Pocket the Moon
Pocket the Moon
[Self-released, 2011]
Pocket the Moon’s self-titled debut is really a neat spin on creating music. A total of two members make up this band: Sara Crawford, an award-winning Atlanta songwriter, and Geoff Goodwin, a longtime member of the Atlanta music scene (formerly of the Cult Following, Goodland and Night Eve). Throughout this well-conceived ten-song release, the two bounce through an array of instruments and roles, keeping every song unique to itself but consistent and supportive of the overall album. It’s surprising how far a little creativity and ingenuity can stretch the writing capabilities of a band with such a small roster.
From piano ballads like the opening “Sleepwalking” to the lighthearted (albeit slightly kooky) critique of hipsters on “Don’t Try So Hard,” the songs on this effort cover a wide variety of themes and emotions. But hands down the most compelling songs on the album are the moody, haunting numbers such as “Victoria” and “Peter’s Lament.” On these selections Crawford’s vocals float femininely through the dark atmosphere that Goodwin weaves for her, occasionally connecting with his harmonies to strike the listener with a beautiful sense of the morose.
Pocket the Moon does a superb job of choosing their instruments on these songs and playing precise, meaningful parts on them. Every note seems deliberate, well thought out and tasteful. Furthermore, when they choose to throw in the occasional brass section, organ or programmed percussion part, it brings the songs to new heights, adding exactly what the song needs and nothing more. As a result, the material comes out feeling very honest and real without any pretense or attempts to fit into any sort of musical box or genre.
A negative on this release, however, is the production quality, which seems a little low budget and lacking an expert’s touch. The overall listening experience is diminished by this handicap and it unfortunately hides some of the wonderful songwriting. Certain styles of music can thrive on lo-fi production, especially in the indie marketplace. Unfortunately, Pocket the Moon’s particular choice of writing style would have been better served with a higher quality recording. Good production simply communicates layered song structures such as theirs more effectively.
All this being said, Pocket the Moon should be proud of this release. Crawford and Goodwin have offered the best of their skills on this record and left it all on the field, so to speak. In the end, Pocket the Moon won’t likely blast the duo to the next level because it lacks both the production and accessibility that the general public can’t seem to live without. But that’s definitely not a bad thing. I see this album as an achievement of exactly what they set out to do for themselves and for no one else. Pocket the Moon have written a terrific album and this effort definitely speaks to the strength and clarity of their personal goals. Consider them reached and obtained.
More Info:
Web: www.pocketthemoon.com
Facebook: www.facebook.com/pocketthemoon
Twitter: www.twitter.com/pocketthemoon
The Levee
The Sound of the Levee
[Self-released, 2011]
Download This Album:
iTunes
Most local bands choose to progress slowly, starting with a few live shows, then moving on to a demo or two before they ever get around to recording even an EP. The Levee took a much different route: they kicked out a pristinely-produced full-length record with 10 enormous songs full of gang vocals, massive guitars and atmospheric drums before they had even played a show or had a complete lineup. Instead of tiptoeing the water to see if it was safe, the Levee dove straight into the deep end.
Brandon Funk, the brains behind the band, began writing songs and demoing them out all on his own, creating the core of the Levee’s sound with just himself and his MacBook. Instead of trying to enlist his bandmates off rough demos, he decided to go straight into the studio to document the symphonies he had in his head, predicting he would recruit a stronger, more focused team if the music was already tight and solid. He teamed up with Kyle Schumacher of the Ranch studio and got busy making huge, wall-of-sound jams. Throughout the recording experience he borrowed musical help from his friends, three of whom ended up filling out the rest of the roles in the band (Schumacher on drums, Tucker Richmond on guitar, and Michael “bassist” Stallings on bass).
Funk’s judgment definitely pays off. The Sound of the Levee is very strong, well-produced and smartly written. The record has a focused, concise direction, yet it’s dynamic and varied enough to keep a listener interested. Though the overall tone of the album is heavy, many of the songs employ acoustic guitars and a cappella vocals; a few songs such as “Digger” and “Addiction” even cross over into folk. The less-is-more philosophy runs rampant all over this record and has a really positive effect. Funk and company never over play here; instead of showing off their personal chops, they use their individual parts to build a better whole.
The fact that the Levee’s first ever show was also an album release show is impressive. The fact that the album is not your usual EP, but a full-length (and an extremely good one from start to finish) is even more remarkable. The Levee has accomplished a feat right off the bat that most indie bands would take a few years to do. It’s also an album both musically and production-wise that any band would be proud of delivering. Being brand baby new the group will be growing and expanding as they develop, and they have plenty of room to do so. There is a lot work for them to do to prove themselves as a band locally, and they’ve set the bar very high for themselves with their stellar debut.
More Info:
Facebook: www.facebook.com/thesoundofthelevee
MySpace: www.myspace.com/thesoundofthelevee
