Sunday, November 19, 2017

FXRRVST - May XXVI



FXRRVST - May XXVI 


The powerful dramatics of Toronto’s FXRRVST come across effortlessly on each of their debut’s nine songs. May XXVI in a way that will likely prove surprising to many listeners. Matching up the atmospherics of guitar fueled alternative rock with a strongly melodic character unlike anything else currently on the scene. They are just as convincing presenting the lyrical side of their character as they are guitar muscle and their abundance of both qualities is well defined by a production mix that seems to coalesce organically rather than as the result of time consuming effort and thought. The intimacy of these performances is a significant part of their appeal. Many of the tracks prominently feature acoustic guitar and it invariably provides a sturdy spine for Matthew Fuentes’ electric guitar excursions. There’s some flashes of extra instruments, some unexpected, a few nods to ambient textures, and a willingness to slightly subvert listeners’ expectations about melody.
 
There’s a classic singer/songwriter feel surrounding the opener “Road to Nowhere” spiked with a brisk pace and some unusual rhythms for this kind of material. While there is definitely a sense of the familiar with this song, Forrest and Fuentes bring a fresh quality to the style with this song’s character and Fuentes’ lead guitar has some fiery moments alternating with brief lyrical runs. “Picture Frames” highlights Forrest’s talent for an emotionally affecting lyric. There’s little question that her words pick up added force thanks to the superior phrasing she puts to work in this song and others, but the writing stands on its own as well. “Drown Me” might not be the most uplifting lyrical fare, but coupled with the closest thing on May XXVI to a straight ahead rocker, the rather dark sentiments make for a punchy tune, especially on the chorus. “Tidal Wave” is cut from similar commercially minded cloth, but it sports its appeal without ever pandering to listeners. It’s little wonder that Forrest and Fuentes chose this number to be their first single as it is both representative of the album’s deceptive ambition while also presenting their accessible musical character in the best possible light. 
 
There’s a slightly elegiac quality to the song “Lovely” and the slow wind of both the music and Forrest’s vocal accentuates that vibe, but the following song “Safe House” takes on a much less whimsical tone and, instead, impresses listeners with a restrained, deeply melancholy acoustic guitar line whose repetition will definitely stick with listeners. There’s a basically equal mix of the duo’s folksy, singer/songwriter side and their rock inclinations on the album’s last cut “Roofs”, but they sweeten the pot further with an air of daring quite unlike anything else earlier on the release. This is a restless song, musically, and Forrest’s singing seems genuinely inspired by its creative energy. It ends May XXVI on the best possible note and poises this remarkably satisfying tandem for further future success. FXRRVST (pronounced forest) might seem initially unusual based on their band name alone, but even a cursory examination of their talents points to uniqueness of a whole other order. 


Montey Zike

Friday, November 3, 2017

Phil Varca and the SlamJammers



Phil Varca and the SlamJammers 


Phil Varca and the SlamJammers are aces in a blues genre that’s built largely around the talents of its respective singers and guitar players. That’s no different with Phil Varca and his band mates – Varca is ably supported by Tom Porter on bass and Russell Stone on drums. It’s the latest and longest standing iteration of a band that’s been gigging and recording since 1989 – they’ve established themselves as one of the fiercest and most soulful practitioners of this classic form working today. There’s never any overly reverential treatment of blues from these musicians. The pedigree of performers they’ve opened or shared stages with like Buddy Guy, Joe Bonamassa, and Robin Trower illustrates their own direction as a hard-hitting unit keyed around Varca’s dramatic guitar and vocal style surging with passion that’s all their own. Their new singles “Don’t Push Me” and “Cash” embody all the best qualities of their music and point the way towards an even brighter future for this veteran trio. 
 
The years of recordings and live performances come across in their new music – few studio recordings could claim to harbor the same visceral live feel that you hear on the band’s new songs. “Cash” and “Don’t Push Me” are cut from a distinctly different cloth, both in pace and feel, but remain close enough together that they sound very much part and parcel of the same band. “Cash” has a more straight-forward, average bent, particularly in subject matter, and is a much busier musical piece than the second song. Despite the busier nature of the recording, Varca and his band mates never overwhelm the listener and there’s a laser-focus to the arrangement that maximizes its impact. Varca’s vocal brings its customary gritty realism to the singing, but he also bites deep into the song’s inherent lasciviousness without ever laying it on too thick. 
 
There’s a jagged knife edge thrust to the mid-tempo blues rock of “Don’t Push Me” that musters more energy and power than the earlier song ever quite manages. This isn’t intended as a slight to “Cash” – it’s a great song, but “Don’t Push Me” is even more powerful and has a muscular force generated by both the drumming and guitar alike that makes this a crisp, hard-hitting musical experience. Varca’s vocal is more than up to the challenge and builds great drama on top of the foundation provided by bassist Tom Porter and drummer Russell Stone and, all the better, he gets over the indignation of the lyric without ever straining for effect. It’s an impressive combination from this longstanding musical unit. Phil Varca and the SlamJammers have scored again with “Cash” and “Don’t Push Me” and shows no signs of slowing down almost three decades into their career. The ride is still streaking along at this point, so if you’ve never heard the band before, there’s still time to take a trip on their musical roller coaster.  


Shannon Cowden