Dissonant tension. Melodious noise collisions with sample experimentations, yet tight song structures, crushing rhythms, and rock sensibility. Driving bass lines. Kansas City band. RIYL: …And You Will Know Us By the Trail of Dead. ALL CLEAN. NO FCC VIOLATIONS.
1) “Apogee” (2:21). Instrumental. Opens with quiet bird noises. Melodious guitar and wind blowing noise at 0:14. 0:39 gentle percussion. 0:50 stronger percussion. 2:15 percussion out, flows into next song (CAN PLAY 1 AND 2 TOGETHER AS ONE).
2)* “Apogee” (3:45). Instrumental Guitar melody and synthesized beat (seamless transition from song #1). 0:28 dreamy slow guitar chords. 1:44 series of percussion crescendos. 1:56 gets quieter. 2:01 loud again. Climax of song, with overriding guitar note. 3:03 starts winding down, some high-pitched instrument (dream-like). End at 3:43.
3) “Starting Line” (4:29). Catchy, gentle electric guitar. 0:13 additional guitar (distorted). 0:45 melody change. 1:21 visceral male vox - visceral. 1:57 tight, high guitar strumming. Ends at 4:27.
4)* “Undetermined” (5:51). Instrumental. Dissonant, yet melodious guitars. Percussion in at 0:11. 0:35 heavier bass comes in. 1:12 male vox. 1:59 different guitar melody. 2:12 heavier instrumentation and loud male vox back. 3:17 light, fast, tight percussion. 3:40 tempo slows down a bit. 4:05 guitar tempo gets progressively slower. 4:50 pause. Noise picks back up slowly with tool sounds, guitar, bass, drums, cymbals. 5:49 ends.
5) *“Winner Takes All” (4:49). Guitars. 0:07 percussion, stronger at 0:10. Bass at 0:27. 0:29 male vox. 1:03 different guitar and tempo, slightly dream-like. 3:05 drops down to quiet guitar. 3:14 all back, including loud male vox. 4:37 quiet guitar back. Stop at about 4:45.
6) *“Ice Machine” (5:45). Opens with spacey sounds. 0:08 xylophone-like instrument in, with guitar background slowly building up. 1:07 instead of crescendo-ing, melody instruments get clearer and background instruments quiet. 2:13 high, fast guitar strumming, repeated and faded. 3:26 change in guitar melody. Distorted talking male vox at 4:19. End around 5:40.
7) “The Possibility of Bears” (3:22). Slower, with offbeat rests. 0:27 male vox. 1:28 layered male background vox. End at 3:19.
8) “Behold! The Hornless Unicorn” (5:10). Distorted guitar opening. More melodious (in a dissonant way) at 0:13. 0:30 deliberate male vox. Loud. Can end at 5:05.
9)* “Fog Machine” (2:23). Opens with fade-in/fade-out guitar, cool beats. Cacophonous, almost whiny guitar and echo-y drum. 1:43 quiets down (like intro). Sparkly ending. Can end around 2:15.
10) “Evil Creeper” (6:37). Guitar, bass, drums open in mid-fast tempo. Male vox 0:07. 0:47 sparser instrumentation. 1:00 stronger percussion. Male vox begin to talk instead of sing. 1:39 vox back to singing/yelling. Closes out with long, distorted guitar. Epic rock. End around 6:33. -margot