francisco, CA #
3/25: Assembly – Sacramento, CA #
3/27: Rickshaw Theatre – Vancouver, BC #
3/28: Neumo’s – Seattle, WA #
3/29: Hawthorne Theater – Portland, OR #
3/30: Neurolux – Boise, ID #
3/31: Urban Lounge – Salt Lake City, UT #
4/2: Bluebird Theater – Denver, CO #
4/3: Sister Bar – Albuquerque, NM #
4/4: Crescent Ballroom – Phoenix, AZ #
4/5: Belly Up Tavern – San Diego, CA #
# – w/ The Black Lips
Avid Dancer: “Stop Playing With My Heart” double sided single
I think most have been in a state of unknowing and indecisiveness when it comes to the beginning stages of a relationship. Although this is the most exciting part, the game becomes strenuous. Jacob Summers debuts his single “Stop Playing With My Heart” under the name Avid Dancer. The single is played in two versions, which reminds listeners of the waves that come with a relationship and also the fact that there are two sides of every pair. Both versions have the same lyrics but very different styles. However, Summers’ voice remains soft and hypnotic.
The first version has a surfer vibe with synthesizer sounds and staccato chords. It has a somewhat pessimistic tone, for Summers seems to be pleading, “So help me, stop playing with my heart.” He is determined but wary as he sings, “Want to know your name, and are you feeling the same.” This curiosity comes with meeting new people, and we are always eager to know everything about this other person; how easy it would be without the fluff and secrets. Summers is strong out of the gate, but the unknown takes a toll on Summers, as shown in the second version.
On the other side, the Anchorage Trails version has an old western sound with a somber tone. Combined with the same lyrics, this version is bleak and worn. Summers sounds defeated, as is the case in the ups and downs of relationships. His snare drum contribution, combined with the harmonic female voice, heightens the somber sound and gives the single an air of finality. Yet, the lyrics give no hint of resolution and it seems the couple is in a state of perpetual questioning, always searching for something new.